How to Make Movies: Low-Budget/No-Budget Indie Experts Tell All
Author: Kevin J. Lindenmuth
Date: 2012-11-21 05:00:00+00:00
Keywords: Performing Arts; Film; General; History
Description: The success of low-budget independent films like The Blair Witch Project and Paranormal Activity have clearly demonstrated that successful movies can be made with very small budgets. Still, working on a tight budget requires both skill and ingenuity, and is an inevitable and continuous learning experience for the filmmaker. Join two dozen truly independent filmmakersthose used to working, and delivering, within extreme limitationsas they bluntly chronicle their experiences creating features "from the trenches." They cover the major stages of the filmmaking process, from financing, technical de
Publisher: McFarland

HOW TO

MAKE

HOW TO

MAKE

MOVIES

MOVIES

ALSO BY KEVIN J. LINDENMUTH

The Independent Film Experience: Interviews with Directors and Producers (McFarland, 2002) Making Movies on Your Own: Practical Talk from Independent Filmmakers (McFarland, 1998)

HOW TO

MAKE

MOVIES

Low-Budget / No-Budget

Indie Experts Tell All

KEVIN J. LINDENMUTH

Foreword by Eric Red

McFarland & Company, Inc., Publishers

Jefferson, North Carolina, and London

ISBN 978-0-7864-7106-5
softcover : acid free paper

LIBRARY OF CONGRESS CATALOGUING DATA ARE AVAILABLE

BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE

© 2013 Kevin J. Lindenmuth. All rights reserved

No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher.

On the cover: (inset) Tiffany Shepis in the 2012 film Wrath of the Crows (Photograph courtesy of Marija Obradovic); video camera © 2013 Studio Smart

Manufactured in the United States of America

McFarland & Company, Inc., Publishers

Box 611, Jefferson, North Carolina 28640
www.mcfarlandpub.com

Special Thanks to

Kate Lindenmuth

Tim Ritter

Dave Hayes

Barry Waddell & Seasons of the Wolf

John & Nancy Lindenmuth
and all the filmmakers involved with this book.

Table of Contents

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii Foreword by Eric Red . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Making Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Film School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

The Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Equipment and Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Budget and Funding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Production Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Actors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Locations: Where You Live and Where You Shoot . . . . . . . . . 112

Special Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

How Long Does It Take to Make a Movie? . . . . . . . . . . . . . . . 150

Publicity, Promotion and Distribution . . . . . . . . . . . . . . . . . . 166

Being an Independent Filmmaker . . . . . . . . . . . . . . . . . . . . . . 197

Working on Other People’s Independent Films . . . . . . . . . . . . 212

Your Career as an Indie Filmmaker . . . . . . . . . . . . . . . . . . . . . 230

Epilogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Appendix: The Filmmakers and Their Films . . . . . . . . . . . . . . . 249

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
vii

Preface

It’s been nearly a decade and a half since I
studio, but only a comparable pittance for the
first started penning my very first book, Mak-original filmmaker.

ing Movies on Your Own (1998). Although the This huge decrease in revenue from the genre

’90s were not as lucrative as the ’80s, during
films was one of the reasons I had switched
which time home video machines came into
gears about a decade ago and began produc-
play, it was entirely possible to make a modest
ing/directing independent documentaries that
living as an “independent filmmaker.” The big
were broadcast nationally on PBS. Rather than
video store chains were amenable to taking on
recouping and making money by selling
micro-budget sci-fi and horror, so instead of

DVDs this was done by getting it accepted by
selling a handful at conventions you’d be

PBS, then finding underwriters/ sponsors for
selling thousands of copies in one fell swoop.

the broadcasts. Generally, this made up for the

Alas, many of those retail video chains have
year of time spent creating the program. And
folded up in place of direct-by-mail rentals or
probably far more people have seen my docu-
video downloads, which take far fewer titles
mentaries than have my horror films. I still
and pay a small percentage of what they used
have a love for indepen dent features and have
to. Yes, every so often there’s a movie shot for penned a few scripts the past few years and
next to nothing by an independent producer/
worked, in varying ca
pacities, on other
director, like Blair Witch Project or Paranormal people’s productions to satisfy that “itch.”

Activity, that ends up making millions for a And, in fact, I plan on returning to the horror
genre by shooting a par ticularly disturbing
film soon, simply for the satisfaction of creat -
ing something creepy and unique.

While a lot has changed since the ’90s in
the technology and distribution, a lot has
also stayed the same, primarily the persistence
and dedication of independent filmmakers,
whether they are making shorts, features or
documentaries. The individuals in this book
aren’t doing it for riches — they are doing this because they are the foremost independent
filmmakers in the truest sense of the word.

Why make a movie? Because you want to.

By reading how these filmmakers go about
the process of making a film, you’ll be able to
take away useful information on how to go
about making your own film and hopefully

Kevin J. Lindenmuth
avoid the avoidable pitfalls.

viii

Foreword by Eric Red

A warning: This book is not for the faint
trenches. From technical decisions to handling
of heart.

actors and crew to production situations, these

Making a low budget film will kill you.

war stories from the micro-budget front lines

But seriously.

cannot help but be useful to any filmmaker

Everyone knows you don’t need millions of
trying to “get it in the can.” While many of
dollars to make a good picture, particularly in
the indie directors interviewed in this book
the horror genre where many of the best ex-
obviously have different approaches to the var-
amples are — and always have been — lower-
ious aspects of the process, often they are in
budget efforts. Anyone working on a very tight
agreement about the best solutions and share
budget wanting to make a feature film will
similar experiences. Benefiting from proven
find lots of tips on how to prepare and mount
tactics of filmmakers who learned by doing is
the production and what to expect along the
especially worthwhile for readers making their
way from the topics comprehensively covered
own film where it’s their time and money on
in this volume. Kevin Lindenmuth assembles
the line. Because while the book deals with
a diverse group of low-budget horror film-
making horror films, it’s really about the
makers used to working and delivering under
hands-on work of making movies.

extreme limitations and picks their brains on

People ask me all the time what makes a
all the major stages of the filmmaking process.

film director.

Covering everything from financing and pro-

A film director is somebody who gets their
duction to distribution, the result is loads of
film made.

common-sense, practical advice from the

Period.

Eric Red is a Los Angeles–based motion picture screenwriter and director whose films include The Hitcher , Near Dark , Body Parts , Bad Moon and 100 Feet . Recent published short stories have been in Weird Tales Magazine , Shroud Magazine and Dark Delicacies III: Haunted , an antholog y. His first novel Don’t Stand So Close was published in July 20¡2.

1

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Making Movies

The very first films I ever made were Super
and began producing/directing non-fiction

8mm shorts when I was ten years old. This
fea ture documentaries, many of which were
continued through my teenage years, and one
broadcast on PBS. Rather than creating some-
of my creations even made the cover of Cin-
thing that was based on a screenplay, I was cre-
emagic magazine, which was a boost for my ating something that was basically based on
beginning filmmaking career. While I also
people and experts answering questions,
wrote short stories at the time, making a movie
whether it be on food allergies (“I’m Not Nuts”: was so much more immediate — you could

Living with Food Allergies, 2009) or percep -
watch the tale you were trying to convey. And
tions and opinions about death ( The Life of

I think that’s the main reason for the interest: Death, 2011).

to make something that people could watch.

But as with the features, this was something

Yes, Saturday Morning Creature Features like

I could pretty much do on my own. In fact, I

Detroit’s own Sir Graves Ghastly definitely left would produce, shoot and edit the entire proa mark, as had all the drive-in fare like The ductions. And ironically, far more people

Corpse Grinders, Dr. Phibes and the Planet of would watch these documentaries than ever
the Apes movies. That’s why the majority of viewed the genre movies, as they were broad-my features were of the horror and sci-fi genre.

cast nationally. One documentary was even

The first was Vampires & Other Stereotypes broadcast worldwide ( Solanus Casey) by

(shot in 1990) and the last was a short for a

EWTN (Eternal World Television Network).

ill-fated anthology called Goregoyles (2002).

I don’t think those people ever realized I was

Yet, with such low budgets, there was al -
best known for vampire films.

ways minimal crew and everything was largely

So it is indeed possible to branch out as an
controllable, so I knew the productions would
independent filmmaker. If you want to make
get done. I was doing the majority of the work
science fiction films, you can. If you want to
and I always finished something I started. I
create comedies, go ahead. If you desire to
was always making the movies I wanted to
make people aware about a real-world prob-
make.

lem, shoot a documentary. The possibilities

In the late ’90s I gradually switched gears
are endless. The only thing it hinges on is you.

The Filmmakers were asked:

What are your influences and aspirations and what inspired you to make movies? What drives you to make films?

Glenn Andreiev: I always had a passion
the ingredients that go into making a great
for creating and telling stories and marvel at
movie. For example, I just saw The H-Man

3

4

HOW TO MAKE MOVIES
again, a 1950s science-fiction movie with a
response from the audience. Atmospheric hor-
blob-like creature. In one scene the “blob”

ror films inspired me to create docudramas on
slithers around a room. I read that this “creep-
serial killers where I can explore the horrific
ing blob” effect was achieved using a room set
aspects of the killer’s crimes and also focus on built inside a large wooden cube with bolted
the historical aspects of the time period in
down furniture and a bolted-down camera.

which the killer lived. I believe that film is al-This cube-set was rotated on a large tumbler
most like magic where the reality on-screen is
and the blob substance rolled around the mov-
actually an illusion. When every aspect of a
ing set. The resulting effect shows a steady,
film comes together properly through acting,
normal-looking room, with this blob skitter -
cinematography, music, lighting, et cetera,
ing about. I love creature-feature-engineering
then a film is truly something to admire.

stuff like that!

Keith Crocker: My influences are very

John Borowski: Growing up I was en-
simple; I came from a large family of six chil-
thralled by the films of Alfred Hitchcock. Not
dren. Television was a big thing in those days,
only did he know how to create the perfect
a great way to entertain a large family for
atmosphere for a thriller film, Hitchcock
cheap. Watching Chiller Theater with the planned every shot in the minutest detail to
whole family gathered around the TV was a
create the ultimate psychological affect on the
life-altering experience for me. First off, the
audience viewing the film. Like all great art,
movies horrified me and literally gave me
film really works when it creates an emotional
nightmares. I distinctly remember seeing The Natasha Warasch goes over the screenplay with director Keith Crocker during the interrogation sequence of Blitzkrieg: Escape from Stalag 69.

Making Movies

5

Beast with Five Fingers, the Peter Lorre classic that also featured Robert Alda. When I went
to bed that evening, I had a horror in that I
swore I was going to see that dismembered
crawling hand creeping up the wall by my bed.

Talk about trauma! My mom was oblivious, I
don’t think she had any clue how much these
films were messing with my brain. Over the
years, a strange transformation began to hap-
pen — I began to love horror films. I guess
what they were doing was kind of an inter -
active therapy that was working out a lot of
my internal fears. I developed a love affair with genre cinema, in particular horror films. My
interest grew in such a manner that I started
collecting books on the subject. One of the
first film books I bought was Heroes of the Hor-Writer/director Richard Cunningham
rors (1975), written by Castle of Frankenstein zine editor Thomas Calvin Beck. It was there
ding interest in classical studies, laid the
and then that making the art of movies into
groundwork for my attraction to the period
my art took hold. First, I started by drawing
genre.

the photos from certain films that were fea-

I’ve long admired filmmaker Wes Ander -
tured in the books I collected. Then I started
son’s trademark dialogue. Along those same
to paint those same type of pictures. I’d lit -
lines, a 1957 movie called The Sweet Smell of erally stretch canvas, draw the scene right from Success, made a deep impression on me with the photo and paint it. The filmmaking aspect
its biting metaphors and rhythmic language.

came in during the summer of 1978. A friend

I think also there are certain movies from the
of my brother, who knew of my interest in

’80s that sparked the imagination of kids
movies, brought over a Super 8mm camera
growing up during that time, and of course
and asked me if I ever considered shooting a
continue to have an impact — Star Wars or movie. Well, I pulled together my brothers

E.T. , Indiana Jones.

friends and my first film was a 15-minute epic

When I started developing the techniques
called Dracula Is Alive and Well and Living in of my animation, I was watching a lot of car-Hewlett (Hewlett, New York, is the town I was toons and anime at the time, a lot films by
brought up in).

Hayao Miyazaki, episodes of King of the Hill, Richard Cunningham: I have quite a lot

Frisky Dingo, Archer, and various comic book of influences. Early on, Rod Serling and The animations. They had their obvious differ-Twilight Zone fascinated me. I would watch ences. So in watching the various forms of an-marathons of the show on TV. I was capti -
imation, I was aiming to pick up on the sub-
vated by the cleverness and social commentary
tleties that ultimately make any animation
underlying the concepts and the stark imagery
more convincing.

in which they were set. I even painted the

I think what drives me to make films, first
open ing narration on the walls of my child-
and foremost, is my genuine passion for sto-
hood bedroom. Similar science fiction by au-
rytelling, for creating some form of escape for
thors like Ray Bradbury and H.G. Wells also
people (myself included), and the sense of ac-
drew me into more visually imaginative sto-
complishment that comes out of it. Story-
rytelling. Films such as Braveheart, and a bud-telling is a craft fundamental to many of the

6

HOW TO MAKE MOVIES
best artists, and to all of civilization, really.

Close Encounters of the Third Kind, Raiders of Our history and culture are handed down by
the Lost Ark, et cetera, I wanted to be a film it. Our religions are based on it. Our economy
director like Spielberg. As I teenager I read
is supported by its production and consump-

Fangoria, Starlog, Cinefantastique, Made Mov -
tion. It can broaden and sway minds, or
ies, et cetera, and just watched a ton of films.

awaken deep emotions in us, or simply serve

I grew to admire Kubrick, Romero, Carpenter,
as a much-needed distraction from reality. I

Cronenberg, DePalma, Polanski, Argento,
think that as this craft has evolved alongside

Hitchcock, Coppola, the Coens, Lynch and
society, we have come to identify ourselves by
so many more. Sam Raimi was also a huge in-
pieces of history and characters of fiction alike.

fluence on me jumping into making my first

Films also appeal to me simply because they
feature at 17, after reading about how he made
bring together so many different disciplines of

The Evil Dead.

both art and craft, all of which must congeal

Donald Farmer: There was always a
ultimately into the story’s final form.

movie camera around the house when I was

Maurice Devereaux: Growing up an
growing up. My parents documented every va-
only child surrounded by comic books and
cation, birthday party and holiday with our
toys (G.I. Joe, Big Jim, Mego Super heroes,

Standard 8mm film movie camera. The results

Johnny West, et cetera) I would invent my
were projected on our roll-out home movie
own stories. It was always a need, either it was screen mixed with Castle Films one-reelers like
born out of the fact that I had no one to play

Dracula, Woody Woodpecker and Howdy Doody.

with, or it was there all along. I need to tell

So after a few years of this, I thought,
stories. At first I wanted to be a comic book

“Here’s the camera ... there’s some extra film
artist, but after seeing Superman, Star Wars, laying around. Why don’t I shoot something

Writer/director Maurice Devereaux on the set of Lady of the Lake.

Making Movies

7

Maurice Devereaux directing his first film, Blood Symbol.

myself?” Only I didn’t want to shoot vacations
the 50-foot reel gave me a running time just
and birthday parties. I wanted to film my
a little short of four minutes.

friends pretending to murder each other.

I was kind of aware of a crime movie play -

I was 12 years old when I made my first little
ing back then (late ’60s) called In Cold Blood, 8mm epic. I edited in camera as I shot, and
so I named my little masterpiece In Hot Blood.

8

HOW TO MAKE MOVIES

My inspiration was Mad Magazine and those days flat, sent the film off to the local drug
movie parodies they ran in every issue like
store to be developed, and my first movie was

Rosemary’s Boo Boo and Balmy & Clod. They a wrap. I showed it to the actors and that was
always used the original film’s title for some
about it. The thought of doing a follow-up
groan-inducing pun. And I thought, “What’s
film didn’t occur to me until six years later
good enough for Mad Magazine...”

when I’d moved up to Super 8mm film and

Keep in mind I knew absolutely nothing
had learned a little about editing. No more
about the particulars of In Cold Blood— not editing in the camera ... this time I’d shoot my that it was based on a true murder case, not
idea of “coverage,” plus mix in clips from one
that it involved an entire family being slaugh-
of my Castle home movies. Namely in one
tered in their farmhouse, nothing about the
scene where the female lead is watching tele-
writer Truman Capote and his borderline dis-
vision, I edited in clips from the Castle edition turbing obsession with the killers. All my 12-of This Island Earth to represent the TV show year-old mind digested was that In Cold Blood she was watching. I thought I needed a really
had something vaguely to do with murder,
original death scene this time, so I filmed the
plus it was the perfect title for me to have a
lead actress being strangled to death with a
little fun with. So I set to making In Hot Blood stretched-out condom ... a scene that did NOT
with three of my friends and a bottle of
amuse my father. Finally, I knew this movie
ketchup.

should be way longer than In Hot Blood, so I Even at that age I knew I needed a celebrity
ended up with about 30 minutes of edited
in my cast to give my debut film that extra
footage including titles.

zing. Years later I would get in the habit of

Over the next three years I would grind out
hiring relatives of ex-wives of celebrities, like five more of these little Super 8mm movies.

when I got Charlie Sheen’s uncle for Demo -

The first two were melodramatic soap operas
lition Highway, David Bowie’s ex-wife for with a few murders tossed in, but the fourth

Demented, or Stallone’s ex for Compelling Ev-was my 40-minute horror epic The Summoned
idence. But at the age of 12 and living in Man-

... the first time I had anything approaching
chester, Tennessee, the closest thing to a ce -
special effects make-up. Very low-end effects,
lebrity in those days was a little girl named
mind you. For a scene where a zombie is shot

Sally — hands down the most drop-dead gor-
in the chest, I taped a firecracker to a piece of geous 12-year-old girl walking the halls of
cardboard, taped a balloon full of movie blood

Westwood Junior High. Like most of my male
on top of that, then taped board, firecracker,
friends, I was in absolute awe of Sally but
and balloon underneath my actor’s shirt. Oh
knew she would never agree to participate in
yeah ... and we put some cotton in his ears,
something as dubious as my shady movie proj-
too. I’m pleased to report he survived.

ect. So I went after the next best thing ... one Several years later, the two stars of The Sum-of her relatives!

moned showed up in some of my better-

I didn’t want Sally’s big brother ... he was
known movies. Robert Tidwell played the
three grades older than me and went to the
video store clerk in Demon Queen and Larry local senior high. Plus he kind of scared me.

Herren played a supporting role in Scream

But Sally’s cousin Ronald was in my same

Dream. Larry was actually another in my long grade and seemed up for the suggestion. And
line of “relatives of the stars.” His cousin,

I thought, “Maybe if Sally sees her cousin

Roger Herren, had played the boyfriend of
doing my movie, she’ll think it’s not so bad

Farrah Fawcett in her 1970 movie Myra Breck-
and agree to star in my NEXT one.” That
inridge and was even man-handled by Raquel never happened, but I could dream.

Welch in one scene. I was endlessly fascinated

So we filmed In Hot Blood in about two
to know that one of the stars of a Raquel

Making Movies

9

Welch movie actually hailed from my little
behind-the-scenes documentary of The Em -
town ... and that “I” was friends with his
pire Strikes Back. I made a few-minute film of cousin. To say that Larry was less impressed
my brother playing Spiderman in Spider man
with his cousin’s achievement would be a se-
vs. The Ninja. They were fun little things. But rious understatement.

ultimately I was discouraged by the format.

I did the last of my six Super 8mm movies

My camera had no sound, and a ten year old
in 1976, then decided I should stop fooling
doesn’t have the funds or the knowledge to edit
around with home movies and get a real job.

and shoot enough [footage] to make a feature.

So I used my college journalism major to get

It’s a bit of an insane compulsion really. I
on with Nashville’s daily paper, the Tennessean, am in love with absolutely every aspect of the
and branched out to covering film production
process and I’m unable to “shut it off.” I think for Fangoria and a couple of other magazines about it all day and night. “This would look

... plus launched my own horror fanzine The
great,” or I think of a line that should be in a Splatter Times. But being on so many movie script. I feel a need to be creative, but in the sets as a reporter eventually got me interested
end I just think the whole process is just fun
in filmmaking again and I started making
and I can’t think of anything as a hobby or an
plans for my first feature-length movie, the
occupation I would enjoy more.

project that would eventually become Demon

Richard W. Haines: I became interested

Queen.

in filmmaking at a very early age. I was “glued

Jeff Forsyth: I would have to say my
to the tube” as a child, watching old feature
major influence as a filmmaker has always
films around the clock on WOR’s Million Dol-
been Steven Spielberg. As the years go by I am
lar Movie and on the Late, Late Show. My par-still trying to quantify what that exact quality ents were movie buffs, so we went to the Hol-that Steven has that is so unique. There is a
lowbrook Drive-in during the summer to see
certain magic to one of his films, regardless of double bills, and indoor cinemas the rest of
content. His films possess a level of quality in the year. The Westchester theaters were owned
every aspect of the craft, from the cinematog-
by Ron Lesser. Lesser’s Beach Cinema 1 was
raphy to the acting. It’s an X factor he has that set up for 70mm, which was the only house

I continue to try and understand.

in the area that used the large format.

I think I have always wanted to make mov -

In 1971, my folks bought me a Sears Super
ies. As a child my favorite TV shows would

8mm camera and I started making amateur
get canceled. That happened with Star Trek, films. It had a frame-by-frame option, so I
and I always wanted to make more [episodes].

created stop-motion animation as well as live-

I would force my brother to help me act out
action. I used stop-motion to make my G.I.

episodes or new adventures for the charac ters.

Joe action figures appear as if they were fight-

As I look back on it, much of our imagina tive
ing. I recall staying up late at night editing
play was “cinematic”— we would make up
them, which made me exhausted the next day
characters that were adventurers or space ex-
in school. When they were finished I recorded
plorers. I kept talking about making a
some music on an audio cassette machine and
movie — a Trek movie at the time. When I projected them for friends.

turned about nine or ten years old, my mother

I purchased the Kodak Ektasound 140 cam-
bought me a Super 8mm film camera. That
era in 1973 and started making sound shorts.

was it for me. I loved it. Strangely enough, I

I rounded up high school friends and made a
fought the exact kind of barriers then as I do

Spaghetti Western spoof and other novelty
now: time and money. I made a few little bits
films. I enjoyed making my amateur movies.

with the Super 8. I animated my Star Wars ac-I wanted to make professional feature films as
tion figures after viewing a very inspirational
a career. I still have most of my Super 8 shorts

10

HOW TO MAKE MOVIES
and, since they were shot on Kodachrome,
my head glued to the TV set. I studied TV
they didn’t fade. I transferred them to DVD

Guide magazine each week as soon as it
and store the originals in my archive.

arrived, circling all the movies I wanted to see William Hopkins: I can’t remember any
and pretty much scheduling all my free time
time in my life when I didn’t want to be in-
around what was showing on Creature Fea -
volved in filmmaking. I was one of those
tures, Chiller Theater, The 4:30 Movie and The

“monster kids” who grew up watching the

Late Show. My diet consisted mostly of horror, Universal horror classics on TV and spending
sci-fi and fantasy films, including Universal’s
my allowance on Aurora model kits and mag-
classics, films from Ray Harryhausen, Ham -
azines like Famous Monsters and Castle of mer and Amicus and, of course, the Japanese

Frankenstein. Back then, before home video, giant monster movies. Even stuff that was rel-you had to choose between what was playing
atively new at the time, like Night of the Living at the local theater and what was playing on

Dead and Rosemary’s Baby, I first saw when TV, and since it seemed most of the movies
they ran on TV. Those movies, along with
my local theater booked were a little too ma-
shows like The Outer Limits, Star Trek, Dark ture in subject matter for a kid, I ended up

Shadows and The Twilight Zone, all made a spending a good part of my childhood with
great impression on me as a kid and, by the
time I was in junior high, I
had pretty much made up
my mind what I wanted to
do with my life. My father,
who first introduced me to
films by plunking me down
in front of the set at four or
five years old to watch King

Kong, Dracula and Franken-
stein, ended up regretting it
later when I announced my
career plans. He didn’t think
it was a practical way to
make a living, and he was
right. But I wouldn’t dis-
cover that until many years
later.

As a kid, even though I
was familiar with names
like James Whale and Tod

Brown ing from reading Fa-
mous Monsters Magazine, I
tended to think of the con-
tribution of writers and di-
rectors as being secondary
to the work of the special-
effects and make-up art ists.

I hadn’t developed my crit-
ical faculties enough to be

Writer/Director Bill Hopkins
able to judge the quality of

Making Movies

11
things like writing, cinematography, editing

I can remember the day when I made that
or overall storytelling ability, but I was able to decision to commit to screenwriting. I was still tell which monsters looked cool and which ef-in my teens, still living at home with my folks, fects worked, so guys like Ray Harryhausen,
and my room was littered with all the model-

Willis O’Brien, Jack Pierce, Dick Smith and
ing clay, paint and rubber masks from years

Rick Baker were the ones I paid attention to.

of experimentation. I cleared it all out, packed To me, as a child, the jobs that seemed most
it up and moved it to the attic and installed a
important were the special-effects and make-
big electric typewriter in my room. I’m sure
up artists. So that’s what I wanted to be.

my parents were happy to have all that mess

I did a lot of experimenting with animation,
cleared up, but the typewriter made so much
using clay models and a Super 8 camera, and
noise — it sounded like a machine gun when
taught myself the process of making rubber
you typed on it — they probably lost a lot of
masks from reading the few books that were
sleep on those nights when I was up late work-
available then on the subject. Anyone who
ing on my first screenplays. But, as it turned
knew me in those days probably remembers
out, their suffering was not completely in vain.

me as the strange kid with the Super 8 camera

The first script I wrote in my last year of high in one hand and rubber monster mask in the
school was optioned but never produced, but
other. But it didn’t take me too long to realize the second script I wrote, Children of the Night, I didn’t have the patience or dedication that
was actually produced. It received fairly wide
animators and make-up artists need to have.

distribution on home video through Colum -

I also came to understand that the effects and
bia Tristar and on cable TV. That I was able
make-up guys were almost always in the po-
to make a sale on my second screenplay was
sition of realizing concepts that others had
certainly encouraging to me. I still remember
come up with, and I really wanted to be the
showing my father the check I received from
one coming up with the ideas — the story, the
the sale. He stood in the middle of the living
characters and so forth. So I began to develop
room holding the check out at arm’s length
a greater appreciation for the work of the di-
and squinting at it in disbelief. It was a rela-
rector and the screenwriter and started paying
tively small amount for a script sale but a huge more attention to people like Hitchcock and
amount to him, probably a third of his yearly

Kubrick and the other greats of filmmaking.

salary at the time. He said, “They paid you

Then, in the mid ’70s, Jaws and Star Wars that much for one of your scripts?” He couldn’t
were released, and they made a big impression
believe it. He got out his glasses right away
on me. While both films were thematically
and sat down in the kitchen to read the script,
very much like what I had been watching for
which is something he hadn’t done with any-
years, the quality of the direction and writing
thing I had written up to that point. But he
took them to a new level. They weren’t just
wanted to see what I could possibly have writ-
great monster or sci-fi movies, they were great
ten that anyone would be willing to pay that
movies. And my parents and the other adults
much real money for.

around me expressed enthusiasm for them,

Both of my parents passed away not too
too, which was almost never the case with the
long after that and didn’t get a chance to see
other horror/sci-fi films I obsessed about. The
the film that was made from my screenplay,
sophistication of the filmmaking and the sto-
which is probably just as well. I don’t think
rytelling in those films was a huge leap beyond
they would have thought much of it. But at
most of what had come before in that genre.

least they lived long enough to see me make

So I was inspired to focus on developing my
that first sale.

skills as a screenwriter and pursuing that as a

In the years after that, I continued to write
career.

scripts and shop them around. A few were op-

12

HOW TO MAKE MOVIES
tioned. I was commissioned to write scripts
translate them to paper. I eventually learned
for a couple of projects, but nothing ended
to write and at age 15 took a screenwriting
up being produced, so it was a frustrating pe-
course at HB Studios in New York. I learned
riod. I did make some important contacts,
the proper screenplay format by this course
though — people I’m still in touch with and
and by reading other screenplays.

still doing business with.

Around the age of 14, I knew I wanted to

By the end of the ’90s, as new technology
be a director, and started seriously trying to
be came available (like digital camcorders and
figure out how to break into the business. I
nonlinear editing software), I decided to try
realized that most first-time directors started
raising money to shoot my own films so I’d
with horror films, so I decided to rent every
have more control over the productions and
horror film on video to study the genre. Sam
get more of whatever profits there were. From

Raimi’s The Evil Dead became a big influence, that decision came Sleepless Nights, which I did and I loved John Landis’s An American Were-with Howard Nash and Frank Cilla as the pro-
wolf in London and Tom Holland’s Fright ducers, and more recently, Demon Resurrection, Night.

which I did with Frank Cilla and Edward

At 15, I made a 52-minute flick called Un-

Wheeler.

dead which was a Sleuth-influenced horror Steve Hudgins: I’ve always been a writer
flick. At 16, I spent two years working on my
and storyteller since as far back as I can re-
first independent feature called Strength in member. Making movies is just another way

Numbers, an action-comedy thriller in The of telling a story. I specialize in horror/thrillers.

Goonies tradition. I also started working as a More often than not, I’m very disappointed

P.A. [production assistant] during the summers
by most of the movies being produced within
and did a stint at Troma on Troma’s War. My that genre. I really want to bring originality
senior project in high school was Murder in
back to those types of movies.

Winter, a comical Agatha Christie murder Rolfe Kanefsky: I fell in love with mov -
mystery done on stage and filmed.

ies when I was around four years old. My

Around this time, I was becoming restless
father introduced me to the films of Abbott
and wondered how long it would take to write
and Costello. I remember catching the very
a low-budget teen horror film. I wrote the first end of Abbott & Costello Meet Dr. Jeckyll and draft of There’s Nothing Out There in five days.

Mr. Hyde and I was hooked. Growing up in I did it as an exercise but couldn’t get myself

New York, they would run their films every
to do just a straight teens-killed-by-alien story.

Sunday morning at 11:30. I watched them re-

I had seen so many horror films by this point
ligiously, from age 4 to 14. Of course, I
that I was wondering why nobody in a horror
watched things beside Abbott and Costello. I
movie has ever seen a horror movie. So, I
became a fan of Alfred Hitchcock movies,
thought it would be fun to have a character

Blake Edwards, Steven Spielberg, John Landis,
who is a horror fan and comments on all the

The Marx Brothers, Neil Simon, and John
stupid things that people do in horror films.

Carpenter. I’ve always said my three favorite

He would be like the audience and I could
films of the 1980s are E.T, The Blues Brothers poke fun of all the overused conventions of
and Psycho II, with After Hours, Fright Night horror films, like the cat scare and people
and The Stepfather running a close second.

standing in front of an open window, going

I received my first video camera when I was
out alone, dropping the knife, et cetera. That’s 13 and started making my own short films in-how my first real film was born. Wrote it in
spired by my favorite comedies. I began

1987 and filmed it in 1989.

writing before I could actually write. I would

Basically, I got into film because I enjoy
tell my stories to babysitters and have them
telling stories and entertaining people. For a

Making Movies

13
time, I wanted to be an actor,
but in high school I was stuck
in a lot of bad plays and I re-
alized that it takes so much
work but if the end result is
weak, what’s the point? So, I
took control and started di-
recting films myself, moving
behind the scenes to tell my
stories for the sheer joy of en-
tertaining people. Later in
life, taking jobs for money
came into play, but I’ve
always tried to make even the
worst pro jects something spe-
cial and a little different.

Brett Kelly: My main in-
fluence was my dad. When I
was a kid I used to fight going
to bed, kicking and scream-
ing. My father would often
let me come back down stairs
once my sister fell asleep and
we would watch the late

Top: Writer/director Steve Hudgins. Bottom: Writer/director Rolfe Kanefsky on the set of

Nightmare Man.

14

HOW TO MAKE MOVIES
movie on CBC, often they were monster films,

I began to emulate the films I loved. Every day

MGM musicals or films noirs. I loved them.

after school I produced short films. I have

What drives me to make films is an obsession

VHS tapes of hundreds of little projects —
with telling stories. I always used to play
comedies, horror movies, stop-motion anima-
make-believe as a kid. My friends and I would
tions, even a western or two.

pretend we were Star Wars characters or Teen There was something so exciting about cre-Titans or something like that. I used to wish I ating and telling stories. It’s a passion that still could afford a Fisher Price video camera that
persists in my life because I enjoy the process
existed at the time that recorded video onto
of relating experiences to other people. Some-
audio tape somehow. I have just always needed
one once told me, “The only reason anyone
to tell stories.

does anything is for a good story” ... and while Chris LaMartina: One of my earliest

I don’t know if this is completely true, I come
memories is demanding my aunt sit down at
back to it a lot.

the typewriter while I dictated scary stories to Jim Mickle: When I was 13 years old I saw her. None of them made much sense, but the

Army of Darkness and discovered The Evil sessions instilled a sense of showmanship in

Dead trilogy. I always enjoyed watching mov -
me that has yet to cease. During my early
ies, but that was the first moment where it all
years, I became enthralled with Hammer hor-
clicked and I realized there were all of these
ror flicks, Universal Studios, ’80s slasher mov -
decisions being made behind the camera to
ies, and Troma (seeing Toxic Avenger because create the personality of those films. From

I thought it would be like the cartoon, Toxic there I spent my teens soaking up genre films

Crusaders, basically ruined my life). Around that had real craft behind them. I fell in love
age 11, I discovered the family camcorder and
with the works of David Lynch, John Carpen-

Writer/director Chris LaMartina ( President’s Day, Witch’s Brew). Photograph by Josh Sisk.

Making Movies

15

I was Gollum (in Lord of the Rings) and the Ring was calling to me. I stayed in to watch the
movie. I’ve always been like that. It’s purely
instinctual for me. Every year when the family
gathers around to watch football for the hol-
idays, I’m watching movies. It feels like it was something I was born with. I’ve always loved
movies and that is what has driven me the
most to make my own. Since I was a little kid,
the first section I’ve always opened in the paper was the entertainment section. Then, maybe
the comics. I’ve always been at least as much
a fan of watching movies as I have been of
making movies. And I’m glad to say I still have
that enthusiasm. I just wish I had the money
to go along with it so I can do it full-time.

As far as influences, I’ve loved comic books
since before it was “in” to do so. I believe
they’ve always been a highly underrated and
amazing art form. Comic books, to me, serve
as templates for movies. Remember when Sin

City came out and everyone thought that Writer/director Jim Mickle (Mulberry Street,

Stake Land)

movie was so innovative? It was just doing a
faithful adaptation of the material. The same
ter, Dario Argento, Peter Jackson, Sam Raimi,
thing with the movie 300. Those movies are and Robert Rodriguez. At first I made little
now widely ripped off and people think they’re
backyard movies on a VHS-C camcorder with
brilliant. It’s the original source that was bril-my neighbors and tried out a lot of the tricks
liant. The good filmmakers are just honoring
from the movies I loved. Over time you start
it by not making it unrecognizable. Whenever
to find your own personality by telling stories

Hollywood strays too far from the source ma-
that excite you or have some personal connec-
terial, that’s when things go wrong. This is
tion. That’s what still keeps me in love with
why I’ve always been a fan of Kevin Smith.

making movies.

He interjected his love of comic books into

Damon Packard: My influences came
movies early in his career and that established
out of growing up in the ’70s and early ’80s.

an instant connection with me as a fan. When

At that time there was a lot of idealistic en-
a movie connects with you in a way, that’s
thusiasm and a burning need to explore the
helps to fuel your passion for making movies.

realm. I still have the drive to make films, but It’s such an amazing forum for mass commu-it’s different. Since that initial desire and drive nication. As far as other influences, I’m a big
never actually materialized a form of graduated
fan of the unusual. Case in point, if there’s a
success in the field, the kind of limited poten-
dwarf in a movie I’m instantly down to see it.

tial you’re repeatedly dealing with on a no-

Other oddities seem to compel me as well. I
budget scale becomes less and less vital and
definitely grow tired of the same thing over
purposeful as the years pass.

and over again. I’m certainly not a snob of

Brad Paulson: When I was a little kid I
watching what is familiar, but I also like a
was at a friend’s house and Superman II came heavy dose of variety. Directors that have em-on. The other kids went out to play. It was like braced a different type of style interest me as

16

HOW TO MAKE MOVIES

Brad Paulson directs a college short film.

well. Guys like Dario Argento, Peter Jackson,
ited locations, mostly dialogue. This is great

Sam Raimi, John Waters, The Coen Brothers,
stuff to watch for making your own inexpen-
et cetera. I love writers like David Mamet.

sive movie. I’m also a fan of hard-to-find cult

Who doesn’t love Glengarry Glen Ross? Some movies, puppets and pop culture. Basically I’m
of my other favorite authors include Joe Lans-
kind of a weirdo, but it’s only an outside pro-
dale, Jack Ketchum, Edward Lee, Edgar Allan
jection of what I find amusing and entertain-

Poe, Jack London, Roald Dahl, Charles Bu -
ing. At my core, I’m surprisingly normal and
kowski and Steven King. If you’re strapped for
adjusted. I believe art has provided me a great
movie ideas, all you need to do is read. It ac-
outlet and balance.

tivates your imagination unlike anything else.

Jose Prendes: I was influenced early on,

I’m also into metal, doo wop, drunken outlaw
like most people, by the magic of movies. I
country music, cheesy ’80s action movies, ’80s
re member watching one of the early Superman comedies like Back to the Future and the John films and wanting desperately to do “that.”

Hughes flicks. I think The Breakfast Club was What “that” was became clearer as I got older.

a fantastic template for a micro-cinema movie.

I grew up watching the films of Frank Capra

Very few characters, primarily one location. It
and Steven Spielberg and learning how things
could have easily been boring and one to hit
work and don’t work cinematically when it
the fast-forward button to, but with its fan-
comes to movies. I discovered Kurosawa films
tastic script and energy it became an instant
and the rest of the fantastic films in the Crite-classic. It proved heart transcends budget any
rion Collection, and I just absorbed it all like a day of the week. The same applies with French
sponge, taking what I wanted and growing my

New Wave cinema. Mostly one take, very lim-
knowledge base.

Making Movies

17

I knew from a very early age that movies
were for me, regardless of the struggle and
hardships. I hated everything else except mov -
ies, so it was kind of a no-brainer.

Paul Scrabo: My “real” job is as a crew
person for network television, so I’m involved
in projects that are highly commercial in
nature and insist on your dedication and skill,
but you may not have any emotional interest
or passion with the subject. So my own proj-
ects are not necessarily commercial or trendy.

I already make a living in that world. Making
movies on your own is tough enough, so it
might as well involve an idea you’re interested
in pursuing.

The movie theater experience itself may be
my biggest influence, at least how it was in my
youth. They were sacred places. Your normal
life was put on hold when you entered. It’s a
bit different today, with actual commercials
playing on a the screen when you walk in.

There is no transition.

Indie producers live in an incredible time
today with so many venues — the internet,
stream ing, DVD, Blu-ray, iPod, and now web
movies can be displayed on your television.

They’re not locked into the computer screen
anymore. But it’s wonderful when low-budget

Writer/director Eric Shapiro
films get the chance to play at film festivals.

Despite all these new outlets, I think the one

Anthony Straeger: The first thing that
place every filmmaker wants his film shown is
influenced me into making anything was that
a real theater, with a real audience. That’s

I was working for the BBC on a children’s ser -
when your film becomes a movie.

ies called For Amusement Only, a “seven strand”

Eric Shapiro: When I was around 12 years
piece, and my strand was called Judge Jugular.

old, in 1990, my dad bought a cam corder, I

After shooting three episodes it was obvious
think for a family vacation to Florida. I started to the director that there wasn’t that much to
using it to make ridiculous movies with my
this strand and it was bubbling along fine,
friends; we were always ripping off the Air-
whereas another strand featuring lots of kids
plane! and Naked Gun films. The more I used was way behind its schedule. As the director/
the camera, the more I started getting a feel
series producer at the time, Peter Leslie, had
for the medium, and wondering what
limited resources in terms of second-unit di-
it would take to make my stuff look as good
rectors, he allowed — get this — the temporary
as the stuff I saw on TV or at the movie the -
secretary/assistant to take over the directing of ater. There’s something dynamic about the
it. Obviously, she had no idea [of what to do],
medium — the way it combines drama, lit -
but I had a good cameraman and a good
erature, music, photography, and so much
sound guy, so every time she tried to be a di-
else.

rector and got it wrong, I took over directing

18

HOW TO MAKE MOVIES

Sarah Paul and Anthony Straeger block a scene for an independently made film.

myself. At the end of the 13th episode, the
right ugly... But I had been learning. And all
crew came up to me and shook my hand say-
the while I had been writing feature-length
ing, “You were great and you should give di-
scripts and failing to sell them. It reached a
recting a go!” I thought f * * k it ... why not!

point in 2008 that I thought I have to either

I then wrote, produced and directed my first

... make a movie or simply give it up. Now
short, The One We Came in For.

that I have made a movie, what drives me to

The other great influence for me in terms
continue is that I want to make a better one,
of my approach has been Peter Jackson. His

I want a larger budget, more time. And what
first movie, Bad Taste, is the proof that filmI aspire to is making something I really feel
making at grass roots is about initiative. He
makes me bristle with pride so that I can say,
worked out all of his stunts, special effects and not to friends or peers, but myself ... I did
even built his own jib. It took him four years
that... Well done, my son!

to produce using friends and family and be-

Marc Trottier: I’ve always enjoyed horror came a fabulous cult movie. He is the only
movies, even as a child, such as Friday the 13th, person that could have taken on something

A Nightmare on Elm Street and Evil Dead. I like Lord of the Rings and come in on budget.

would’ve loved to make movies growing up,

The influence for me loving horror movies
but I only got into acting and had access to a
comes from my mother, who, when I was but
camera when I was 22 years old ... so I had a
a young boy, would let me stay up on a Friday
late start. After I discovered acting, I began
night to watch the Midnight Movie, which wanting to make films that I could act in. I’m
tended to be one of the Hammer House of
not sure if I’d want to make/direct a movie

Horror films. I loved the stylization and, even
that I couldn’t be a part of as an actor as well.

at that age, the sexiness.

Since I started acting and making films, my

The thing that got me into wanting to make
big influences, as far as directors, were M.

a movie was simply that I had made several

Night Shyamalan (earlier works), Steven Spiel -
shorts, some good, some bad, some just down
berg, and more recently J.J. Abrams. They just

Making Movies

19

Movie Magic, which gave the history of special effects from the Lumiere Brothers up to, I believe, Jaws or Star Wars (two more fundamen -
tal movies of my make-up). I distinctly re-
member watching an episode of Mork &

Mindy, where Robin Williams played both

Mork and himself in one scene, and being
thrilled because the book told me how the ef-
fect was achieved in all its Patty Duke Show ingenuity. Then I tried to explain the process
to other kids in the first grade. Needless to say, the words “traveling matte” didn’t keep me
from being beaten up a lot.

In all honesty, all I’ve ever wanted to do in
my life is tell stories, regardless of the medium.

Writer/director/actor Marc Trottier

I’ve been lucky enough (or dumb enough) to
make the kind of stuff that I’d like to make
have had the chance to do just that as a pub-
and act in. I make films because I’m an artist,
lished author, journalist and, on a more lim -
and it gives me a creative outlet ... and because ited scale, filmmaking.

films are fun!

Throughout my formative years, I spent

Mike Watt: I’ve been a film-lover since a time doing what most budding filmmakers
ridiculously young age. My parents are both
did, shooting little Super-8 movies with school
film buffs and most of my earliest memories
equip ment (which I was unable to borrow; I
are of sitting between my parents in various
didn’t get my first VHS camcorder until my
darkened theaters and drive-ins. The first
sen ior year of high school), moving toys and
movie I remember seeing was George Pal’s Doc bits of clay around in attempt to bring them

Savage. It was the one luxury our poor family to life two frames at a time. What I lacked in
would make sure we could afford and we went
any kind of technical talent I made up for with
on a near-weekly basis from the time my sister
strong storytelling and structure. By the time
and I were toddlers. At home things weren’t
my junior year rolled around, I’d already been
much different. Before cable and VCRs, we’d
profes sionally published in very, very small
sit down as a family to watch movies on TV
scholastic journals, but these minor achieve-
in the evenings, what I consider to be the sta-
ments had weight.

ples of my childhood: The Magnificent Seven, Once I got to film school, the post–Vietnam

The Wizard of Oz and Bringing Up Baby.

War–era equipment (Frezzolinis, CPs, Arri-S’s)

Through my father, I was educated in movie
proved time and again that I was hopeless as
language without being aware of it, par tic u -
a cameraman, a director of photography or a
larly with regards to westerns and film noir, a sound engineer. And these failures taught me
term he hated, incidentally. He called these
to align myself with those who were talented
exercises in shadow, light and morality “hard-
in those areas. My strengths—writing and ed-
boiled movies.”

iting — grew stronger with the love I had for

Also fortunately, he was and is a bibliophile,
those two arenas. To me, that’s where the movie
and the house was filled to overflowing with
comes together, the blueprint and then the
books of all topics. Anything I wanted to read,
crafting. Not surprisingly, given my antisocial

I just had to find. These are the foundations
nature at heart, these two things are done best
of my love of storytelling. A book I carried
alone. Production, on the other hand, alter-
with me a lot as a kid was a paperback entitled
nately bores me and stresses me out to no end.

20

HOW TO MAKE MOVIES

Writer/director Mike Watt shooting a scene from The Resurrection Game.

But once the piece is created, once it’s up
vision introduced me to the likes of Cagney,
on a screen for the world to see, that’s what

Bogart, Grant and all the rest. I especially
keeps me going. Regardless of audience re-
loved films that drew me into a story that I re-
sponse, any movie I’ve had a hand in exists be-
ally did not want to end and that would leave
cause of work I put into it, by myself or with
you thinking and wondering, “What else hap-
my filmmaking family. This movie did not pened?” after the movie was over. Some of the
exist before us.

movies that I often reflect back on for inspi-

Chalk it up to fatalism or fear of mortality,
ration are The Graduate, Night of the Living but I make movies in order to leave some of

Dead, That Man from Rio, Raiders of the Lost myself behind when I’m gone.

Ark, It’s a Mad Mad Mad Mad World. I am Ritch Yarber: I have been a film fan my
driven to make films that entertain foremost,
whole life. I grew up watching every genre of
and that tell an interesting story with unique
movie, including horror, westerns, gangster
characters that you either love or hate, but
films, musicals. As a kid, my friends and I were that, hopefully, you will remember and com-steady customers every Saturday at the old
ment on long after you have viewed it. I try
matinees where you got two movies for one
to deliver more in my films than may be ini-
price. Our summers were spent at the drive-
tially expected from the audience so that the
in with my best friend’s older brother chauf-
viewer will know that, as a filmmaker, I ap-
feuring us around in one of his beat-up
preciate and respect the time that they have
junkers. Every new horror movie or exploita-
chosen to devote to watching my product and
tion film on the circuit was eagerly absorbed
that, despite the budget, I have attempted to
by our hungry eyes. The noon movie on tele-
earn the opportunity to entertain them. Of

Making Movies

21
course, my production company is a little dif-

Ivan Zuccon: I remember, as a kid, watch -
ferent. I prefer to call it a “film group” since ing Sergio Leone’s movies, I wanted to try my
the goal is to create opportunity in our pro-
hand at cinema and I even started writing a
ductions for people to showcase their talents
script for a sci-fi western movie, something
in an actual movie product or “feature-length
com bining my two all-time favorite films, The résumé,” as I have termed it. I make films be-Good, The Bad, and the Ugly by Leone, and cause my personal goal is to one day be paid

Escape from New York by John Carpenter. Per-to create scripts or direct films. I feel that the haps I already knew that I would end up be-best way to get noticed is to establish a history hind the camera, even though I went through
of successes. So, as I perform my duties as
many phases and many other pas sions, like
writer and director, other talented people con-
music or drawings and comics. My in flu ences
tribute their best work to the production, and,
are mainly literary. My imagination has been
hopefully, the end result will be that actual
struck by writers such as William Burroughs
paid opportunities will come about based on
and J.G. Ballard. They’ve opened my mind,
the successes of these films, for one or more of and made me seen things that I could not even
us. We have had a few success stories. Some
imagine. Then came the mov ies. Bergman and
of our actors have since appeared opposite Will

Buñuel’s cinema have marked me deeply.

Ferrell, John C. Reilly and Michael Madsen

When you watch their films it’s like jumping
in productions on television and on the big
into a boat and taking a very personal journey
screen. My work and success on my micro-
into the worlds created by them. Two of their
budget productions has created opportunities
mov ies that changed my life are Bergman’s The to write for other filmmakers, for radio adver-Silence and Buñuel’s The Discreet Charm of the tisements and for local cable television.

Bourgeoisie.

Writer/director Ivan Zuccon

Film School

In my professional film/video work no one
thing — and you’ll be able to get like-minded
has cared if I went to film school or not. In
people to work on your projects. And, who
fact, they are usually surprised (which I don’t
knows, you may make some connections that
know is a good thing or a bad thing) when I
will help your future films. However, if you
tell them I have a B.A. from the University of
have the intention of becoming a Hollywood

Michigan. Everything I learned, I learned
director once you graduate, you’ll probably be
prac tically, hands-on, on-the-job, from audio
disappointed. Most likely, you will be going
to lighting to shooting to editing. While in
for the same “production assistant” job as
school I worked as staff at a local community-
someone who has never set foot in a film sem-
access television station and made my own
inar. Making and directing a movie that gets
movies, independent of classes. Would I have
distributed and “out there” to an audience
made my short films if I wasn’t attending
makes you a director.

film/studies classes? Yes. However, seeing films I’ve met hundreds of independent film -
in film school that I’d never normally see —
makers and half of them have gone to school,
from The Umbrellas of Cherbourg to Barry Lyn-while the other half learned it on their own.

don to Out of the Past, gave me an aesthetic Is there a difference in the quality of their
sense. Learning why and when to use certain
films? No — there’s an equal amount of good
angles, framing and lighting was also useful in
and bad movies. Will going to film school or
conveying feeling and situation. Basically, film not going to film school determine if you
school teaches you the art of making a movie.

make a movie? It depends. Ultimately, going

The one advantage of going to school is that
to school is a per sonal decision of the individ-you’ll meet other people interested in the same
ual film maker.

The Filmmakers were asked:

Do you recommend going to film school or learning in the field?

What do you think are the advantages/disadvantages of each?

Glenn Andreiev: If possible, do both.

Working on a film set is also a great learning

First, you’ll meet fellow film students who will experience. While I attended the School of Vi-become future collaborators. If the film in-
sual Arts, I worked on the cult movie Street structor is good, you’ll learn a lot of great stuff Trash, as the transportation captain, and I that will prep you for the real world. Unfor-learned so much about keeping a low-budget
tunately, I had some film teachers that focused
shoot afloat, on schedule, and on budget. I
on their own unrealistic, filmmaking agendas.

was lucky to work on Street Trash, which was 22

Film School

23
made by ingenious professionals. I could have
sive, when it came time to start shooting my
wound up working on a film made by people
first feature, The Bloody Ape, I had to shoot it who have no concept of making a film.

on film, even if it was Super 8mm. I just

John Borowski: Even though I graduated
couldn’t stand the look of video-shot product.

from film school, I don’t think it is necessary

In terms of what is the best way for someone
to go to film school. The tools to make films
to proceed into filmmaking, either college or
are affordable and so much can be learned on-
field work, I say that’s determined by the per-
line and by watching the “making of ” extra
son’s comfort level. If you try to get ground-
features on DVDs. I would recommend buy-
level film work, and of course you won’t be in
ing a camera and editing software and learning
the union, you had better believe you’ll be
on your own. Watch great films and analyze
working for free, whether it’s big or low bud -
how they are made. Much can be learned at
get, and you had better believe that will con-
film school if you are taught by experts in their tinue for a while until you land your first pay-field because they have real-world experience,
ing gig. And more than likely you’ll be getting
which is invaluable. In college, I created my
people coffee, not setting up shots. College,
own curriculum based on my desire to be a
on the other hand, is not the real world, so yes, well-rounded producer/director. I took light-you can pass directly to a director’s position
ing, screenwriting, sound, editing, camera,
in college, but once you get out of college, un-
and even acting classes. Learning how to wrap
less you’re doing your own films, you are not
audio cables is essential!

going to be handed a director’s chair.

Keith Crocker: I’m a film school grad -

Richard Cunningham: I’m inclined to
uate, but, personally, I’d have rather received
think film school is something that’s for some
my education in the field, or at least continue
people and not for others. I suspect it’s great
to self educate. I don’t resent my college edu-
for getting a formal and well-rounded educa-
cation — I honestly think that everyone needs
tion on the process of filmmaking, and for de-
some sort of structuring once they leave high
veloping networking skills, and finding pro-
school; college or the military is most certainly duction groups to form.

the way to go, as you get life experience out

But I never went to college for film. I did
of both. However, filmmaking is a field that
go for writing, and the competition was so in-
offers no promises. In most cases you have to
credible that I was quickly, however halfheart-
go out and make it work for yourself. I hon-
edly, becoming a classical studies major. So I
estly believe I could have done this without
left and started production of my first major
college. On the other hand, tuition at the time
self-produced film.

was far cheaper than renting film equipment

Aside from meeting a talented group of
from a rental house (we are talking the mid–
friends and writers with whom to collaborate,

1980s). We were shooting on film then, so the
the college experience didn’t work for me. And
instruction was important if you didn’t want
now, seeing the debt some of my colleagues
to keep screwing up your product. Plus, all
face from their earned degrees and the obsta -
the equipment and crew people were there for
cles they continue to face securing work in
the asking. I left college with a decent 16mm
their respective fields, I can’t say I regret going film résumé, but in the real world that meant
my own route. I feel like degrees have lost con-
shit. Furthermore, by the time I got out of col-
siderable value in the workforce, while the
lege technology was changing, most folks shot
costs of higher education continue to climb.

video (which I deplored), analog video editing

The recent Occupy Wall Street movement in
was all the rage, all the stuff I learned about
the news, with people getting hosed and tear-

16mm was starting to go the way of the di-
gassed in protest, attests to the hopelessness a nosaur. And although I knew film was expen-lot of educated young people are experiencing

24

HOW TO MAKE MOVIES
in the face of unemployment. They feel like
the story to the audience; but also, the better
they bought into a system that didn’t pay them
your workflow runs, and, ultimately, the more
back, and I think that was my impression of
confident you become in taking on new chal-
it as well.

lenges offered in film.

Learning in the professional field is the best

Maurice Devereaux: I went to film school
way to go about it; if you’re fortunate enough
in a college in Montreal, but it wasn’t a very
to live by the industry and/or a location that
advanced course and I was quickly bored and
attracts film/TV productions. If you can work
then decided not to go to university, and just
on a professional movie or television set, you
pursue making films on my own. But I still
will observe how a production operates, and
met so many friends in film school who were
that certainly gives you a good idea of how a
important to my career, that, looking back, I
movie is properly broken down and stream-
do believe it was well worth it to go to school
lined. You might also see how the big movies
to “meet” fellow cinema nuts. Also one of my
are at the mercy of some of the same forces as
cinema professors, Pierre Pageau, was very nice
the micro-budget productions. Learning in
to me — he helped me out for years after I was
the field, like starting out as a production as-
no longer a student, giving me access to equip-
sistant, you instill yourself into a system, where ment, et cetera. The drawback to going to film
in order to advance your position you have to
school, I guess, would be the cost (especially
put in a lot of hours. This not only quickly
to a high-end school in the U.S.) as you could
familiarizes you with the filmmaking machine,
make a feature for the cost of tuition. So it’s
it introduces you to the grueling hours put
pretty much 50/50. So if you’re already sur-
into lighting and camera setups, rehearsals,
rounded by filmmakers, actors etc, then school
and the dozens of other elements at work dur-
might not be necessary. If you’re alone with
ing a day’s shoot. An average shift on a pro-
your passion, in the middle of butt-fuck
fessional set is 12 hours; and for a PA, it’s a lot nowhere town, definitely go to film school.

of running around for people, with little re -

Donald Farmer: I suppose I went to my
cog nition for your efforts. It definitely seems own version of film school. All those movie
like a make-it-or-break-it kind of job, but if
sets I visited on assignment for Fangoria, Fan-you can become part of the crew, you will be
tastic Films and other magazines gave me a making connections that will secure you work
chance to watch George Romero, John Car-
on further productions, and you are creating
penter, Sam Raimi and other favorite directors
an incredible educational and networking op-
up close. Plus I was doing interviews with
portunity for yourself.

lower-budget filmmakers, like Herschell Gor-

Beyond that, I recommend immediately
don Lewis, Joel Reed and Fred Olen Ray for
immersing yourself in the craft of filmmaking:

my Splatter Times fanzine, so before long I was buy some good books on it, watch YouTube
itching to try features on my own.

tutorials, get yourself an HD camera with an

Actually, the first film set I ever visited was
external-mix jack, start filming your family
a country-music movie called W.W. and the
and friends and pets in order to practice fram-

Dixie Dance Kings, directed by John Avildsen.

ing and lighting shots, or for editing and

He’d just done Joe with Peter Boyle and Save soundtrack material; or try shooting no-bud -
the Tiger with Jack Lemmon—two films I was get trailers or shorts to develop and understand a huge fan of. I found out where he’d be film-the craft more intimately.

ing in downtown Nashville and showed up to

Whatever approach you take, it all comes
see what making a major motion picture looks
down to practice. Naturally, the more hours
like. Burt Reynolds was the star, so lots of teen -
you put into fine-tuning your skills as a film-
age girls were clustered around his trailer —
maker, the more precise you become in telling
screaming every time he poked his head out.

Film School

25

This was during the height of his ’70s popu-
sistant director yelled “Action,” and “Cut.” I
larity — he’d just made Deliverance and was didn’t hear Carpenter’s voice the entire time I
churning out two or three movies a year. I saw
was there!!

very little actually being filmed during my visit I’d just wrapped Demon Queen when I had but spent the day hanging out with the movie’s
the change to cover the filming of Sam Raimi’s
very affable stunt coordinator ... a guy named

Evil Dead 2 in North Carolina. And —fin -

Hal. Only a few years later when Smokey and
ally — here was a director that I could really
the Bandit came out did I make the connection learn from. Raimi had just as big a crew as
that the director of that film, Hal Needham,

Car penter and Romero, but this was a guy
was the same Hal who’d been telling me stories
who believed in the micro-management ap-
all day about working with John Wayne, Jack
proach to filmmaking. There was absolutely

Nicholson and Raquel Welch.

no job or no crewmember too minor for

By the time I got the gig to cover the

Raimi’s full attention I watched him take time
making of Day of the Dead, I was ready to see out for mundane chores like interviewing a
what I could learn from watching George Ro -
potential assistant gaffer, overseeing the day-
mero at work firsthand. Unfortunately, the
to-day progress of his production, and make-
only thing I saw Romero direct were some
up staffs (inspecting every last prosthetic ap-
zombie crowd shots where he just said things
pliance and animation model) and spend ing
like “growl” and “move your arms!” I was one
hours on even the filming of background
of those zombies ... the producer had enlisted
plates — a chore most major studio movies
all visiting reporters to play bit parts in the
would delegate to a second-unit crew.

movie. But with multiple cameras shooting

Raimi clearly had the entire movie in his
endless coverage, I could pick up very little
head, right down to every edit and zoom-lens
about Romero’s approach to filmmaking. He
shot. When he described a scene to me he
had a huge crew and it looked like everything
would be shooting later that week, I realized,
was being delegated. All the assistants had as-

“Here’s a guy who knows his movie COLD ...

sistants ... the production seemed to have lim-
before he shoots it.” Raimi would probably
itless resources. Not exactly the situation I’d
agree with a line I read once from Brian De
find myself in with Demon Queen two years Palma. The director of Carrie and Scarface said later, with a measly five-man crew. At least I
flatly, “I think coverage is a dirty word.”

had the good fortune to nab one of Tom Sa -

Hanging out with Raimi, all the flaws of
vini’s make-up crew for my debut feature —

Demon Queen seems so magnified now I could an insanely talented guy named Rick Gon -
barely stand to watch it. Sure he had a little
zales. Anything worthwhile about Demon
more money than me ... about ten million ver-

Queen is because of him!

sus my three grand. But there were lessons to

That same year I was on location with John
be learned here, and I now I was determined

Carpenter’s Starman for another magazine re-to make my next movie something I could be
port. I was still buzzing from seeing Car -
just a little bit more proud of.

penter’s The Thing and figured the man could Jeff Forsyth: There are both tremendous
do no wrong. When it came time to start film-
advantages and disadvantages to attending and
ing, Carpenter at least looked through the
not attending film school. I was not able to
camera viewfinder a little more than Romero.

at tend film school, although I would have

Still, he had the maddening habit of whisper-
liked to. The chief advantage that I see in at-
ing directions to his stars ( Jeff Bridges and
tending would be being surrounded with like-

Karen Allen). He’d pull them over in a corner
minded individuals. People that actually un-
before each scene so no one else could hear a
derstand you and what drives you can be a
thing. Then when he went for a shot, his as-
great advantage as a support system. Not only

26

HOW TO MAKE MOVIES

Jeff Forsyth films actors Lexie Davies and Frank Tropepi in a scene for C.A.I.N. The motorcyle is on a rented trailer, and the camera is in the back of a pickup truck, allowing for a stable shot.

as technical and artistic help, but as emotional on, like cinematography, sound design or ed-support as well. The obvious disadvantage is
iting.

the cost. A filmmaker could make several low-

William Hopkins: I’m probably not the
budget films for what it costs for tuition. You’ll best person to ask, because I’m pretty much
gain far more “hands on” experience just div -
self-taught. Whether it was screenwriting or
ing in and creating. Film school can’t teach
special effects or photography or editing, I
you to be an artist. Either you are you aren’t.

pretty much figured it out myself without for-

Richard W. Haines: In my case, attend-
mal training. I saw a lot of films and read a lot ing NYU’s film school was helpful. I learned
about the ones I liked, but I certainly never
how to work in 16mm film, which included
learned anything about filmmaking from sit-
editing, negative matching and sound mixing.

ting in a classroom. The end results may not

Since my first feature was shot in that format,
always be the best, but, for better or worse,
then blown up to 35mm, I was able to save on
it’s all my work, all done in my style and using costs. Of course, today the emphasis is on dig-the techniques I developed through trial and
ital movie-making in colleges, so that as pect
error. I did go to film school back in the early would not be applicable. I also studied with

’80s but I didn’t have a very good experience,
historians William K. Everson and Leo nard
and I didn’t graduate. Maybe others would’ve

Maltin, which inspired me to get into that
gotten more out of it. Maybe film schools have
field as a supplement to my directing career.

gotten better since my day. I hope so. But, for

However, if a person was interested in the
me, it seemed a waste of time and money. On
technical areas of the industry I don’t think
the very first day we heard things from our in-
film school would be necessary. Their best bet
structors like, “None of you are going to have
would be to get a job as a production assistant
careers in the film industry because there just
on an independent production, then work
isn’t enough work,” and “You’ll only get out
their way up to some area they wanted to focus
of this school what you put into it.” I couldn’t

Film School

27
disagree with either statement, but it was a lit-classes in film history and theory were worth-
tle discouraging to hear these things from the
while, but the rest seemed a waste. It’s pos -
people we were paying to train us in the busi-
sible, too, that I was just not in the right place, ness — and to hear such honesty only after
mentally and emotionally, to be able to really
making our first tuition payments. But film
benefit from my time there. I wasn’t mature
schools are businesses. There are plenty of rich enough to be able to see the value in the ex-folks who are willing to indulge their children
perience. In the years since, the school I at-
by paying for them to be trained in things they
tended turned out a few successful filmmakers,
have very little chance of ever making a career
so maybe there was something going on there
of. And there are plenty of schools that are

I just didn’t appreciate. Or maybe they’ve got-
only too happy to take the money.

ten better since I left.

Many of the instructors at the place I went

But I don’t think anyone should feel they
seemed to be rather unhappy people who
have to go to film school to be a filmmaker. If
hadn’t had much luck in the film business
you don’t have the money to be able to go that
themselves, and so they ended up teaching.

route, put what little money you have into get-

There were exceptions, though. I took a class
ting a camera and an editing system and get
in film history given by William K. Everson
started making your own films. The most val -
and that was certainly worthwhile. Being in-
uable education you can get comes from just
troduced, by someone as knowledgeable as
making movies.

Everson, to great films I probably wouldn’t

Steve Hudgins: Learning in any aspect is
have known about otherwise was practically
a positive. But there is absolutely nothing that worth the cost of the tuition in itself. So the
can replace actual hands-on experience. I re-

Preparing to shoot a scene for of The Creepy Doll. Pictured (left to right) are Kristine Renee Farley; Justin Veazey; Mark Cotton (boom operator); Steve Hudgins (cameraman); and PJ Woodside (holding monitor).

28

HOW TO MAKE MOVIES
cently saw a Q & A with William Friedkin,
ible. Writing and directing a $150,000 dollar
who directed The Exorcist, The French Connec -
movie in 1989 at the age of 20 and I wasn’t
tion and a ton of other movies, and his advice going to learn anything?!! Well, after shooting, to film students was to drop out and start

I did go back for one more semester and told
making movies. He said anything you need to
him that I think I learned some stuff. He told
learn about film making you can learn by
me to write down what I learned and maybe
watching Alfred Hitchcock movies.

I could get some credit for the film. I wrote a

Rolfe Kanefsky: You can’t beat learning

144-page book called Making Nothing at the
in the field. Film school is good for learning

Age of 20. The book is online at www.theres the basics and possibly very good for meeting
nothingoutthere.com and is written for other
people, networking, and making connections
aspiring filmmakers, relating my experiences.

that can be very important career-wise. I was

After that, I left college to pursue my career
totally obsessed with making movies by the
full-time.

time I was ready for college. I had already

So, like I said, it’s good to learn the equip-
made two feature-length films. My parents
ment and meet other like-minded filmmakers
wanted me to go to a good college that had a
but take everything you learn in school with
film department. I wanted to go to a film de-
a grain of salt. Being on a real movie set, you’ll partment that had a college. We settled on
learn a lot more about how the business really

Hampshire College. They had a film program
works, for better and worse.

that wasn’t very good, but everyone loved the

Brett Kelly: I think the main advantage of idea of making movies so they had a lottery
film school is the networking opportunities
to determine who would get into the class. I
that it provides. Making movies is a collabo-
lost twice and then finally just forced my way
rative art, and that’s a great place to meet peo-in, supplying my own Super 8 camera (that’s
ple to collaborate with. I personally didn’t go
what was being used back then). I did all the
to film school, but I did take television broad-
assignments and made some fun shorts. One
casting at college for a short time, until my
short, Just Listen, plays in the beginning of student loan ran dry. It taught me a lot in the

There’s Nothing Out There, and I put the whole short time I was there. I think it’s important

12-minute film on the new release of There’s for aspiring filmmakers to know the “lan -

Nothing Out There that Troma put out in 2011.

guage” of film and to learn the techniques that

Anyway, I remember showing these “hor -
a film school will (I assume) teach you.

ror” shorts in class and getting bad responses

Whether or not you can do that from school,
from the teachers. They hated anything Hol-
from being an intern on a film set or what have
lywood, and especially horror. However, that
you, it’s important to learn the rules before
summer I worked on a slasher film, Posed for you can properly call yourself a filmmaker. In

Murder, as a production assistant and made my opinion anyway.

friends with the director and producers. I

Chris LaMartina: Prior to my under-
showed them my short and they were very im-
graduate film school experience, I attended a
portant. The director even, some say, ripped
magnet high school with video production
off a shot I did for his movie. So, I quickly
courses. Both high school video class and film
learned there is a big difference between the
school were invaluable experiences to my de-
academic world and real world of the film
velopment as a storyteller.

business. When I took a semester off to make

They allowed me to explore my craft, dis-

There’s Nothing Out There, my college advisor cuss tactics through student critique, and pro-read my script and said that I wasn’t going to
vided crucial networking opportunities that I
learn anything from making this horror
still rely on to this day.

movie. I still find that comment to be incred-

Could I have learned visual storytelling

Film School

29
outside of school? Absolutely, but film school
learned a lot about coverage through years of
is what you make it. I learned both inside and
editing as a day job.

outside of the classroom, never letting the

Damon Packard: Well, I went to film
education process evaporate at edge of cam -
school briefly in 1988, mainly to borrow equip -
pus.

ment and meet people, but I’d already been

I will say this, however: if you’re serious
making films for six or seven years. I think the about filmmaking a career, consider minoring,
best way is just to start doing it on your own.

or perhaps even majoring, in business. Too

But, of course, these days, with easy-to-use
many filmmakers forget that this is show busi-ex tremely hi-quality (and cheap) camera and
ness. We all want to be artists, but paying your editing equipment available at everyone’s fin -
rent is good, too. A business degree allows for
gertips, film school is just a self-contained so-a nice counterbalance to your strong aesthetic
cial environment for a collective group of kids
voice.

to make and exhibit their films. In the film-

Jim Mickle: There’s no right way to get
making age things were a bit different as you
into the film business. I went to NYU under-
had to learn how to use Super 8mm, 16mm
grad for film production and I enjoyed the hell
and 35mm film cameras, flatbed edi tors, full-
out of it, but I also spent a lot of time working coat dubbing, syncing dailies, et cetera. It was on films as a grip, a storyboard artist, and an
infinitely more complex and prohibitively ex-
editor. Ultimately I think I absorbed a lot
pensive.

from both, and I can attribute a good amount

Brad Paulson: Education is a wonderful
of success to both, but I think it’s totally up
thing, and I would never discourage anyone
to the individual. Film school was great for
against it. You can never do yourself wrong by
meeting like-minded people and learning the-
getting out there and learning more. My par-
ory, but mostly for having a structured envi-
ents are educators and they’ve done a lot of
ronment for creating short films with limita-
good for this world. I have a lot of respect for tions, and growing from that. But now, with
all they’ve accomplished and the wonderful in-
the costs of film schools rising, and the avail-
fluence they’ve had. However, there are differ-
ability of impressive cameras and technology
ent ways to learn. Basically, for me, it’s a
exploding, I think the most important thing
money- and-time thing. If you’ve only got six
to do is go out and create as much as you can
months to live and making a movie is the last
and learn from mistakes and find out what
thing on your bucket list before you die, I
you’re good at and what you enjoy the most
wouldn’t waste it going to film school. I’d skip about the process. Start interning and produc-right to making the movie. If money isn’t an
tion assisting on films as soon as possible be-
issue, I’d recommend it. If it is, you’re better cause that’s where the most hands-on experi-off using that money to make a movie. There
ence comes from. At first you probably won’t
are a few other factors that come into play as
get paid, but if you have a good attitude and
well. It all depends on what school you’re going show an eagerness to learn, good jobs and op-to. If you’re going to a small school in the boon -
portunities will come. I was always amazed
docks, where you’re not going to get any guest
that most directors on movie sets are the least-
speakers, then I’d definitely save your money.

experienced people on the sets. Having real

If you’re going to some place like UCLA where
experience in pre-production, production, and
they have tons of great guest speakers who are
post makes it a lot smoother when you’re
actually making a living mak ing movies and
shoot ing and working with crews. Editing is
it’s in a place where film is all around you and the single best place to learn about storytelling you have the money, I’d say go. Don’t put your -
because you’re forced to create a narrative out
self in debt to do it. But if you have the money, of whatever material has been delivered. I’ve
go. You don’t want to spend the rest of your

30

HOW TO MAKE MOVIES
life paying off loans in something that you

The school part involved mostly teachers
have a minuscule chance of making a living
reading from books and telling everyone their
at. I know that sounds brutal to say, but it’s the projects sucked. And then they showed us
truth. There are millions of people who move
their movies, which proved why they weren’t
to L.A. to be either a writer, director or actor.

making them professionally. Not to say they

Unfortunately, it’s an industry that keeps it’s
were all bad, by any means. There were some
guardians very close to the door. If I had to
passionate, non-biased teachers there who I
do it over again, I wouldn’t go to film school.

respected and had a great time in their classes

I’d go to school for something I knew I’d be
and learned from. I wish we had more like
able to make money in. Then, I’d make movies
them. Unfortunately, several were not very
on the side. The longer you’re in L.A., the
nice to us. Film professors, to me, are like
more you’ll see that what most people are mak-
cops. There are good cops are there are bad
ing their money on out here is screen-writing
cops. There are cops who truly care about
seminars and “how to” film classes. This is pri-
helping people and doing the right thing.

marily for two reasons—number one, because

Then, there are the corrupt sons of bitches and
there’s a sucker born every minute, and num-
the bullies: people who are jaded about life
ber two, because these people aren’t making
and are on a constant power trip. Some of my
enough doing what their classes are charging
professors fell into that category. There was a
you hundreds to thousands of dollars to learn
lot of bitterness going around that school. I
how to do. Having said that, I still go to some
don’t believe there’s any excuse for this. I’ve
of these classes, provided they’re cheap enough.

had plenty of things not go my way and I don’t

You can always learn something from a semi-
take it out on other people. They were sup-
nar. You just have to be cautious about which
posed to be there to inspire us but spent most
ones you pick and how much money you
of their time telling us we were going to fail.

spend. There are a lot of predators out there

I think they saw us as competition in a strange
and your money is what they’re hunting. Be
kind of way.

careful who you give it to. Teaching you how

My main beef about film school was that
to make movies is guaranteed money for them.

there was a lack of nurturing on the teacher’s

The only guarantee with making movies on
part for the students’ individual visions. The
your own is that it will be a high-risk venture.

department seemed to have an agenda about

The best thing about film school, to me,
the type of films they wanted to see represent-
was not the school part. Many of the friends
ing the school, and if you didn’t make those

I met there I’m still close to, to this day: the kind of movies the teachers would be the op-fellow weird kids that taught an even weirder
posite of supportive. There were clearly a lot
kid all about cult movies. I had never heard
of politics involved. To me, this didn’t make
of Dario Argento before I went to film school.

sense because it wasn’t high school. Everyone

I had never heard of Lucio Fulci. A fellow film
was paying to be there, and that was paying
nerd showed me The Beyond and would de-
the teachers’ salaries. They should have been
scribe the movies in his collection as art that
happy to help the students make the kind of
changed his life forever. The fellow film nerds
movies they wanted to make. Unfortunately,

I quickly befriended had an infectious enthu-
it wasn’t that way at all. Also, there was no ef-siasm that I quickly absorbed and, in turn,
fort to teach us anything about the business
they absorbed the movies I was passionate
side of things, even making budgets. When
about. We made a great team and had a blast
we graduated they provided zero help in find-
working on each other’s projects as we avoided
ing us jobs. I’m still struggling to make even
our responsibilities in the real world while we
the simplest ends meet.

were in the bubble that is college.

I remember I went back to visit one teacher

Film School

31

I interned for who was a complete ass when I

God, if you have the money for film school,
walked into his office. I told him I was making
go. You can go to college ... and master in film?

movies and all he did was tell me how the stu-

I can’t take it serious. It may be an amazing
dents who graduate never give enough money
racket, and I’m all for it. It is certainly legiti-to the alumni department. I tell you this right
mate for networking and being with like-
now. If I ever do have any money, he’s the last
minded folks. I would certainly recommend
guy I’ll give it to. The least you can do in this any courses that would improve one’s writing
life is not be an asshole 24 hours out of the
ability. That’s valid. It’s a shame the school
day. If you can’t follow that simple rule, you
game is life-backwards — when you are older,
don’t deserve any money. Film school can be
that’s when you appreciate the importance of
a great place, but, not unlike the government,
education. Imagine spending a few years where
there are too many politics at play. There
all that’s expected of you is to learn? Sounds
needs to be some changes made to put the stu-
like a fine deal to me.

dents first and make it worth the money to at-

Eric Shapiro: Learning in the field is
tend.

probably better. I started off at Emerson Col-

Jose Prendes: Film school is not neces-
lege as a film major, but hated it and switched
sary. You will learn so much more doing it on
to writing, literature, and publishing. The
your own. I learned a hell of a lot more work-
technology made me crazy; I realized I was far
ing on my first feature, The Monster Man, than more interested in the script and performances

I did in the previous two years of film school.

(which is still true), and had no patience to

There are some things that film school cannot
learn about loading film into a camera. So, for
teach. However, I think some people do well
me, there was a disconnect at school between
in a school environment. Others, like me, hate
what they were teaching and what excited me
school. I found my film school lacking, so I
about the medium. The advantage of the field
learned what I wanted to learn and moved on.

is that you get the business side drilled into

One of the biggest advantages of film school
you and you learn from doing. School really
is that they teach you the lingo. This is im-
doesn’t have an advantage over the field; there’s portant if you want to work on professional
no substitute for experience. Certainly not
sets, because you get to learn what a C-47 is,
theory!

or how a call sheet works, or what exactly an

Anthony Straeger: Okay, lets start with

Abby Singer shot is. However, if you pick up
the advantages and disadvantages before I
a book or work on a few sets as a PA, you will
make a recommendation: What are the advan-
learn the exact same thing!

tages of going to a film school? Simply, you

If you have the money and your parents
are in a like-minded environment, you have
want you to go to college (which was my sit-
the facilities at your disposal, from cameras to uation) then do film school, but you DO
lights to sound. You have instant crew. You

NOT NEED A MASTER’S DEGREE! I got
have a great opportunity to experiment and
an associates degree just to get my folks off my discover yourself within the safety of the
back, because I wanted to jump into movie
school. In short, you have everything that you
making. I was hungry and I felt school was
could need to hand with the bonus of mentors
holding me back. You only need a master’s de-
and people that have sound technical knowl-
gree if you want to teach, and if that is the
edge of filmmaking.

case, then go for it. If not, stay away from film The disadvantages of going to film school,
school, save your money and make your first
first and foremost, is cost. It’s an expensive
movie! You will be so happy you did.

business. I know that the main two in Lon -

Paul Scrabo: I’m from a generation where
don, the London International Film School
the idea of a “film school” was amazing. My
runs a two-year, all-around course, and the

32

HOW TO MAKE MOVIES

National Film School runs a three-year specific
can only learn so much from reading a book,
course. Both run at several thousands of
no matter who wrote it. Get out there and play
pounds per year. Which is okay if you:

and have fun ... and in the process, you’ll gain experience and confidence in what you enjoy

1. Can get a grant
doing.

2. Get sponsored

Mike Watt: I’m a big supporter of film

3. Come from wealthy parents
school for the fundamentals, particularly if you I was trying and succeeded in getting into
get to work with “archaic” equipment. At

London International Film School, but

Pittsburgh Filmmakers, so much of our equip-
couldn’t raise the finances or get enough sup-
ment had been bought from or donated by tel-
port to make it viable. If you can go, then se-
evision studios and pro- and semi-pro pho-
lect a good school that is well recommended.

tographers. Much of it was in rough shape.

You need to learn the basics of everything —

But it was pointed out to me by my longtime
sound, lights, camera and then manage ment.

friend and filmmaker, Justin Wingenfeld ( Skin The advantages of not going to film

Crawl ), that filmmakers taught us how to school... Well, they say that sometimes it’s bet-

“make movies under the worst possible con-
ter to learn on your feet and in the midst of
ditions.” Nothing ever worked the way it was
the action. And this can be very true — espe-
supposed to, so we learned early on how to
cially these days when so many people are
improvise, MacGyuer a camera so that it
making shorts and movies. It’s relatively easy
worked for at least one shot, wrap a micro-
getting involved in any number of productions
phone cable to override the neighbor’s televi-
where you can learn at first-hand other peo -
sion signal, et cetera. I think this end of film ple’s mistakes and skills. If you have the right school is priceless.

attitude, this can be a less expensive route,

The mechanics of filmmaking, when it
though with low/no budget produc tions you
comes to the physical equipment or the visual
won’t get paid in cash, only experience. The
language of filmmaking over the last century,
disadvantages are almost part of its advantages.

is essential knowledge. You simply cannot

You can get to work with some real idiots and
move ahead as an artist without some knowl-
end up wasting a great deal of time, but that’s
edge of what came before you. Maybe you can
the way it is.

instinctually know that something is wrong if

There are many great books out there on
you broke the 180-degree rule. But if you
lighting, camerawork, producing and direct -
know what the rule is in the first place, it goes ing an independent movie. With the right
a long way towards avoiding rookie mistakes
kind of research and with the good sense to
so you can concentrate on glorious new fuck-
start small, you can grow as a producer/direc-
ups, which sometimes yield great rewards as
tor/writer and learn from your own mistakes.

well as heartbreak.

As to whether I recommend that you should

But none of the mechanics or history will
go to film school, the answer is — YES — If
help you as an artist if you don’t love the me -
you can, you should.

dium. That’s obviously something that can’t

Marc Trottier: I’ve never been to film
be taught. So many filmmakers I know make
school (as I’ve mentioned, I started late), but
movies because they “like to,” and refuse to

I’m sure I would’ve loved it. I also think that
watch anything that was made before the year
learning in the field is invaluable, regardless
they were born. No black and white movies,
of what you’ve learned in school. You need to
nothing foreign — hell, nothing that isn’t hor-make mistakes and try new things to find out
ror, in many instances. And that’s why we’re what you like and what works for you (and
continually plagued with “masked killer slash-
hopefully you’ll get to do that in school). You
ing up pot-smoking asshole kids” movies, sans

Film School

33
anything of depth. “You’ve never seen kills like borrow the cliché— to wear many hats and
these,” one kid told me. Then looked blankly
sometimes all of them. This is where you
at me when I asked, again, “What is it about?

evolve as an artist: learning what you are not What makes this movie special? Why is this
good at. Something came up and your DP
story one you have to tell?”

didn’t show up? You’ll have to light yourself,

If all you want to do is entertain yourself
and if you don’t like the results, even if you
and your friends, then there’s nothing wrong
understand all the concepts, your choices are
with “liking” movies or “liking to make” mov -
to live with it or reshoot. On the other hand,
ies. But history is so much richer than just
it turns out you have a talent for capturing re-
what you think your preferences are. One ar-
ally good sound. This period of self-discovery
gument I get into a lot involves the Italian
doesn’t end if you continue to work independ-

“spaghetti westerns.” I have a real tough time
ently, and that’s a good thing. Even when
when someone insists that Sergio Leone made
you’re working with a tight crew whose habits
the best westerns in history, offhandedly dis-
you know as well as your own, it’s still good
missing all of Leone’s influences — John Ford,
to know if you’ve evolved into a better DP or Howard Hawks, Anthony Mann — the guys
what have you. At least you understand what
who understood what westerns were and what you’re doing, even if you’re not the best at
they meant to our culture, particularly as
doing it.

Americans. It’s the difference between experi-

Ritch Yarber: The chance to attend film
ence and vocabulary. You simply cannot dis-
school is a phenomenal opportunity to learn,
card what came before you because you won’t
understand and use the tools that are part of
know how to build upon history of which
the craft of filmmaking. It is certainly an ad-
you’re ignorant. How would one grow as an
vantage to anyone that wants to pursue this
artist and a filmmaker without knowing about
art in a serious manner. However, I do not feel
the past? It’s like trying to kill a fly with a shot-that film school in itself will make you become
gun. In the dark. You can imitate, you can
a better filmmaker. It will just make you better morph elements into something of your own,
informed. The passion to tell stories and affect but without that history, that’s all you have:

audiences lies in the soul and mind of the
imitation.

artist. It will certainly be a harder road to

That being said, personal education grows
travel, but the committed filmmaker will ul-
exponentially with experience. Until you’re on
timately seek, find and execute the ways and
a set of any size, all the theory and mechanics
means to deliver their vision with or without
in the world won’t help you create a movie.

the benefit of attending film school. Either

True creativity comes, in my opinion, not
way, their works will grow from raw, rough
from wealth and controlled environments, but
early projects and slowly blossom into more
from limitations and ridiculously unforeseen
polished and defined productions. I feel that
obstacles. After the writing is done, everything film school is designed to produce filmmakers
else involved in making a movie is physical
that may have all of the technical tools to suc-
and so much of that physicality is working
ceed. But that does not guarantee that a person
around whatever problem has been coughed will be a good filmmaker. Those without the
up by the universe. How do you keep that old
advantage of this knowledge are forced to
camera working until the end of the day?

think out of the box and are bringing new and

What are you going to do for lights if there’s
innovative changes to the art everyday. The
no electricity? Why didn’t the location scout
future of filmmaking is getting exciting again
mention that the set was infested with roaches?

as these new ways are slowly being embraced

This effect didn’t work, what do we do?

and welcomed. With this being said, I still

Working independently forces you — to
wish that I had gone to film school when I had

34

HOW TO MAKE MOVIES
the chance. I tell kids today to “live their pas-it’s important to learn in the field. The first
sion!” Better to try and fail than attempt to
thing, though, is not essential, while the sec -
climb back into the game after life has taken
ond one is. You cannot learn to make movies
you on its path. Follow your heart, as the mind
without having experience on set. Making
can be easily influenced.

movies is something you learn, first of all, by

Ivan Zuccon: Schools are important, and
watching others do it.

The Script

If someone asked me what I thought I was
be a sex scene every ten minutes. Basically, I
best at, in terms of filmmaking, I would say
came up with the situation and dialogue and
it was writing the scripts. I spent far more time then, when the sex scene happened, I simply
writing the screenplays than I spent on shoot-
wrote “They have sex,” as I had no idea what
ing the actual productions. And, because of
he was going to have them do. It didn’t affect
the limited budget, I knew what was possible
the story or the dialogue. On another vampire
to do and what wasn’t. I kept in mind loca -
movie, the outline was very much like Twi -
tions I had access to, special effects I knew I
light, so I took that and made it into a spoof, could pull off (for the most part), and used ac-mirroring some scenes and being very sar -
tors that fit the characters. The majority of the castic. I even went further and added an en-script was the idea and the dialogue. It didn’t
tirely new aspect to it, to separate it from those matter if I had to change a location, such as
movies — and other vampires — but the film-
an apartment — and oftentimes, I didn’t even
maker didn’t quite have the budget to pull it
see the on-location apartment until I showed
off— so over 20 pages, and the best parts of
up for the shoot. That didn’t matter nearly so
the script, were excised. With another horror
much as what the characters said and did. The
script, about a Golem-like monster, the pro-
story was all important.

ducer was hung up on certain things, such as

I’ve come across a great many of wannabe
having the main female character dressed as a
scriptwriters who are obsessed with script writ-
slutty school girl in one scene (for no reason
ing software, and it was always my impression
other than to make him happy, since that ob-
that they thought the computer program was
viously turned him on). Then, on another
going to write the screenplay for them. Well,
script, which had a lackluster idea of someone
you don’t need a program. Just learn the cor -
being possessed by a ghost, I greatly improved
rect format to use. Look up examples of Hol-
the original idea, giving motives and reasons
lywood scripts on the internet — there are
for all the characters’ actions. I ended up lov -
scores of them freely available to download. If
ing this story, even though the core idea was
you’re writing the script with the intention of
lame. Yet, when I showed this to the “pro-
trying to get an agent for it, it should be as
ducer,” he wanted me to undo it all and keep
professional as possible and adhere to all the
to their original outline, which read “He’s a
rules. However, if it’s just for your eyes only—
ghost. Ghosts can possess people if they want.”

and for your actors — you need not be so con-

I received payment for the script, but it was
cerned about this.

one of the most unsatisfying writing jobs of

I have written scripts for other filmmakers,
my life.

based out their outlines or ideas. However,

I have also co-written numerous unpro-
there were always strange requests with these.

duced screenplays with other independent

One of them was an erotic vampire movie and
filmmakers, and those were written for much
the director was specific that there needed to
larger budgets, intended for production com-

35

36

HOW TO MAKE MOVIES
panies that would potentially buy them. I
sion. It could not be improved — it was that
think these are perhaps my favorite scripts.

perfect.

The collaboration worked so well that, reading

The most important thing, once you are
them now, I cannot remember who wrote what
happy with your shooting script, is to make
or came up with certain ideas or twists and
sure you stick with it during the production.

turns to the story. They are that consistent in

For example, with my very first movie, Vam-
style. I think that type of co-writing is a rar ity.

pires & Other Stereotypes, the finished product With my documentaries there’s no script
represents only about 60 percent of how I
whatsoever to follow. But I do have a list of
wanted it to turn out. This stemmed primarily
questions that I want answered—and the pur-
from being my very first feature, having far
pose of the documentary is to creatively put
too many actors and crew (30 people working
these “answers/responses” together. For me, it
at the same time!) to coordinate, and an Italian was the polar opposite way of working on a

DP who never read the script and had his own
narrative scripted feature. The majority of the
ideas about the movie. On my next feature,
creativeness comes in the editing, of how it’s

Addicted to Murder, I made sure to shoot it as all put together. I’ve heard of filmmakers who
well, and that turned out 95 percent of how I
have only used a story outline and let their ac-
envisioned, primarily because I had control
tors improvise all the dialogue. Sometimes that
over everything. My only crew was a sound
can work and it gives a specific feel to the
man and he never needlessly questioned the
movie.

nonlinear story.

On a few occasions I have also directed

The one thing to which a low- or no-
scripts written by other people. This was a seg-
budget production will always lend itself is the ment of a werewolf anthology, written by an
uniqueness of the script, especially if this is
enthusiastic novice (at the time) and a feature
something that you’re going to do yourself.

drama, Walking Between the Raindrops: Revi-

After all, this isn’t filmmaking by group deci-
sisted. In the case of the drama, it was actually sion, and you’re not trying to be politically
a remake of a film that was shot/produced by
correct and appeal to the widest possible au-
the writer a few years before. He trusted me
dience. This is the reason why the majority of
enough to make his script into a new movie.

my features were based on my own scripts —

The script was unchanged from the first ver-
there was no creative interference.

The Filmmakers were asked:

How important is your script? Does your budget determine your ideas or vice-versa?

Glenn Andreiev: The script is the blue-

John Borowski: Use the script as a guide-
print. Many writers use the “no blueprint–no
line. Don’t get caught up in constant revisions
building/no script–no movie” analogy, but I’ll
and reformatting. It is most important to
use it again. What I do is that I write not wor-
shoot footage. So many filmmakers get stuck
rying about the budget. On your first draft
in the writing stage. To me, storyboards are as
you should focus on the story, the pacing, the
equally important as the script. They help me
characters, not “oh, what will this cost?” On
visualize the film shots and how they will be
the second draft I figure what would be costly
edited together. When writing, you must be
to shoot, and start making changes.

realistic about what type of budget you have

The Script

37

John Borowski (left) reviews a script for H.H. Holmes, as an actor looks on.

and what is possible to film on that budget.

is a very high expectation to meet on the lower

Costs add up quickly when filming. Make sure
end of filmmaking. As far as writing for a
you do not film night scenes as lighting can
budget is concerned, you do your imagination
be very expensive. Other items that can raise
extreme damage by limiting it. You are better
your budget include: guns, make-up, and
off letting your imagination soar and simply
elaborate stunts/special effects.

scale down the method of creating your vision.

When writing the script, it helps to have

You have to be inventive as a filmmaker, and
locations, actors, and, props that you know
as original as possible. Following someone
you can acquire. This way you are building
else’s roadmap will only keep you suppressed.

the script around aspects that you know you

You’re best off letting your freak flag fly high have access to rather than trying to find them
and figuring out how much of it you can
later. Moving into the production phase, the
create once you get to the actual shooting.

worst thing would be to discover that you can-

Richard Cunningham: To some extent,
not gain access to a location or that you cannot I think you can relate the process of making a
afford to have a gun expert on the set.

film to that of chiseling a stone sculpture. You Keith Crocker: The screenplay is vital;
start out, a smith of sorts, playing with a gen-
it’s your roadmap for the making of your film.

eral shape, then you work away at that block

However, being flexible, and having the ability
with your bag of tools, probably hitting lit tle to improvise, especially on the set of a “no” or surprises as you progress, that make slight al-

“low” budget film is vital. It’s very important
terations here and there to your original vi-
to be able to keep shooting and not get hung
sion — ultimately contributing individual
up about exactly reproducing the shooting
character to the end product. The script, I
script. I’m all for getting a film done as op-
think, works well as the sculptor’s stone. If
posed to getting a film done perfectly, as that
you’re working off a poor quality chunk of

38

HOW TO MAKE MOVIES
rock, one crack can make a statue’s arm fall

Maurice Devereaux: Of course everyone
off.

always says that the script is the most im -

I think it’s much easier to produce a qual -
portant part of the movie, but most indie and
ity movie — no matter what the budget — if
studio films neglect this aspect. Most big-bud-
it’s backed up by a good story and genuine-
get films throw in lots of money to get good
sounding dialogue. Having said that, since I’ve
actors, great sets, costumes and effects, but
directed, I’ve realized that a script also needs most of the time their biggest flaw is the script.

some malleability throughout production as

It is the hardest part to get right for many rea-well. Unforeseen obstacles or changes are
sons. Sometimes there are too many cooks
bound to come up that demand script changes
who throw their ingredients into the pot (var-
for the benefit of the finished piece.

ious studio heads, producers, et cetera) with

However, I usually don’t let budget stop me
suggestions that are not always related to the
too much when I’m developing a story. In high

“quality” of the story (“we need to sell toys,
school, I wrote a script for a medieval period
put something we can make a toy out of ” or
film, Lycian, which I was determined to de-

“this actress is hot, change that role of the sci-velop; and ultimately I left college to begin
entist guy, make him a hot woman scientist
making it. My production team had an ex-
and make the role bigger,” etc...). And many
tremely limited budget, especially considering

“artsy” films are often more concerned with
the scope of the movie, and it sometimes made
aesthetics then telling a compelling story. So
rewrites and workarounds necessary. For in-
problems with the script are usually my num-
stance, I remember during a climactic public
ber-one beef with most movies I watch.

execution scene, there was supposed by a large

Of the four films I directed, only the last
audience present, but we only had about 20
two had a complete script before the shoot
extras that day, so I was forced to rewrite the
began. The first two were continuously rewrit-
dialogue to suggest that a crowd had not
ten, and are terrible. Both started out as shorts shown up in protest of the execution itself.

that became features over the span of many

But by and large, we stuck to the script, and
years. Big mistake. The last two, Slashers and the ambition that rested within it, we matched

End of the Line, for all the rocks one can throw by pushing our skills further than we first
at them for their weaknesses (acting, sets, ef-
thought possible. Similarly, my animated short
fects, overall production value), I do feel the
film, Year Zero, is an action/drama about a scripts are very solid.

survivor stuck in his New York City apartment

I’ve also written six other screenplays that
during a zombie apocalypse in 2012; it was also
are now gathering dust in my closet or hard
my directorial debut.

drive. These unrealized projects make me sad,

Essentially, I think it’s best to write whatever as unlike a film or book, all the hard work we
kind of story piques your interest. It’s a big
put into writing a screenplay is unrewarded if
commitment to even write a script, or rather,
the film is never made. A script is not a “fin -
to finish writing a script. It will likely feel like ished” medium that can be shared with the
a lofty, arduous task at times, so passion cer-
world to be loved or hated. I’ve been toying
tainly helps to keep you going after that third
with the idea of turning two of my screenplays
rewrite. But if you take that liberty in your
into graphic novels, but even if it would be
writing, also realize that, when production be-
less expensive than making a movie, it would
gins, you may need to consolidate scenes or
still cost a lot to get a professional quality
even characters, change scripted locations, and
artist, colorist, letterer and a print run. The
all those other compromises a director makes
comic book world has also been hit by illegal
once the cameras start rolling and the story
download (comics and graphics novels are
evolves into a collaborative effort.

scanned and put online minutes after their

The Script

39
release dates), so it would probably be hard
happens because Mark Zuckerberg wanted to
to make my money back in this medium as
get into an elite fraternity.

well.

Jeff Forsyth: The script is crucial to the Unfortunately for me, I was never able to
success of any project. Without it and its
tailor my imagination to better suit my bud -
frame work the project cannot hold together.

get. All my films have suffered from being too

At best the final result will be uneven. At worst ambitious for my low budgets. Instead of
it will be an unwatchable disaster of a movie.

doing a Blair Witch Project (three actors in the For me, the budget and ideas go both ways.

forest), I did Lady of the Lake, an underwater I certainly have not been successful enough
witch in medieval times, with tons of cos -
yet to just make anything I want to and “bud-
tumed extras, or Slashers, a film taking place get be damned.” I also have had several meetin Japan, with tons of Japanese extras. Terrible ings where the topic was, “We need to make
ideas for low-budgets films.

something we can afford.” So I have ideas that

Donald Farmer: The budget is always in
follow both of these streams. One interesting
the back of my mind when I write a script. I
thing that happens to me, at times, is that
can’t put in things like an earthquake swal-

“budget-friendly” ideas I have seem to expand
lowing Los Angeles or an army of hundred-
and develop into more expensive ideas. And
foot zombies. On my budgets, that “ain’t hap-
ideas that were more extravagant have, at
pening.” And I prefer short “concept titles”

times, been downsized to fit restricted budgets.

that basically tell you what the movie is about, That was the case with Children of the Sky. It versus “generic titles.” Usually, the titles I come was conceived as a drama with minimal effects
up with myself— Demon Queen, Cannibal
and it grew into a special-effects science-fiction Hookers, Vampire Cop, Dorm of the Dead — are thriller.

almost always “concept” titles that tell you ex-

Richard W. Haines: Since I make genre
actly what to expect. But sometimes a pro -
films with unique lighting designs and com-
ducer will insist I use their title, such as the positions, I storyboard every shot in the script case with Deadly Run, Blood and Honor, The and use that as my blueprint. When I write

Strike, or Deadly Memories. These tend to be my screenplays I first find out what locations
the more generic titles that don’t tell you quite are available in advance of principal photog-as much.

raphy. For example, in my last feature, What So I usually start with a title, then do a

Really Frightens You, I wanted the climax to treatment before I start a script. I can’t really take place at a Gothic castle. I made sure I
get into a script until I have one character I
could find one first before writing that se-
want to identify with — the character whose
quence. I ended up using Wing’s Castle in
point of view is most important to me. I

New York. If I couldn’t secure a castle I would
haven’t done that with all my scripts, but I
have rewritten the ending for a different loca-
usually try. Once I have this particular char-
tion.

acter in mind, whether it’s Caroline in Red Lips William Hopkins: There are many dif-or the sorority pledges in Cannibal Hookers, I ferent factors that will affect an audiences’ re-want these characters to have basic goals or
action to your film. The music, the cinema -
agendas, then use that as a foundation for the
tography, the editing, the effects work, the
rest of the script. All the troubles in Cannibal costuming, the format you’re shooting in, et

Hookers happened because these two social-cetera. All are important, of course. But the
climbing girls were so desperate to join an elite most important things — the crucial things,
sorority. Twenty-five years later, that’s pretty really — are the cast and the script. We can all much the starting point of David Fincher’s
think of films with huge budgets, great effects, The Social Network. Everything in the movie and wonderful scores that still left us cold be-

40

HOW TO MAKE MOVIES
cause we didn’t like the people we saw on the
two hours of pretty photography. They go to
screen and we didn’t care about the story being
the movies to be told a story. Have you ever
told. So, the first step is to get a good script.

seen a big-budget movie with big-name actors

And that’s something that should take a while.

and a big-name director and a big-name pro-

Something thrown together in a week or even
ducer, but the movie absolutely sucked? Of
a month is probably not going to be good
course you have. We all have. Nothing can
enough. You have to be prepared to go draft
save a bad script. The script is everything!

after draft, getting feedback and making

As far as budget determining your ideas, if
changes until you get it right, even if it takes you are writing a script to make yourself, write six months or a year or longer.

within your means. For example, don’t write

When I first started writing scripts, I did
in scene that involves a bus crash, when you
what I imagine most beginners do. I wrote
know you don’t have a bus that you can crash.

stuff that would’ve required studio backing

Rolfe Kanefsky: The script is king. It’s
and big budgets to produce. The first script I
been said, “You can make a bad movie from a
completed, if it were produced today, would
good script but you cannot make a good
probably need a $50–100 million dollar bud -
movie from a bad script.” It all starts with the get to do properly. Naturally, the script was
script. It is the story you want to tell. If you never produced. So, yes, as an indie film -
don’t have a good story then what’s the point
maker, I think you have to take budget into
in telling it? I’ve written a lot of scripts. Many consideration when writing your screenplays.

I’ve directed and some I’ve sold that other peo-

If you’re just writing scripts as an exercise, or ple have directed. I’ve written scripts on spec
if you plan to shop them around to the stu -
just to write. I’ve been hired to write scripts
dios, then I guess you can be a little more am-
based on other people’s ideas. I’ve rewritten
bitious with the scope and scale of the thing.

other scripts or “ghost written” some to help

But if you want to shoot the scripts you’re
unfinished movies that ran into trouble along
writing, then you need to keep the budget in
the way.

mind. What I do before starting work on a

Budget determines a lot when it comes to
script is to make a list of all the resources I’ll writing if you are doing it as an assignment.

have at my disposal in shooting the actual film.

When I’m just writing something that I hope

What locations do I have access to? What
to sell as a spec script to the studios, then
equipment will I be able to use? What size cast
budget doesn’t matter. In fact, the bigger it is, and crew can I afford? And anything written
the better. You want to impress people and
with the budget in mind is almost always
not be limited. That’s the job for the produc-
going to be better because you’re forced to
tion team. If I’m hired to write a script based
refine your work, fine tune it so it’ll work even on someone’s idea, then I always ask what
without a big budget.

budget are you trying to do this for so I don’t

Steve Hudgins: There is nothing more
give them something that can’t be made.

important than the script. If you don’t have a

When I’m writing a script that I plan to make
script, you don’t have a movie. I don’t care how myself, I am usually well aware of the limita-good of a filmmaker you are, I don’t care what
tions and try to write something cool that can
kind of equipment you have, I don’t care what
be made for modest means. The budgets of
kind of a budget you have, I don’t care how
my films have ranged from $50 thousand–$1
good your actors are — if the script is not good million, and I’ve done enough films that I
the movie will not be good, period. Sure, you
know what I can or cannot accomplish with
can make it look pretty. You can get great
the budget at hand. Sometimes having limited
shots. You can light it perfectly. But guess
resources forces one to be more creative, which
what? People don’t go to the movies to watch
is a good thing. When you can just throw end-

The Script

41
less amounts of money at something it doesn’t
changed anything in the script. I just figured
always solve the problem. With horror films,
out how to shoot things the “right” way.

I still believe that what you don’t see is a lot My advice: Don’t start filming your movie
scarier than what you do. CGI does not en-
until you are 100 percent happy with your
hance the horror! If anything, it takes you out
script! It’s your blueprint. Everything always
of the story and reminds the audience they’re
goes back to the script. When things get crazy
watching a movie. I used to say that you can
on set — and they will — the script is your lifemake a very good movie for $3–5 million.

saver.

Now, with digital, you can do it even cheaper

Brett Kelly: The script is all important. I but you have to be creative. And you have to
usually write, or have someone write for me,
care about the characters. If you’re not in -
within my budgetary restraints. If a company
volved in the people and the story, it doesn’t
hires me to make a film for them, I get a dollar matter how slick your movie is.

figure first, then create a script that can be

That said, all scripts are different. If you
done for that amount of money. I always tell
want to write Transformers you’re going to need people, if you can’t afford an airplane hangar,
some money. Don’t try to write a $200 million
don’t set your film there.

movie and then make it for $100 thousand.

Chris LaMartina: The screenplay is

But at the same time, don’t limit yourself, es-
everything. It’s the blueprint for production,
pecially in your first draft. There will be re -
post-production, and the distribution of the
writes. I usually go for ambitious stuff and
final product. It took me a long time before I
then tone it done or figure out how to pull it
realized just how important the script is to
off inexpensively.

every step of the filmmaking process.

I wrote a script called “The Hazing” that

First, if you can’t tell your story in a single
had a lot of effects in it. I knew that I wanted sentence, your distributor is going to have a
to do most of the effects practically (on set),
tricky time selling the film to an audience.

and knew how to do it. But some people read

Think I’m joking? We learned a lot between
the script and thought we’d need $5 million

Book of Lore (our second flick and an intricate for effects alone. I explained that we didn’t,
mystery-thriller) and President’s Day (our but that stopped the script from being made
fourth film, a horror comedy). This is the first for years. Finally, a producer came in and
step in making the film and it is also the first financed the movie, but during the tech read
step in selling the film. The log line for Book

[where all the main crew members sit around
of Lore was long-winded and barely touched and go over the script and what every depart-the surface of the story. President’s Day was to ment will have to do], the producer panicked.

the point: a high school student council elec-

At the end of the meeting, he took me aside
tion turns deadly when a maniac dressed as
and said, “You know, Rolfe, we can’t make this

Abe Lincoln starts murdering candidates.

movie. I mean, you’re never going to pull off

With the log line of President’s Day, our audi-your vision with this limited budget.” Now,
ence knew exactly what they were getting,
we had a budget of $750,000 for this one and
both story-wise and tonally. It was an obvious
some really good people working on it. I wasn’t
tongue-in-cheek ’80s throwback flick, right
worried. I’ve done a lot more for a lot less. So down to the title.

I asked, “Well, are you going to pull the plug

By the time Jimmy and I pitched feature
a week before we start filming?” He said, “No,
number five, Witch’s Brew, we could tell our but don’t expect to get what you want to get.”

basic plot in two words: cursed beer. I say this I said, “Well, let’s give it a shot,” and overall I with a bit of sarcasm, but there is a lot of unwas very happy with the final result of the film.

derlying truth there. The screenplay dictates

It was pretty close to my vision. I never
where you can go, both as a director and as a

42

HOW TO MAKE MOVIES
business person. Don’t forget that. They are

Damon Packard: Script is important, but
interconnected as much as the brooding artist
your execution and vision is what mostly
in all of us wishes to forget.

counts. And, yes, unfortunately budget DOES

Considering production costs is also essen-
determine your ideas. You are always limited
tial to the screenwriting process. If the script to what you can do on limited budgets. Little
requires multiple locations/actors/effects, you’ll or no money usually produces the same kind
need to pony up more cash to make it happen.

of results you get in the world of micro-budget

If it’s written with budget in mind, you might
filmmaking, regardless of how imaginative you
find that working with limited resources fuel
are. It DOES require somewhat large amounts
creative innovation. Plenty of times we’ve got
of money to realize potential, but not the kind
a jolt of imagination from dwindling bank ac-
of ridiculous over-bloated budgets Hollywood
counts. This is not always the case, but money
deals with, that are very difficult to raise and is the bane of every micro-budget production.

allow you to maintain any creative freedom.

Use limited resources to your advantage.

Brad Paulson: I believe the script is the Jim Mickle: The script is hugely impor-most important part of the movie. A shitty
tant. I’ve had the great fortune of working
movie can be made from a great script, but it’s
with my lead actor, Nick Damici, on screen-
far more difficult to make a great movie from
plays. He does the hard part of writing every
a shitty script. The script element is something day and pounding out draft after draft, then

I really don’t understand about the Hollywood

I sort of edit his work and do clean-up as it
system. If you go to seminars where agents are
gets closer to shooting. The hardest part is get-guest speaking, they always talk about how
ting that first draft out and finished, then the your script must be rock solid before anyone
rewriting is like sculpting a big block of clay
sees it. Then the script must be rewritten until and giving it shape and dimension. Both Mul-it’s perfect in the agent’s eyes. And, of course, berry Street and Stake Land started as very dif-give them hundreds to thousands of dollars
ferent first drafts, and evolved over the course and they’ll make sure that happens. Or so they
of many months into their final forms.

say. But how many movies do you see at the

By the time we get to shooting, we know
theatre with a perfect script? Nearly none.

every in and out of each scene and we’ve ex-

Sometimes, they don’t even write the scripts
plored so many different options that it makes
until they start the movie. Look at the Trans-it very easy to improvise or change things up
formers trilogy. They have 300 million dollars if better ideas come along. So, it’s a very nec-for the movie and don’t give a shit about the
essary blueprint. But I’ve been lucky to work
script. Don’t you think if you’re going to invest with very smart collaborative people to help
that much money, you’d want to make the
continue shaping things all the way up to the
script that much better? Those movies are only
final sound mix.

good as eye candy, but after 20 minutes, you

Most bad indie movies I see were obviously
get bored because there’s nothing else to them.

made with bad scripts, making it very hard to

And I’m not a pretentious ass like many of the
give notes or feedback on rough cuts when so
people I went to film school with. I enjoy
much of what doesn’t work originated on the
watching movies strictly for entertainment,
page. Spend time getting it right before you
but if there’s nothing to the movie besides
start shooting. In both cases we had to do re-
spectacle it quickly becomes not worth your
ality passes on the scripts to get them to fit
time. Meanwhile, there are amazing scripts
into the kind of budget we were expecting. We
out there that will be sitting on the shelf for-
knew we’d never get millions to do either film
ever. Clearly, a perfect script is not Holly-
so we set out to write things around locations
wood’s number-one priority.

and resources we knew we could pull off.

The budget, unfortunately, does determine

The Script

43
my ideas because if there’s something too vi-
be-all and end-all. You can write a great script sually ambitious it’s going to be a pain in the
with limited actors, locations and eye candy.

ass to try and pull off. Besides, the older I get It’s more challenging but if you have talent you the less I want to deal with bullshit. In other
can pull it off and prove you don’t need a rich
words, if I’m not making any money off the
uncle or a studio to make a good — if not bet-
movie, I can at least make the process enjoy-
ter — movie than the big boys.

able. I found when we first started making

One last bit on this topic: as a homework
movies we planned for dozens of different lo-
assignment, the next time you go to one of
cations. Then, we found out that was a real
those paid-for seminars and someone claims
pain in the ass and kept scaling it back. Now,
they can give you a well-polished script, ask

I write for what I like to call two person/one
them what the writers of the last Transformers room movies, which are basically as limited in
movie got paid and what draft of the script
budget, locations, actors and effects as pos -
they were on before they started shooting. I
sible. Things will most likely stay this way
guarantee you’ll render them speechless, at in
until I actually get the budget to make things
the very least, stump them for a bit.

a little more larger scale. However, two per-

Jose Prendes: I started writing scripts
son/one room movies doesn’t mean a movie
when I was in high school. I taught myself
has to be less quality. There are some wonder-
from the hundreds of screenwriting books I
ful plays which are basically two person/one
read. You can write so much easier than you
room movies. And then there are some plays
can direct, because writing is free. So, yes, the which you feel like you’re being tortured every
script is very important to me. I love writing.

second you’re sitting in the theatre. But it’s

But when it comes to budget, that script isn’t
worse because you feel like you can’t escape.

written in stone.

The point is, it’s up to you. Budget is not the

Budget determines everything in your

Jose Prendes looks through the day’s script notes and camera reports.

44

HOW TO MAKE MOVIES
movie, even for the big-league guys. Maybe
built-in “intermission” so one can come back
you write an awesome helicopter crash, but
to the movie later. So, the script was over 120
you can’t afford it, so now it is an off-screen
pages. But I would not recommend that.

car crash. One of the most important weapons

Would you rather have 120 pages or 90 pages
in your filmmaking arsenal as a writer/director
of headaches dealing with producing your
is being able to write within a budget.

film?

For example, on The Monster Man, I wanted I didn’t have money to throw at problems
to make a massive, blockbuster-style end-of-
so I was forced to use common sense. I had
the-world film. Then I realized all I had at my
one location — a house. So no one bothered
disposal was a DV camera and a very limited
us. I turned the camera around and that was
bud get, so I wrote with that in mind. The fin -
another location as far as I was concerned.

ished script was 45 pages and was originally a

There was also a backyard and a lake.

tense, serious action picture. You’ve probably

One of our mini-movies featured actor
never seen this film, but I will tell you that it Trent Haaga turning into a werewolf. Now we
turned out to be a comedy. On day two I re-
were lucky to have Mike Thomas, not only as
alized my budget and look would not lend it-
a cast member but also our make-up artist, so
self to a serious rumination on the end of the
he took on the task of Trent’s transformation
world, so I turned it into a slapstick spoof on
sequences. But the sets for the story included
end-of-the-world movies, and, for my money,
a movie theatre, a photo studio, an apartment,
it worked better that way. A lot of critics didn’t and we had to shoot all of this in one day.

get that I did a lot of “shoddy” things on pur-

Well, that was a bit unrealistic, so we filmed
pose, because I was mocking shot-on-video
it as if his life was like a play, onstage. We
movies, but that’s neither here nor there.

bought some black fabric and used it as a back -

Consequently, on Corpses Are Forever, I had drop. A mirror was the apartment, two seats
written an ultimate zombie bloodbath with
and a flickering light were the movie theatre.

guts and limbs flying everywhere, but even

Eric Shapiro: The script is at the top of with the move to 35mm film and a larger bud -
my values hierarchy. Actors are a close second.

get, time and the limited resources, we were

If those two elements are powerful, it matters
forced me to cut out the entire zombie battle
a lot less where you put the camera. To date,
and end with a cliffhanger. One which I had
my budget (or lack thereof ) has driven my
hoped to finish in the unfilmed sequel “The
ideas, many of which involve scenarios that

Corpse Who Loved Me,” but money, fans, or
take place in one location and/or on a single
interest failed to materialize.

day.

Ultimately, the script is your bible. Get that

Anthony Straeger: As far as I am con-
to where you want it. I wish I had spent more
cerned (and I’m pretty sure this will apply to
time on the Corpses script, and that is one most producers and directors), the script is
thing I will always regret. So take your time.

most important. A house needs a firm building

Write the movie YOU want to see, but write
platform or foundations to put walls and win-
the movie YOU can afford ... or at least max
dows on and in. A film works exactly the same
your cards out on.

way. A good script helps create a better film

Paul Scrabo: The script is the most im-
because the director has something to work
portant thing and, surprisingly, not the most
with and so does the cast. A bad script puts
expensive. Dr. Horror was designed almost like you on the back foot from ‘Day One.’

a film festival, several mini-movies through -

At the beginning (I would assume as with
out, and I wanted to try to give a DVD buyer

Call of the Hunter), the initial meeting takes his moneys worth — not a 70-minute feature
place between the writer, the director and the
but a “big” no-budget film. There is even a
executive producer — the man that is putting

The Script

45

Paul Scrabo confers with Nathan Sears and Debbie Rochon on the set of Dr. Horror’s Erotic House
of Idiots.

in the money. At this point is when you are
of the Hunter) and then went out with my cap looking at the budget in relationship to the
in hand begging to friends, Romans and coun-
script. This is the moment when you know
trymen. The initial budget to make it was
whether you have enough to realize the ideas

£25,000. I stayed well within this and at-
contained in the script fully or whether you
tempted to keep the dynamics of SCRIPT
will have to make some serious compromises.

verses BUDGET to a perspective that would

There is a world of difference between
mean getting the best out of the script we had
doing a drama, horror or action movie, so all
and the most out of the limited resources I had
the ideas you have may have to be tailored to
to work with.

exactly how much you can achieve for the

Marc Trottier: I think having a good
money you have. Unlimited funds equals un-
script is hugely important. Some people pay
limited ideas, limited funds means a more cre-
close attention to scripts and storyboards and
ative approach in achieving a desired effect.

what not, and other people maybe go with the

It doesn’t matter what the price tag is on the
flow a little more and let things happen natu-
film, each level has its problems — it’s just that rally. Regardless, I think the “idea” is the most more money makes it easier to complete.

important thing before even beginning to film.

When you are looking to raise private cash and

In my opinion, if you’re going to film some-
are working with a bare-bones budget, it gets
thing very short, just for fun and for the sake
a little harder. So I worked on how much I
of practicing, then it’s not as crucial. But the could realistically do within the movie ( Call longer it will take to film (and the longer it

46

HOW TO MAKE MOVIES
will take in post-production) the more effort
to know anything about the killer? Are the vic-
should be put into the script, and planning
tims people you want to see die, or, more im-
ahead of time in pre-production.

portantly, people you want to see live? For that I think the script/budget relationship can
matter, are they people at all, or just juicy gore go either way. Sometimes you know how
effects waiting to happen? Humans are drawn
much money you have to work with and your
to stories, to listen to them and to tell them.

ideas revolve around what you can afford to

Too often in development, however, scripts
do. Other times you might have an idea that
sound like they were written by children just
will dictate how much money you’ll need to
learning to tell a story. “So then the guy goes
beg and steal to get your project finished.

up the stairs. And then he opens the door. And

(Note: don’t steal money to make your movie!)

then he looks around. And then the bad guy,

Mike Watt: The script is the beginning
and then and then.” Obviously (hopefully ob-
and end of your project. It’s your blueprint for viously) that’s not a story.

the story and the characters. If it’s terrible from The best actors in the world can’t do any-the start, you can have all the money in the
thing with, “Fuck, man, I just wanna get
world and it won’t improve the movie (see the
fucked up and fuck. Fuck, yeah!” That’s not

Transformers movies for the most recent exam-dialogue. And if that’s character development,
ples). It’s at this beginning stage that a lot of you haven’t created a person; you’ve created a
pride will have to be swallowed if you want to
noise box. But that’s how people talk! No they make a good movie. There is a doctrine that
don’t. And if they do, you really need to go
may be one of the most important rules you
listen to some other people for awhile.

can ever learn: “knowing how to type doesn’t

Besides the bad mechanics, the clichés and
make you a writer,” just as everyone with a
the profanity-laced dialogue being a large
camera is not a filmmaker or anyone with fin -
round of nothing, let me put it this way: it’s gers is a guitarist. Even on the lowest budget
been done before. We’ve all seen terrible
where you have to wear all the hats, you cannot movies exactly like that, both independent and
expect that you’ll be awesome at everything.

professional, that are empty shells of “things

And the script is where it all begins. You can
happening” to “some kids.” So if there are a
learn how to format a script on your own or
thousand awful movies that already exist, why
use a “schmancy program” like Final Draft,
would you want to make one more?

but that doesn’t mean you can tell a story. “I

If your goal is to become a filmmaker, what-just want to entertain people” is not an excuse, ever that word means to you, you have to un-nor is watching something bad, and saying
derstand story, character and structure. And

“I could do better than that.” Most people
if you don’t, you have to find someone who
can’t.

does. If this particular story means so much

I’ll say that again because it ties with “no
to you, get it down on paper and then give it
one person can do everything well”: most
to a real writer. If you’re among the small per-
human beings cannot write. This was true be-centage of people in this world who can tell a
fore the digital revolution, before even the era compelling story, all power to you! But know
of moving type. Telling a story that is worth
your limitations. Because there’s enough crap
telling and hearing is difficult. I’m not talking in the world already. Make something worth
about plot. The “plot” is just what you hang
watching.

the rest of the story on. Anyone can write a

As far as script begetting budget or vice
plot: A leads to B leads to C; beginning, mid-
versa, we’ve done it both ways. Our first movie, dle, end. “A killer going around killing people”

The Resurrection Game, called for ten different is not a story. Who are his victims? Why do
locations, a cast of at least a hundred, dozens
they have the killer’s attention? Is it necessary of gore gags, stunts, gunplay, choreographed

The Script

47
fights, retro-futuristic props and a friggin’

included an abandoned mine (originally), a
sword fight. Not knowing for ourselves how
diner, a martial arts dojo, and extensive make-
stupid this would all be to pull together, we
up work. So we needed a lot of pre-production
moved forward anyway, and thus learned the
time for that one. It’s really best to think about

“MacGyver School of Filmmaking” for our-
what you have first, but some times the needs
selves. This school teaches you to be flexible
of the story take precedence. With that in
and resourceful. It also teaches you that if you mind, I still try to avoid movie ideas involving edit anything fast enough, you can hide almost
car crashes, ani mal stampedes, orgies, the
all of the seams of an illusion.

ocean, et cetera.

The multiple locations we managed to boil

Ritch Yarber: The script is the most im-
down to about seven. Both the hero’s and
portant part of any production. It should be
heroine’s homes took place in our own house,
developed fully to take the viewer on a well-
in the same rooms, dressed completely dif -
planned journey that will leave them satisfied
ferently. The cast of hundreds got whittled
and reflective as they leave the screening. The
down to 30 or so, with
many actors doubling

(“Shemp
ing” as Sam

Raimi would say) and
tripling as zombies. For
the rest, we begged,
bar tered and borrowed
to bring it all together.

The final sequence was
meant to take place at a
medical amphitheater
at one of the local col-
leges until we learned
how impossible that
would be, as none of us
were college students.

So the scenes were re -
written to take place in
run-down attic and cel-
lar space we could re-
dress.

We’ve tried over the
years to follow the

(early) Robert Rodri -
guez tenet of writing
the script around what
you have or can get —

Severe Injuries, Splatter

Movie, A Feast of Flesh
and Demon Divas were
all written around loca-
tions we knew we could

Director Ritch Yarber and DP Brian Foster on the set of Murder
utilize, but Razor Days

Machine!

48

HOW TO MAKE MOVIES
script is the cornerstone of the filmmaking ef-

$5,000 budget. The idea was “morphed” into
fort. It has to be solid and consistent. The
the finished version that features a drifter that filmmaker and the viewer will be unfulfilled
is adept in the pure art of killing with the goal if the film is based on a loose, undedicated
of becoming the real-life embodiment of a fic-
idea. The holes will show themselves, the
tional killer, the same as in the original ver -
patches will be evident and the opportunity
sion, just tweaked to fit our budget.

to bond with the audience will be lost. The

Ivan Zuccon: There was a time when,
filmmaker will find himself frustrated as the
even with a just a shred of an idea, I used to
pieces struggle to combine into the desired
pick up the camera and start making movies.

story. If the story is solid on paper, the vision Now it’s not like this. This change is a sure
is easier to achieve on film.

sign of maturity, and now I find myself having

I don’t consider budget all that much when
many scripts ready. I write and rewrite the
trying to come up with script ideas. The im-
scripts until they totally satisfy me, so that the portant thing is finding a subject or story that processing of writing takes more time. The
will engage the viewer with a solid beginning,
lapse between shooting different movies gets
middle and end. Once these things have been
longer. However, I am convinced that behind
determined, the budgetary restraints come into
every good movie is a good script. What you
play to see how the needed plot points can be
do in movies is tell a story, and stories must
intelligently and realistically portrayed. There be good. If they aren’t, it’s hard to get to the are always problems on a small budget, but,
heart of the audience. I seldom write scripts
interestingly, there always seems to be accept-
all by myself. I work with good scriptwriters,
able answers to these problems that an audi-
even if it’s based on my own idea, except in
ence will accept “in the spirit” of the produc-
cases of adaptation from a novel or a story of
tion. Audiences are smart. They know if they
classic writers such as H.P. Lovecraft. I usually are watching a high-dollar Hollywood pro-write quite extensive lines of dialogue, then
duction or a micro-budget independent film,
give my material to the scriptwriter, who
and their level of acceptability is relative to
makes a first draft. After this step, I personally this. If you respect your audience enough to
start working on the second draft, then the
strive at all times to the highest standards of
third and so on. My latest movie, Wrath of the realism possible on your specific budget, they

Crows, had ten drafts. Certainly the budget af-are generally willing to overlook small lapses
fects your choices and modifies your ideas. If
as long as the attempt to deliver what was
you have a low budget it’s a tough to adjust
promised on the cover of the box is there.

your ideas (or the scriptwriter’s ones) to lack

Overly grandiose ideas would certainly be
of money. But, as they say, every cloud has a
foolish to entertain on a micro-budget; how-
silver lining. Working on a low budget pushes
ever, with a little imagination, these ideas may your creativity to the highest levels, forcing
be able to be morphed down into a solid and
you to seek effective and cheap solutions. It
attainable product. This was the case with my
teaches you how to get the maximum effect
film Murder Machine. The original idea was and the best performances with little money.

that of a mysterious killer that used assorted

There is nothing more valuable than this and

James Bond-type gadgets as his implements
it will come in handy when you’ll have more
of torture and murder. This quickly proved
money to manage.

impossible to portray realistically on our

The Script

49

The Filmmakers were asked:

What are the benefits/disadvantages of working from your own script or someone else’s?

Glenn Andreiev: On your own script, if
tor with a good eye. This, of course, can also
you invent stuff while shooting, you don’t have
occur vice versa, with a good script turned into to clear it with yourself. I can’t imagine having a shit film. It happens. Only once in my life
that on-the-set freedom with another person’s
did I try shooting someone else’s screenplay,
script. Would we have to contact the screen-
and the minute I tried to turn the dialogue
writer while shooting and ask, “We want to
into something I felt sounded less staged, the
eliminate that monologue and replace it with
guy had a fit. He wanted the dialogue followed
a fight.” I imagine there would have to be se-
to the letter. Hence, I prefer to write my own
rious contractual, complicated, costly agree-
material.

ments with the writer(s).

Richard Cunningham: It’s a mixed bag

John Borowski: The ideal situation for a
of good and bad, for sure. I’ve only worked off
filmmaker/director would be to have a screen-
my own scripts in the past, or on productions
writer to write the script. The director must
where I was a part of story development. But
work closely with the writer to convey the

I can offer a little insight on the pros and cons themes and feeling he would like portrayed in
of filming a production with your own script.

the film. Once the script is written, the writer The script is yours; you have a clear under-and director work together to revise the script
standing of where your movie is coming from
to tailor to the director’s vision. Hitchcock
and what it wants to say; you probably have a
worked this way. I believe a film changes
close connection to the story and the charac-
through each phase of production, morphing
ters, probably have angles and locations in
into the final creation. Having a vision is im-
your head, already; and the casting process
portant, but understand that after the film is
could either be inspirational or utterly hope -
on paper, it will change with bringing on ac-
less, but you definitely know who you’re look-
tors, being on set, and when being editing and
ing for.

scored. It should be a constantly evolving art

The flip side is that all that personal invest-
form until it is complete.

ment can make the writer more resistant to

Keith Crocker: The obvious benefit of
change in a medium that is constantly chang-
being the writer of your own film is that your
ing because of anything from a random spark
vision doesn’t conflict with what the writer had of creativity on set, or unexpected rain ruining in mind because you are the writer. When you
a day scheduled for exteriors. I think if you’re shoot someone else’s script, and if the writer
writing a script to a movie that you’re going
is on board for the shoot, you risk running
to produce as well, you just have to be willing
into conflict with the writer over the way a
to let go of the sanctity a writer can sometimes certain scene is portrayed. These types of ar-bestow on a finished work (unless that’s just
guments not only hold up shoots but they can
me). There’s that fine line of saying, “Screw
lead to a film being postponed indefinitely.

you, everyone, I have a vision,” but still man-

Not a good thing to happen at all. However,
aging to listen when a critic is giving you good most writers are best off with someone else in-advice.

terpreting their work on a visual format, so

Maurice Devereaux: I’ve never worked
some of the worst writing can still be salvaged
from someone else’s script, but I’m guessing
and made into a beautiful film by some direc-
that the big difference is that when you write,

50

HOW TO MAKE MOVIES
you have an overall vision of the film. You
script. The book ended with a huge flood
know the story and the characters by heart.

wash ing all these Southern plantations away,

You can answer any question or you should be
so that was the first thing I ditched. I decided able to. Because if you can’t answer a question, anything resembling a credible flood was a lit-it usually means there are “holes” in your
tle beyond our budget. I came up with a more
script. Like if an actor asks, “What was my
affordable ending, where the book’s villain, a
character doing while something important is
scheming Cajun maid, commits suicide by
happening with other characters?” and you
throwing herself off a waterfall.

can’t answer him, because you didn’t think

The producer also envisioned the movie
things through, it might be a problem. If
being a two-part television mini-series, so I
you’ve done your homework on a script, you
wrote a script long enough for a four-hour
usually know a lot more than what ends up in
running time. Even after cutting several scenes
the final script,. You know about the back sto-
my first edit came in at three hours. It was
ries of each character, what they do when they
eventually chopped into two separate movies
are not in a scene, et cetera. It might seem su-
with some overlapping scenes in each. This
perfluous, but it isn’t. It means you care and
called for some new narration to be written to
tried to create a “world” with real people in
help bridge the plot lines of the two movies,
them and the film is capturing moments. You,
so I was basically adding to the script even
as the creator, know what is behind those mo-
through post-production. An outside writer,
ments and can answer any question about it.

especially one with some industry credits,

So if you’re working from somebody else’s
might not have stood for so much after-the-
script, you might find yourself puzzled by
fact script tampering. So there’s advantages to
something and would have to ask the writer
a director also being the primary writer.

why some character does something. If the

Lucky for me, this producer let me play
original writer is unavailable, or dead, you
hard and fast with his novel; even inventing
might THINK you understand everything in
whole new characters when I felt the need. His
the story. Yet, it will be your interpretation of only mandate was the final film should be
the original writer’s intentions, and it may be
equivalent to a PG rating, so that killed my
completely wrong... When you write it your-
plan of making a full-out Southern sleaze epic
self, you should be “God.” For better or worse,
like Mandingo. Our celebrity, Miles O’Keeffe, you should know the why’s and what’s of
actually wanted to film a love scene with his
everything in the script.

leading lady, but the producer had a quick an-

Donald Farmer: The only movie I’ve di-
swer for that. “My wife says no love scenes,”

rected where I had zero input in the script was
he barked. Apparently this guy’s wife had the
the comedy Bollywood and Vine, which I co-last word on everything!

directed with Edward Jordan. He sent me a

Jeff Forsyth: Up until recently I have only package of about five incredibly well-written
worked on my own scripts. I just recently
scripts, so I picked that one to do with him.

started developing a short a friend wrote and

It ended up winning awards at a couple of film

I’m enjoying the experience. Writing is kind
festivals. Two other movies I did — The Strike of like torture for me. I never know if it’s any and Deadly Memories— had scripts which I good or not. When I read a script that some -
completely rewrote.

one else has written, I know.

For the my two-part Civil War film, Blood

Richard W. Haines: There’s the cost fac-
and Honor and Battle for Glory, I was given a tor. If you write your own script you don’t

300-page book written by the first-time pro-
have to pay a screenwriter or license story
ducer (an Atlanta dentist with some celebrity
rights. Since I create my screenplays in the
clients), with instructions to turn it into a
manner I describe, there would be no point in

The Script

51
hiring someone to find locations while writing
great crew members, and good editors. I
the script. I also incorporate my own back-
always have a very good game plan but try to
ground into the stories, which includes my
keep an open mind for other ideas that can
phobias and other personal information that
come from anywhere. I believe the script is
an outsider would not be familiar with. I have
very important, but it is a blueprint. I like and hired writers to fine-tune my scripts on some
encourage actors to add their own personalities
movies. They added character nuance and di-
to the roles, and if a cameraman or crew mem-
alogue without altering my structure or nar-
ber has a good idea for a shot or an angle that
rative. However, I prefer to own all aspects of
is better than what I first thought of, I’m all
my films, which includes screenplay rights.

for it. If there’s time, I’m open to trying it a That gives me the option of making a sequel
different way. Unfortunately, on the sched ules
or licensing remakes in the future.

and budgets that I usually work with, I rarely

William Hopkins: I’ve never worked
have a lot of time. But if an actor wants an-
from anyone else’s script and I don’t expect to
other take, nine out of ten times, I will let
in future projects. If you’re going to be work -
him/ her have it. On tight schedules, scripts
ing on a project for years, you really have
always have to be simplified. If last-minute
to be comfortable with it and feel strongly
changes take place, you need to know how
about it. For me, that means writing my own
that will affect all the other events/characters stuff.

in the story. If a script is tight, one little change Steve Hudgins: Obviously, when you’re
can have a domino effect and mess up a lot of
working with your own script, you’re going to
things. So know your screenplay whether you
have more freedom. When you’re working
wrote it or not.

with someone else’s script, it all depends on

Brett Kelly: What’s nice about working
the agreement that was made. Regardless, all
from your own script is that you can use short-
agreements have potential sticking points
hand. If you know you are going to be the one
when it comes to changing or tweaking the
directing it, you don’t have to hold your own
script. Before day one of shooting this should
hand, the way a screenwriter might do for you
be worked out loud and clear so there is no
if they felt they had to describe every little
possibility of misunderstanding.

thing. I prefer using outside writers, but I al-

Rolfe Kanefsky: It’s very important to
ways provide a detailed, scene-by-scene treat-
know your script inside and out before you
ment of the movie I want to make. Writers al-
start production. Being the writer of the script ways throw you bits that you never would have
makes this job easier since it all came out of
thought of, and that’s pretty cool. I like to
your own head. When I write a script, I visu-
think that providing the detailed treatment is
alize the entire thing so I already have the
a way to make their jobs easier. I’m not sure
whole movie shot in my head. Getting that
if they would agree with me, but it’s my way
same vision in the camera is always a challenge
of getting the movie script I want.

but I know what I’m going for, and sometimes

Chris LaMartina: I write with a partner:

succeed. Working from someone else’s script,
my best friend/producer, Jimmy George.

you have to figure out how to make it your

We’ve never worked from another person’s
own. So far, I have written everything I have
script because bringing our stories to life has
directed. Even if it started somewhere else, I’ve been the most exciting part of the filmmaking
rewritten it to a certain extent so it becomes a process for us. In addition to satisfying your
part of me. The only disadvantage I can think
own creative goals, producing from your own
of is if you are so close to the material, you
screenplay allows you to write for your avail-
may be a little tunnel-vision and not see other
able resources and if you’re handling post- pro-
opportunities. But that’s why you hire actors,
duction: your edit.

52

HOW TO MAKE MOVIES

Another strong attribute of producing from
full coherence of everything that’s happened
your own work is the ability to change the
in the script. That is, unless you were com-
script on-set without stepping on someone’s
pletely wasted when you wrote it and can’t
toes. We’ve all heard the tales of lowly writers recall the process. Or if you’re one of those ass-scorned by self-important film producers (hell,
holes who plagiarized something and are at-

Jimmy and I have had our optioned stories
tempting to pass it off as your own.

butchered a few times ) ... so it’s nice to be in I don’t know why more people don’t direct
charge of your own destiny.

their own scripts or why Hollywood doesn’t

The disadvantages come in the form of self-
encourage it more often. I guess it’s because a
critique. Artists cannot live in a vacuum. We
lot of writers are great at being introverted and always get script coverage on screenplays not that good with people. It’s a shame be -
before we agree to produce the film. Coverage
cause they’d have the answers to everything on
is where another screenwriter (often times, a
set because it’s all related to script. But the dis-more successful or “established” screenwriter)

advantage of directing from your own script
gives you positive/negative feedback. There
is that you are the only one to blame if things
are plenty of affordable websites that provide
go wrong. You’re more attached to it. You’re
this service. A quick Google search will surely
right there and invested all the way. It’s far
pull some up.

more disappointing when it doesn’t go as you

If you’re not willing to hear some harsh
planned and you’re not quite getting the vision
words about your art, you better re-think your
you wanted across on screen. Basically, you’ve
filmmaking aspirations. I can guarantee that
just got to detach yourselves from feelings of
the script doctors and their coverage will be
disappointment when you make movies be-
nicer than the comments you’ll see on your
cause they’re going to happen and they’re
film’s Netflix page or Amazon product listing.

going to happen in spades. The trick is to

So fix those problems while you can. If it’s
make it so the same ones don’t keep happen -
wobbly on the page, it will be most likely be
ing over and over and that you keep improv-
just as painful on screen.

ing.

Jim Mickle: I’ve always worked in a col-

Jose Prendes: I’m a writer, that’s what
laboration with Nick, so it’s tough to know

I’ve done the most in my professional career,
what the differences are. In that case it’s great so I only work with my own scripts. On the
to tag team an idea and keep some objectivity,
off chance that I am working on something
because it can get very claustrophobic very
with a friend, then I always have to have a
quickly if you’re going at it alone. I love being hand in the material.

able to bounce around ideas together and dis-

If you aren’t a writer, then you WILL NEED
cuss why certain things work or how they can
someone else’s material. There is nothing
be tweaked. It really helps to understand what
wrong with this, so don’t feel bad that you’re
shapes a story and makes us both more disci-
not a writer/director like Kevin Smith or
plined as storytellers.

Quentin Tarantino.

Damon Packard: Well, I guess that de-

I like to work with my own script because
pends on how much creative control you have

I know it intimately and I can answer every
over your own or someone else’s vision. I per-
question ... or almost every question. I some-
sonally have never worked with someone else’s
times don’t even need to look at the script to
script so it’s hard for me to comment.

know what happens next or who says what in

Brad Paulson: The benefits of working
the scene because I lived it through the writing from your own script is that you know all the
and re-writing. One disadvantage is that any
answers. You know all the characters and the
negative notes really knock you for a loop.

motivations, the tone, everything. You have

Maybe I’m just sensitive, but working with

The Script

53
my script I feel like I’m a daddy and when
in order to tailor the cloth. You have every -
someone says my baby has a stupid third act I
thing in one guy’s head and so there is a sin-
get mad. I haven’t lost any friends yet, but it
gle-mindedness driving the script.

could happen. Working with someone else’s

The disadvantages of this are simply that
material allows you to be ruthless and tear and
you can become “totally tunnel visioned”

shred through it, which could be fun.

about it. You think you have written one of

Paul Scrabo: Quite often, another writer’s the gospels and that only you can be right
thoughts and ideas are more apparent than
about everything. It takes courage in this to
your own! I enjoy it. You’re compelled to really be able to say to the DP and to your actors,
work and think clearer.

“What do you see, how do you feel, what

The script for the third story in our anthol-
doesn’t work for you?”

ogy was not yet completed when principal

The advantage of working with somebody
photography began, but there was no rush. All
else’s script is that you, quite simply, bring a we knew was that Brinke Stevens, a legend in
new set of eyes to the project. You can make

Indie Horror, would be approached to star in
suggestions and push boundaries that the
that section of the film. It made perfect sense
writer may not have been able to see. It be-
and would round out our cast of fan favorites.

comes a team process that can help propel the

And I was stuck on the approach of that third
script towards a better look and understanding
story; I only knew it had to be the best one
of itself.

of the bunch. That’s when we finally called

The disadvantages can come in the form of

Brinke — not to act, but to co-write The Per -
disagreement when a writer is unwilling to
fect Woman.

budge on something that he sees as integral

Eric Shapiro: If you write your own, you
and important, where you as the director may
have control, but if you work from someone
see it as over explaining or disposable in order else’s, as I did on Rule of Three (written by to push the movie along.

Rhoda Jordan), you have the privilege of ad-

In reality it doesn’t matter. There are no ad-
miring the work as an outsider. That’s a great
vantages or disadvantages in the low budget/
thing; you can watch takes in the monitor and
independent movie area, because if you, as the
get wrapped up in the language and nuances
director, have written a good script or have
in a way that you might not be able to if they
been given a good script, it’s happy days.

came from your own mind.

There is only one thing that counts — a good

Anthony Straeger: The advantage of
script. A bad script, whether it’s yours or
working with a script I have written is that I
some one else’s, is simply a bad script. As a behave evolved the story. As such, it means I have ginning filmmaker you need to absorb as
a definite idea of the vision of the piece from
much creative energy from as many sources as
its look to who will be in it. The process of
you can — THAT will help you be a better
writing may start out with a vague idea or a
script writer and a better filmmaker.

vague story line, but as you get through draft

Marc Trottier: I think a benefit to work-
after draft you start to build a shot-by-shot
ing from someone else’s script is that you’ll
picture in your head of what you would like
probably be less attached to it, and more will-
to see.

ing to change things if they need to be

So, when it comes to the production, there
changed. A potential disadvantage of work ing
is a fully formed baby waiting to be born.

from someone else’s script could be that if

Having given birth to this script I feel that I
they’re involved with the project, you might
know how it feels, how it breathes. Even if you
not see eye to eye on certain things, which
can’t raise the budget to do exactly what you
would take more energy to deal with than if
want, you know where you can make squeezes
the ideas had been all your own.

54

HOW TO MAKE MOVIES

In my opinion, one of the benefits of work-
else’s script, you have to carefully examine
ing from your own script is that nobody
every facet of what is written to have a sure
knows the script better than you. Also, you
understanding of what is intended and then
have a better chance of having your ideas
determine what needs to be included or ex-
translate from paper to film as accurately as
cluded to get to that point. Plot points that
possible with the least amount of changes (un-
are under-developed must be reinforced or
less you choose to make changes). I can’t see a
reinvented. It is also most important that the
disadvantage to working from your own script,
director fully understands what the writer ex-
except that it was one more job that you had
pects him to accomplish and “if ” it can be ac-
to do by writing it in the first place!

complished within the means of the script in

Mike Watt: I’ve never directed anyone
its present form.

else’s work. The only times I’ve ever worked

Ivan Zuccon: It makes no difference to
from someone else’s script has been as an actor
me, provided that the scriptwriter understands
and that’s rarely—very rarely—ended well be-
that the movie belongs to the director. If the
cause of my ego. The same thing usually hap-
scriptwriters were the authors of the movie,
pens when I do screenwriting-for-hire.

then directors would just have to shoot the

Ritch Yarber: The benefits of working
pages of the script, but this is not how it
from your own script are that you are fully
works. Between the script and the finished
aware of the vision from start to finish and
film there’s a basic step called “staging,” and
have already carefully planned into your script
this is the director’s work and what the audi-
how to accomplish it. To work from someone
ence finally sees on screen.

Equipment and Production

While the need for creativity and per -
you had to do, like capturing all your footage
sistence will never change in creating an in-
and outputting it to DVD. With my PBS-
dependent film, production equipment will
aired documentaries, I had to supply them
continually transform. When I shot my very
with a Betacam SP copy, which they uplinked
first feature over 20 years ago, I did this with to their satellite feed. Most recently, everything hundred-thousand-dollar broadcast cam eras
has turned to HD — High Definition, and it’s
and recorded on Betacam SP tapes, which was
now expected that your finished product be in
the industry standard at the time. I ended up
that format and available as a digital file for
with a Betacam SP tape master, from which
distribution.

VHS copies would be made. When high-

As an independent filmmaker you’ll use
quality digital cameras came out, I utilized
whatever equipment and technology is avail-
these, as the five-thousand-dollar cameras
able and affordable to you. If you think you
looked as good, if not better, than the pre -
need the most up-to-date camera, like a RED,
vious, bulkier versions. Editing, which had to
in order to do your production—and it’s stop-
be done in order and by changing physical
ping you from making that movie—then look
tapes in the editing suite, gave way to digi -
into using an older camera if you’re that de-
tizing those tapes into a computer and being
termined to make that film. Or you can pur-
able to edit them nonlinearly. Although I had
chase the most recent, recommended model
more choices when editing, the advancements
and expect it to be replaced in a few years. Will in technology didn’t make things easier. You
you get your money’s worth out of it? Don’t
had to learn how to use the new equipment,
get hung up on equipment. It’s not about tech -
get through the learning curve of understand-
nology—it’s what you do with what you have.

ing a new computer software program — and

You still have to know how to frame a shot,
the actual time it took to put your picture to-
light an actor, record good audio and put the
gether increased because you had new things
entire thing together after it’s all completed.

The Filmmakers were asked:

What equipment/format do you use and why? How has this differed from when you made your first movie to your most recent film?

Glenn Andreiev: Well, my very, very first Embrace, was shot in 1988 with a 16mm Éclair.

film was shot in 1972 with my dad’s Regular

Of course, video has yet to have the visual

8mm Keystone, a hand-wound camera from
richness of 16mm, but it was a bit complicated

World War II. My first feature film, Vampire’s shooting with film. (For example, I learned

55

56

HOW TO MAKE MOVIES
the hard way that 16mm camera parts expand
and watch what was being shot as it happened.

in very hot weather, causing light leaks.) Now

I realized that, with digital video, if you lit it I use an HDV Sony FX7, and like all video
like you’d light film, you were able to create a cam eras, you see on the spot what you are
digital grain. While it’s nothing like natural
getting, and the image quality is gorgeous.

film grain, to the untrained eye you might just

What’s great is that your camera equipment
be able to pass this format off as film. That is can fit in a backpack — great when traveling
why I made the leap from film to video — the
and shooting.

camera finally caught up with my expecta -

John Borowski: I studied filmmaking
tions. I don’t feel the same way about HD
shooting on 8mm and 16mm FILM, not

(High Definition). My thought on that is that
video. I see this as a bonus since almost every-
the image is way too clean and you really can’t
one is learning and shooting on HD now as
attempt any film-type look to it. It’s way too
opposed to film. There is a difference when
slick, and film is a mirror of human error. I’m
you can hold the frames of the film and phys-
more comfortable with an imperfect image as
ically see each individual frame. The editing
opposed to a perfect image. I’m real old school.

process when editing on film is very different.

It takes a long time for technology, and I to

Editing on film is where I developed a sense
keep up hand in hand, I admit this freely. I
of pacing. The first video camera I owned was
still have a 16mm Canon newsreel-style cam -
the Sony VX1000. I filmed the entire HH
era that operates off a large cylinder battery,

Holmes film on that camera and loved it. I as well as two sound Super 8mm cameras. I
have been shooting video ever since and really
have even have projectors to go with them, the
appreciate shooting and then watching the
whole nine yards, I still shoot test footage on
rushes immediately and being able to edit so

16mm or Super 8mm, whatever film I have on
quickly. I filmed my third film, Carl Panzram, the table. Budget-wise, digital video has saved
in the HD format and the process is basically
my life, though. Blitzkrieg was way too large the same.

in scope, and I could not have shot it on film

Keith Crocker: Blitzkrieg was shot on and finished it. Digital video was very liber-mini-digital videotape. I shot with the Pana-
ating.

sonic DVX 100A camera, which I bought at a

Richard Cunningham: With ShE and reduced rate because they were on to 100B by

Arcadium I was working with a team that used the time I got my camera. My decision to
prosumer-quality equipment, but I wasn’t very
shoot on digital video was brought about sim-
technically savvy at the time, not enough to
ply by my desire to keep costs down, I’m a film
list what they had.

purest (to a degree). Bloody Ape was sound Films since, I’ve used anything that will

Super 8mm film, the compilation Cinefear
work. For my last two movies I used a Canon

Sampler was short works all shot on 16mm. In HV20, a consumer camcorder that shoots in
fact, I began Blitzkrieg believing I was going HD. I most recently purchased a Canon Eos
to shoot it 16mm, silent, reversal film stock,

Rebel T2i, a popular and affordable SLR dig-
and dub in the dialogue when it was trans-
ital camera. I’ve stuck with Canon, because
ferred to a digital media. However, I started
the color is superior, in my opinion.

to appreciate my own dialogue about three-

With my most recent film, Year Zero, easily quarters into the shooting script, and I really
half of the movie’s production took place in a
wanted it recorded live. Prior to starting shootten-year-old Dell Dimension 8200 series
ing, I did an acting gig on a friend’s short film, desk top that froze up routinely on me. At first and they were shooting with the Panasonic

I was drawing digitally with a mouse. Then I

DVX 100A. I was quite taken with the image,
began using a Wacom pen and tablet for il -
plus the fact that you could hook up a monitor
lustrations, and working in effects programs

Equipment and Production

57
like Photo Impact 6 (old-school) and Adobe
medical gloves, and a special cloth and fluid,

Photoshop. Later on, I used a Mac Mini and
in a controlled room. This took me about 400

Adobe After Effects for animating; and for ed-
tedious hours. Also, when editing off-line on
iting, I worked in Final Cut Pro. With all the

VHS deck to deck, you had to manually write

VO recordings and music I worked off a pro-
every “in and out” of the time codes that were
gram called Acid Music, by Sonic Foundry.

burned-in to the image, to be able to re-edit

The microphone for both voice-overs and
the film later in the more expensive Betacam
music is a mid-grade studio condenser model.

online suite. Blood Symbol had 1,290 cuts. It On my very first film, Gemini, we were
took me about 700 hours to carefully write
shooting on VHS camcorders, editing in be-
them down, because any mistake would be
tween two of them. Superimposing titles was
costly later with the online edit. So it was a
a big thing back then. I think, though, that
nightmare. I also did this on Lady of the Lake.

was when I realized anyone could make a

Digital editing is fantastic, a lifesaver. People movie, even if you’re just a 16-year-old kid liv-who edit digitally today have no idea how easy
ing in the sticks, teaching yourself on home-
they have it.

made movies; that it wasn’t this mystical

I love the look of 35mm but there is no log-
process that only took place in Hollywood and
ical reason to shoot on film today, with all the New York.

top-end digital cameras available. Oh, how I

My approach isn’t all that different these
wish I had digital cameras and computer ed-
days, in principle, except now I can certainly
iting when I was a teenager. I would’ve made
play a 30-year-old character more convinc -
ten features before I was 22. The first nine
ingly than I did as a teen.

would have been bad, but number ten would

Maurice Devereaux: My first film, Blood have been pretty good, and all the experience

Symbol, was shot on Super 8mm and 16mm,
it took me 25 years to accumulate I would

Lady of the Lake on 16mm, Slashers and End have achieved in only four.

of the Line on HDCAM. Shooting Super 8 was Donald Farmer: I’ve shot in about all the a nightmare. People today have no idea of the
major formats. A few of my projects have been
hardships (and costs) it took to make a film

35mm — No Justice, Demented and Deadly on that format. It cost $35 to purchase and

Run. The Strike was half 35mm and half develop a two-minute and thirty-second reel

16mm. Several others were 100 percent 16mm,
of Super 8mm film, and about four times that
like Vampire Cop, Compelling Evidence, Vicious for 16mm. Then, you had to pay huge amounts

Kiss, Demolition Highway, Blood and Honor,
to transfer it onto Betacam master tapes and

Battle For Glory and Deadly Memories.

VHS off-line time code burn-in off-line tapes

My first four movies — Demon Queen, Can-
and do color correcting. And since Super 8
nibal Hookers, Scream Dream and Savage reels are so fragile and you couldn’t stop and

Vengeance— were all shot on three-quarter-start a transfer to color correct, you had to do inch videotape. Time has shown this isn’t a
it on the fly, so for about 12 weeks I had to
format that ages particularly well. It picks up
edit my 450 reels of Super 8 onto one-hour
lots of drop-outs and even loses some serious
reels, sorting them by scenes of day, night, and picture resolution. I’ve seen lots of half-inch
the overall type of color correction that would
videotapes that age better than most three-
be needed, so that we would not have to be
quarter masters. To be completely honest, I
doing huge color timing shifts for every shot.

think some of my ’70s Super 8mm movies

But manipulating the Super 8 is problematic,
look better now than anything I shot on three-
as the image is so tiny that a little piece of dirt quarter video.

would be huge in the image. So I then had to

After that, I switched to Betacam SP as my
manually clean each frame of the film, with
non-film format of choice. I used it a couple

58

HOW TO MAKE MOVIES

Donald Farmer and crew prepare to shoot a lesbian love scene for Red Lips.

of times for Red Lips: Bloodlust and Space Kid.

Super VHS and Hi-8, with the end product

Now I’m shooting in various High Def for-
being on VHS. I’m mortified when I look at
mats, as on Chainsaw Cheerleaders and my new my movie. Not at the feature itself but at the
movie Shark Exorcist.

technical shortcomings compared to what I

Jeff Forsyth: I’ve recently stepped into
could do now for the same cost.

the HDV arena but have not had a chance to

Richard W. Haines: Since I’m a “film-
shoot anything with it. I’m loving the quality,
maker,” I shoot my movies on 35mm film
especially for low-cost micro-budget features.

stock. I studied the art of cinematography and

When I started out the only thing available to

I’m able to simulate the look of various genres, me was SVHS that I used for videotaping spe-including Technicolor movies, film noir
cial events. Young filmmakers coming up now
thrillers and 3-D pictures. I like the nuance
have NO idea how great they have it. The
of grain in film stock, which is what generates
equipment available today for the independent
a dimensional appearance. Not graininess, but
filmmaker still amazes me. For a fraction of
how light is reflected on the emulsion from
the cost of even ten years ago a filmmaker can
foreground to background. “Painting with
achieve professional quality. The advent of
light” as Freddie ( Lawrence of Arabia) Young low-cost digital HD, desktop editing and
used to describe it.

cheap disk space has really been a benefit.

I have nothing against digital as a release

When I made my first movie, desktop editing
format. I scanned in the 35mm camera nega-
was just coming into the scene. Most of us
tive of my last movie, reversed the image to a
low-end filmmakers were still shooting in
positive, which generated razor-sharp imagery

Equipment and Production

59
have a “hard copy” of your imagery on plastic.

There’s no reliable way of preserving a digital
image other than out-putting it to a 35mm
negative, which is very expensive. It’s cheaper
to shoot in 35mm to begin with. In addition,
digital technology is like a moving target, and
no format lasts for long. First, they used 2K
resolution, but that was rendered obsolete
with the introduction of 4K. Warner is trans-
ferring some of its negatives to 8K now. I
wouldn’t want my master element in a system
that will eventually become obsolete, whereas

35mm film stock has been around for over a
hundred years. If you have a 35mm negative
it can be transferred successfully to any new
digital media developed in the future, so I’ll
stick with 35mm until it’s eliminated, at which
point I’ll stop making movies.

Obviously, the quality of 35mm negatives
is superior to a 16mm blowup. In hindsight, I
wish I had the money to shoot Splatter Uni-
versity in 35mm — but at least I retained the

“hard copy” of my images on 16mm stock.

I’ve used a number of different 35mm cam-
eras over the years. I primarily shoot with an

Arri, although we used an old Mitchell for
some of the special effects work in Space

Avenger in 1987 because it had rock-steady registration for superimpositions. Since 1995

I’ve only hired cinematographers that own
their own 35mm equipment, which saves on
rentals and guarantees it will be in good run-
ning order. Splatter University was shot in 16mm, as I mentioned, and we used several
cameras, although I don’t recall which models

30 years later.

One of the biggest changes has been the
switch from analog sound recording to digital.

Donald Farmer offers direction to actress J.J.

North during the shoot for Vicious Kiss.

We used to shoot with a Nagra, which used
one-quarter-inch analog audio tape. Now we
that replicated the grain structure of the emul-
use a digital audio recorder, which is in sync
sion. I’m opposed to shooting a movie on dig-
with the 35mm camera, that generates much
ital since you lose so much of the visual artistry better sound and doesn’t have the problem of
contained on film.

tape hiss or other signal to noise-ratio issues

I’m also an archivist and one of the few
when copying it.

“indie” filmmakers that is concerned with pre-

William Hopkins: Both of my films were
serving my negatives. The advantage is you
produced before High Definition video be-

60

HOW TO MAKE MOVIES

Director William Hopkins behind the camera on the set of Demon Resurrection.

came practical for indie filmmakers so both
we used on our first movie, but my advice is
were shot in Standard Definition digital video.

to use what you can. Don’t let what kind of

I used the Sony VX1000 for Sleepless Nights
equipment you use, or don’t use, hold you
and the Canon XL1S for Demon Resurrection.

back from filmmaking.

The Sony was a terrific camera for its day and

Rolfe Kanefsky: Well, when I first started I never had a moment’s trouble with it. But it
making professional films, the year was 1989.

had a fixed lens that wasn’t of the highest qual-I had been doing video productions and some
ity, so the resulting picture was really too soft Super 8 shorts, so I was delighted to be shoot-for professional filmmaking.

ing my first real feature on Super 16, which

The Canon camera gave us a lot of trouble
looked great when blown up to 35mm. This
during the shoot, eating tapes and malfunc-
is what we did with There’s Nothing Out There; tioning in various ways almost from the first
it had a small theatrical release in New York
day. But the image quality was very high, very
and California. We made five answer prints
vivid and sharp, especially when the camera
and showed them at midnight screenings and
was fitted with a better lens. When we were
film festivals as well as the one week long run
shooting Demon Resurrection, we ran a Fire -
at the 8th Street Playhouse in New York City.

wire cable to a Mac laptop and captured the

After Nothing, I was able to shoot my next video directly to a hard drive using the Hack
project, My Family Treasure, on 35mm. From TV app, a process that worked pretty well and

1996 to 2003, all of my movies were either
helped us to get around the Canon’s tape-eat-

16mm, Super 16, or 35mm. I love film and was
ing problem.

very happy to move from video to film. And

Steve Hudgins: We use the best equip-
then the business changed. It became digital.

ment that we can afford and/or borrow. A lot

I was hesitant to shoot on digital because the
of it comes down to personal preference. Our
look wasn’t great and it took just as long to
equipment is much better quality than what
light properly for video if you wanted it to

Equipment and Production

61
look as good as film. But as the technology
making movies — but learn your craft. I made
im proved, the savings from shooting on digital
dozens and dozens of shorts and two feature-
rather than film were impossible to overlook.

length videos while just learning to make

I also shoot a lot of footage. It’s much, much
movies. I’m proud of them but I would never
cheaper to do this on video rather than film.

try to release them, except possibly as a special In the film days, we would circle takes to de-feature on a DVD or Blu-ray. Take your time
termine what would be printed, because print-
and make your film the best it can be before
ing the film cost money. On video/digital that
shopping it around. The people who are in
is no longer an issue. In 2003, I made Jacque-this business just to make a quick buck and
line Hyde for a budget of about $75,000. Film don’t really care about the art or quality of
was not really an option, so I shot my first film their “film” is what upsets me.

on digital, using the Sony 900. It was a very

Brett Kelly: Nowadays I shoot on HD
good camera and I was quite pleased with the
cameras, sometimes DSLRs. When I first
look. In fact, we ended up selling the film and
started I shot on SVHS and Hi-8 video cam-
having it released on DVD through Warner
eras. The quality these days is definitely bet -

Bros. Home Video. That proved to me that
ter, but in a way I prefer having tape rather
the days of film were over. If the first video
than SD cards. I prefer knowing that a per-
production I did could be released by Warners,
manent record exists, rather than cards that

I knew this was the new way, despite my love
get erased constantly. It makes me a nervous
for film.

wreck know ing that a whole days work can get

I have since used all different types of digital wiped out in an instant. The DSLRs are cool
cameras. Nightmare Man was shot on the
and handy, but at the moment, sound needs

Pana sonic Vericam and opened in 350 theaters
to be re corded separately and synced up in
nationwide as part of the Horrorfest: 8 Films post. That’s a pain, but the trade-off is the low to Die For festival in 2007. We had to blow it cost of the equipment, and that makes it
up to 35mm for the release, but it proved that
worthwhile.

it could be done. My recent film, 1 in the Gun, Chris LaMartina: I shot my first feature
was shot on the Panasonic 3000 and looks
on a consumer Sony camcorder with in-
amazing.

camera audio and Home Depot worklights. It

The important thing about shooting digital
was absolute trash, but you have walk before
is that you need really good lenses and know
you run, right? That film was produced as a
how to light [a scene] properly. Film is more
learning experiment, to see if I could finish a
forgiving, so you really need a cameraman
feature (an anthology, really), and to see if it who knows what he’s doing. The problem
could get distributed (it did).

with digital is that the cameras are so cheap

With each subsequent film, we got better
that anyone thinks they know how to make a
gear. We shot Book of Lore on a Canon XL2, a movie. Not everyone does. In the days of film,

24p 3CCD camera with swappable lenses. At
the cost was so expensive that it stopped a lot
the time, we thought it was unbelievable. Now,
of people from making movies. Now, everyone
it looks like a dinosaur, and this is a motif that is making them for next to nothing. This is a
repeats itself over and over again in the ever-
good and bad thing because many filmmakers
changing technology climate we live in.

aren’t learning the basic rules of how to make

By the time we got to President’s Day, tech-a movie. They just rush into a production,
nology was moving so fast that I’d gotten sick
shoot it quickly, slap on some slick box art,
of buying a new camera every two years. In-
and try to get it released. Sometimes they suc-
stead of buying new gear, we hired a DP/gaffer
ceed and sometimes they fail.

team that provided their own: a Panasonic

I don’t have a problem with new people

HVX with a 35mm lens adaptor setup.

62

HOW TO MAKE MOVIES

The adaptor looked pretty great. We could
files. My senior thesis film, The Underdogs, was use fixed lens and do wild rack focus maneu-shot in 2001 on 35mm and I edited on an
vers that we’d never done before. However, it

Avid.

required a lot of light. We’d lose about two-

I was always a film snob and never thought
and-a-half f-stops with the use of the adaptor.

I could accept digital for feature filmmaking.

For a simple bedroom scene, we’d be blasting

And while it will never be 100 percent as good
the location with Kino lights. Lighting ate up
as film, I’ve learned to love digital as a way to a lot of production time.

do things efficiently and create a workflow

By the time we shot Witch’s Brew, DSLR
where I can do most things by myself. Once
cameras shooting HD video become the “it”

it’s shot I can import immediately and start
format. We shot with two Canon 7Ds. Light
editing full-resolution footage in my bedroom
loss was minimal (except when using an espe-
that day. Certain cameras also have their own
cially long telephoto lens or freakish wide
aesthetic, so while the Panasonic DVX100 can’t
lens). In general, these cameras provided great
compete with 35mm in clarity, it has its own
picture quality for very minimal cost, but just
look and flavor that can be fun to play with.

like every format, it had its disadvantages. On

Same for the RED. I’ve seen it look terrible
hot days, the 7Ds would overheat. A lot. They
and I’ve seen it look great. I’ve been lucky to
never blew up, but we didn’t take many
work with a great DP, Ryan Samul, who really
chances. We’d power them down as often as
knows how to exploit all formats.

we could. The DSLRs also had no sync-sound

The technology now is so good, there’s no
option (recently, I’ve heard of a “hack” that
reason not to be making things that can com-
can work around this issue). We recorded
pete with Hollywood.

sound to an H4N zoom recorder and it had

Damon Packard: At this stage in tech-
to be synced-up in post. I used a program
nology in the micro-budget world I’ve been
called Plural Eyes for this. It uses the wav form using the Canon DSLRs and Panasonic Proof the 7D’s camera audio to match up with
sumer cameras. The Red Epic currently seems
the wav form of the H4N’s.

to be the favored tool in professional circles.

Another downside to consider with DSLRs

The tools are always improving, but nothing
is your editing platform. The 7D saved files
will ever replace the photochemical look of
as H.264s. At the time, Final Cut Pro (my
film.

preferred edit suite), couldn’t edit H.264’s na-

Brad Paulson: I use the Panasonic DVX
tively and, therefore, I had to convert them to

100a because that’s all I have the money for. I

Apple ProRes HQ files. This and the syncing
can’t even remember what the camera was we
of audio took up quite a bit of post-pro duc -
made our first movie on. I started using shitty
tion time. I spent about two months encoding
handhold camcorders to make my own movies
and syncing the footage. It looked great in the
in high school. This was, of course, before the
end, but it was very labor-intensive for us.

prosumer stuff was around. Never in my

Jim Mickle: My first feature, Mulberry wildest dreams at that time would I have

Street, was shot in 2005 on a Panasonic
thought there would be an affordable camera

DVX100, which was a 24p Mini-DV camera
out there in a few years that would give me a
that I absolutely loved. I edited in Final Cut

“film look.” At that time, I was already seeing

Pro and we wound up blowing it up to HD

Hollywood Video get infested with micro-cin-
and the distributors made a 35mm print for
ema, so I thought it may be possible for me
release. On Stake Land we shot in 2009 using in the future. When we made The Van we
two RED-One cameras, and I edited in Final
didn’t even own a camera. So, we went to Fry’s

Cut Pro and did all the F/X and compositing

[grocery store] in Burbank to look at options.

in Adobe After Effects, working with 4K RAW

The clerk told us people would buy the cam-

Equipment and Production

63
eras to shoot porns and turn them back in
actors and your goal is to sell to a distributor three weeks later and get their money back. I
for cable or home video, you simply rent the
looked at my co-directors and said, “Looks
best camera you can. You’re not saving money
like we have three weeks to shoot this sucker.”

by going with a consumer format. The costs

On The Bloodstained Bride we started using of the actors, the script, the lights, the cos -
the Panasonic DVX100a and that’s the same
tumes and the permits are the same anyway.

camera I’ve used ever since. Fortunately, I can

And the sound quality is more important
upgrade if I need to because the prosumer
than the picture quality. Clean up the sound-
equipment is so much less expensive than it
track and re-record the dialogue, if necessary.

used to be. On the Bride our camera was A viewer will keep watching your film despite
worth 5K. Now it’s only worth 1k or less. It
some poor video if he likes the story and can
still suits my purposes and has been a great lithear the dialogue. But if he can’t make out
tle camera. I plan switching formats in the
what anyone is saying, forget it.

near future, but it has been very good to me

But if your goal isn’t a narrative film with
over the years.

actors, then grab the camera you have and

Jose Prendes: Equipment changes all the
see what you come up with. Have fun with
time, depending on timeframe and budget, so
images and editing. Mix and match shooting
this is kind of an odd question to answer. My
formats. Go retro. Put those tiny Kodak, Flip
first film, The Monster Man, was shot on a dv and Sony HD cams in places where larger and
cam, while Corpses Are Forever was shot on more professional gear can’t go.

35mm film. It all depends on budget and the

Eric Shapiro: I’m not picky as long as
tech available at the time.

it’s High Definition. Rule of Three was shot Paul Scrabo: The past ten years have
in Standard Definition in 2007, and that’s
given us more formats, more codecs, more
haunted us for years. Going around to
cameras, more flavors than we can master. I
festivals, it looked different on every screen;
would recommend that if your film contains
sometimes really washed-out and grainy,

Jose Prendes working with a 16mm camera in a film school short.

64

HOW TO MAKE MOVIES
sometimes sterling and glossy. And when

So, my equipments covers all the main de-

Netflix licensed it for streaming, it got flagged partments, meaning I can actually make any-by our distributor’s quality-control depart -
thing to a very decent quality. It’s good to
ment for all the grain. So the editor, Randy
work out what you have to spend and do lots

Stoudt, had to put a soft blur on it and adjust
and lots of research on cameras, microphones
the image. HD is far more stable and can
etc before you buy. I don’t think about things
withstand far more transfers and platforms.

like, “I can’t shoot because I haven’t got a good Anthony Straeger: I have a number of
enough camera.” I shoot because I have
cameras — all sub £5000 ($7500) cameras,
bought one and, in most cases, it will do just
ranging from tape based to solid state SD card
fine.

based. I made Call of the Hunter on a JVC GY-Stepping up to say, the RED Camera from

HD200—1280 ¥ 720 at 24fps. This camera
my JVC would have inflated the budget and
is a Mini-DV HDV camera and has the great
the shooting time for Call of the Hunter. So advantage of having a really good lens on the
the whole thing becomes relative — Many
front of it. Additionally, I had a wide-angle
films are now being shot on the Canon D5
zoom to give me the full range of options. I
and D7 because they are high quality and easy
had no problems with the quality not being
to use. But once you move to prime lenses
full HD (High Definition), i.e., 1920 ¥ 1080.

then you move the time line along. It gets back

I very much like the JVCs as they have
to balancing the books — Time versus Equip-
made their .mov file system very Final Cut Pro
ment versus Budget. Three balls that take a
friendly — so having the solid-state model has
lot of juggling.

reduced the editing time. I don’t really think

I can tell you one thing — after Call of the that one should be too hung up on the camera;

Hunter I will not do anything as insane as try-there are so many very good, small and low-
ing to shoot in 12 days. Currently Quid In
cost cameras out there that it really is a

Shrapnel Productions is in negotiations to pro-
fantastic playground for filmmakers. There are
duce a zombie movie entitled Blue, Green, Yel-some amazing developments in low cost cam-
low, Dead! And we are looking at a schedule eras at the time of writing, there was a new
of 28 days, and 42 if it goes to 3-D. We intend
airing from Canon the Canon C300 at sub 20k to shoot something like the Red or Scarlet,
looks like a remarkable camera.

but that will all depend on the final budget

I have some of my own personal sound
negotiated. Back to juggling and that is all you equipment — I have a Beyer Dynamic MCE
can do.

86N(C)S shotgun microphone, which I love

Overall, you have to do a serious weighing-
because it has a nice mellow tone to it. For
up job. The length of the script and the action
voice-over work I have a Blue Yeti USB micro -
involved affects the length of shooting time
phone and, for the money, it was a great buy.

and, therefore, the budget. The camera will

Once again I don’t have top-end equipment,
affect how you shoot and with what lenses you
but the equipment I have does a really good
can shoot with and, as such, affect the shoot -
job.

ing time and the budget.

In addition to that, I have amassed quite a

Marc Trottier: Equipment and technol-
lot of lighting running at 2 ¥ 2000-watt
ogy have changed so much in recent years that

Blonde Lamps, 4 ¥ 1000-watt Redhead lamps

I re-edited Darkness Waits to try and make the and a set of four variable Dedos. Add to that
quality acceptable with the standards of today
a few 200-watt regular house bulbs and I can

(by “today,” I mean “2008” which is when I
light anything. These days, when cameras are
finished it). I was a victim of what I call “Lucas so sensitive, you don’t need the really big 10

Syndrome” ... which is basically re-doing
and 5k lights under most circumstances.

things to try and keep up with the current

Equipment and Production

65
standards (like how Star Wars was released 37
color correction ... Photoshop to fix individual times ... with a 3-D version scheduled for re-frames or create the cover art for the DVD/
lease over the next few years). I re-edited it a Blu-ray case, disc and menus ... Audition for
few times and added new footage over a period
special sound effects and adjustments that I
of seven years!

can’t do in Premiere ... and Encore for DVD/

Since I haven’t been active lately (as far as

Blu-ray authoring with animated menus and
writing/directing) and I worked so long at
music.

restoring footage from Darkness Waits (which Mike Watt: We started with 16mm film
was shot on Mini DV) that I still haven’t per-
and slowly moved our way through the various
sonally made anything in HD yet — although
incarnations of digital video, finally landing
that would be my obvious choice because the
in the HD world. While many of our col-
quality is amazing and you have so much more
leagues are film purists (Amy included), I
control over the footage. I know, I know ...

never preferred it. Everything about working
welcome to the 21st century, Marc!

on film is another step. Load it in the dark.

As far as editing goes, I edited the first part

Shoot it. Process it. Reshoot because something
of Darkness Waits (originally two short films went wrong. Get a work print. Edit. Con form
which were eventually put together to create
the negative. Transfer the sound from one for-
a feature) on a VCR. Actually, that’s how I
mat to another. Apologies to all film purists
began editing stuff. The finished product

(Art Ettinger at Ultra Violent Magazine in par-would be a VHS tape, which just seems so an-
ticular) but digital is really the way to go.

cient nowadays! I currently use Adobe CS5

Demon Divas and the Lanes of Damnation

(5.5) for all my projects. With the Creative
was our first HD movie, with the equipment

Suite, I use Premiere Pro for editing ... After
provided by our crew, DiggerFilm (Steve Vil-

Effects for visual effects, animated titles and
leneuve, Hugo Bissonet and Simon Geraghty).

Shooting Demon Divas: Hugo Bissonett (left), and Mike Watt.

66

HOW TO MAKE MOVIES

In order to edit, I had to upgrade our com -
moments that are, miraculously, fitting to-
puter system, editing software and eventually
gether beautifully, if a bit subjectively. Were
obtain our own HD camera for inserts and
we shooting film with the same budget, those
reshoots. It was a large expense up front in -
magical moments would have been lost.

stead of an ongoing expense of the film and

This day changed the dynamic of the rest
processing. Working from P2 cards instead of
of the shoot. I’d encouraged improvisation
tape is also a long-term cost saver. And, of
during small scenes, but thanks to the digital
course, it’s all instant. A couple of menu items format, we could just keep going long after
in and you can see exactly what you shot,
the scene was done. We’d get a master, close
making the “reshoot or print” decision an in-
ups, and then everyone would just let loose,
stant one. Of course, HD comes with its own
evolving their characters with both new dia-
share of nerve-wracking elements (card inter-
logue and prolonged silences. Sure, if I’d had
ruption, bad reader, corrupt hard drives), but

Robert Altman’s average budget, we could
it’s nice to focus on filming rather than elec-
have done that with film, too. Without the
trochemistry.

cash, it’s the format that allowed us all to find The differences between the production on
our footing from one scene to the next.

The Resurrection Game and Razor Days are And, of course, with digital nonlinear ed-night and day. Part of that came from having
iting, the post-process comes with its own ad-
the budget to keep everyone around for ten
ventures, too, which is going to result in a
straight days, as opposed to one or two week-
movie with a unique look and style from any-
ends per month for two years. More came
thing else we’ve ever done.

from that instant gratification of digital.

Ritch Yarber: We shoot on the Canon XL

Shooting fast and tight is always a priority
in digital format. Although I am a fan of the
for us, but with film we always heard the dollar Canon XL, the main reason we use it is that
signs ticking away as the film exposed. On

Brian Foster, our director of photography, al-

Razor Days, a much more character-driven ready owned this equipment and the attach-script, HD gave us the luxury of improvisa-
ments. I added a second Canon XL to our ar-
tion. One day in particular during the shoot,
senal to complement what he already had. We
we had an elaborate, four-page dialogue scene
use Mini-DV because it is economically the
between the three stars, Amy, Debbie Rochon
most viable format for our budget at this time.

and Bette Cassett, which also included a cho-

Our editing program is Adobe Premiere and
reographed fight scene. Just as we were ready

Final Cut Pro.

to shoot, the sky opened up and vomited rain

Our first movies were shot with consumer
in sheets. The actors voted to keep going, but
grade Hi-8 cameras and some lights that Brian
the elements made the scene increasingly dif -
borrowed from the cable television pro duc -
ficult to stick to choreography and the blocked
tions that he worked on. We now use the
moves. So I told them to just go for it. What-

Canon XLs, small lighting packages, moni -
ever felt natural, don’t worry about the lines,
tors, professional microphones and whatever
hit the emotional beats. We wound up with
else we can borrow, beg or steal ... just kidding.

three very different takes of the scene, the ac-

We have even dabbled with direct video feeds
tors utilizing the full half-acre of muddy space into on-set computers. Our latest film, Murder while I, Director of Photography Bart Mas-Machine! , features CGI effects that greatly pro-tronardi and the rest of the tarp-carrying crew
pelled us as we sought to fully realize our
just tried to keep up. There was one section
vision of the ultimate killer. We hope to con-
of dialogue in particular that led in different
tinue this escalating trend with our next
directions each time and it allowed us to focus
feature that will incorporate CGI effects to add on each of the three, capturing very special
an animated character to interact with our live

Equipment and Production

67
cast, something that we have no clue about

Compared to my early days, the main differ-
but that we have already started to make hap-
ence is that I now shoot in High Definition.

pen. We know it is a common thing to many

But does it really matter if a movie is digital
filmmakers these days but we hope to present
rather than in film format? I don’t think so. If it in an original manner within our usual
the story is good, if characters are believable, micro-budget. Another new and growing ex-if the acting is solid, if photography is well
perience for us and for the talented artists that defined, and if the editing is good, then it
will contribute to this work and, hopefully,
makes little difference what kind of support
gain future opportunities by making it hap-
every frame has been impressed on. Does it
pen.

matter if a painting is on canvas or cardboard?

Ivan Zuccon: I don’t believe the technical Does it matter if a portrait is painted with
means is that fundamental. I shoot my movies
crayon or oil? I don’t think so. It’s the subject in HD quality with very good cameras, like
that matters, it’s the stroke, the hand of the

Sony CineAlta, even though I’d love to have
painter, the meaning the author wants to
enough money to shoot a movie in 35mm.

transmit through his creation.

Camera setup with the crew of Wrath of the Crows (2012). Photograph courtesy Marija Obradovic.

Budget and Funding

The majority of my films, including the
further get more “bang for the buck” I collab-
documentaries, have been self-funded. I think
orated with other filmmakers by making an-
a large part of this was due to impatience. I
thology-type features. They’d produce and
wanted to get right to it, not spending months
fund their own segments and would get a per-
or even years trying to get money from other
centage of the profits. This worked out for
people. Yes, I had tried that many times
everyone and we’d only have to spend a frac -
through the years while working on my own
tion of what we would on an individual fea-
projects, and it never amounted to anything
ture. This worked well for a decade, when it
other than frustration. In trying to get money
was viable to produce some sort of income
from investors the one obstacle I kept on com-
from independent filmmaking.

ing across, over and over again, is that these

The only time I ever lost money on a film
potential “producers” wanted a guarantee that
was on the drama Walking Between the Rain-
they’d make their money back within a certain
drops, primarily because I shot that in Cali-time period and they wanted this in writing.

fornia and, after the digital movie was com-

Some even stipulated that they wanted me to
pleted, had it blown up to a 16mm print for
pay them back everything even if the movie
film festivals. This cost about five times more
made no profit. While I always had the inten-
than the actual budget of the movie. However,
tion of finishing a movie and selling it, I wasn’t that particular film remains one of my fa-psychic. So I refused to do any of these deals
vorites.

because I couldn’t promise something out of

With the documentaries I made my money
thin air. It was more trouble than it was worth
by getting sponsors/underwriters for the PBS
and I didn’t want the producers as a perpetual
television broadcasts. However, I had to finish
black cloud over my head.

the program first — and get it accepted for

So I did as much of the work as I could my-
broad cast — before I could blindly approach
self, borrowed equipment when I didn’t have
these different companies for cash. It always
it, and recruited volunteers for crew and
took about a year to shoot and edit a produc-
actors. I was always up-front about the low-
tion, as I was doing the majority of the work.

budget aspect of production and always made

Yes, there was always a chance it wouldn’t get
sure to have food on-set and on location. A
accepted and I would not make any money at
well-fed cast and crew is a happy cast and
all, but it was a risk I took. It’s always a leap crew. Once a movie was done and I had in-of faith believing in the project and that you’ll come from it, I invested that money into the
be able to make money on it. Just don’t go
next production and then into the next. To
broke doing it.

68

Budget and Funding

69

The Filmmakers were asked:

How do you handle your budget and funding?

What costs money and what doesn’t?

Glenn Andreiev: You want to pay your
made back. If you have investors they must be
lead cast members and crew people something.

paid back so you can prove to them that you

They all have bills to pay and the “we’ll all
can make a return on their investment. The
share in the profits” thrill dies awfully fast dur-costliest budget items for documentaries with
ing production. Also, you want to pay your -
reenactments are sets, props, make-up, and
self. When shooting, you want to concentrate
costumes. I would recommend to budget at
only on your film, not, “Is the landlord com -
least one-third of your budget for post-pro-
ing around today?” Today, with the indie film-
duction sound (sound effects editing and mix-
market being so weak, you want to target local
ing) and music. When making H.H. Holmes, businesses for funding, saying that their busi-the addition of Hollywood voice-over talent
ness in your film can be great local publicity,

Tony Jay and the excellent post sound work
and think of ways of effectively getting local
and music really brought the film to a higher

(not national) publicity for them, meaning the
level.

seafood restaurant in Jackson ville, Florida,

Keith Crocker: I simply start out shooting probably isn’t concerned about the publicity
with the notion that I’m going to save every
they’ll get in Michigan.

dollar I can. I’ll pay for only what needs to be If you’re shooting with video on location,
paid for and nothing else. I don’t spend money
always play it very low, with minimal equip-
on permits; I steal locations. I pay only for
ment and crew, letting businesses know you’ll
nude scenes from actors and actresses, because
be in and out of their place quickly. You’ll get nudity is a tall order for actors; it can cause
so many services, locations, even food for free
uneasiness and discomfort, and you may lose
if you prove you’re not going to be a big pain
the performer if you don’t give an incentive. I
in their necks.

always supply food, drinks and comfort for a

John Borowski: There are three major
cast and crew; you’ll lose them if you don’t
phases of independent film production: fund-
take care of them. I’ll pay for supplies needed
ing, production, and distribution. Each of
in regards to make-up and costuming, so the
these phases is a mountain to climb. Some -
make-up artist does not get stuck with any
times I feel I would rather climb Mount Ever-
bills. But most folks know nothing about what
est as that is how difficult making indie movies they can and can’t get for free. They very often can be. Since my films are documentaries, I
spend themselves into a hole and their films
can make them over a period of years. With a
cease in production because they run out of
narrative feature film, the entire production
money. No need for that to happen if you’re
budget must be ready when filming com-
careful, smart and very up front about your
mences. Being a 100 percent independent
needs. Most folks want to see a film succeed,
filmmaker, I self-fund my films. I budget my
and love to help out, provided it’s not a mis-
films based on the last film I produced and try
erable trip.

to achieve more with a smaller budget each

Richard Cunningham: I try to keep
time. Many filmmakers want huge budgets
budget down to a bare minimum because the
but I want mine as small as possible so there
funding for my films comes from my own wal-
can be some type of a return on investment.

let and whichever small team I’m involved

The less money spent, the less that has to be
with. Day jobs can only afford an amateur

70

HOW TO MAKE MOVIES
filmmaker so much, and debt in general scares
book collection that I had collected for years,
the hell out of me, so I try to improvise and
and worked in odd jobs. I had tried to find
use makeshift equipment where I can.

outside funding from either government agen-

For example, on my last film, I cleared the
cies here in Canada (Telefilm and Sodec) but
floor space in my apartment, converting it into
was always refused, as they do not like horror/
a photography studio in which I shot a ma-
fantasy films, and the tax-shelter years of Prom jority of the hundreds of images seen in the

Night, Terror Train, Shivers, Rabid, My Bloody film’s compositions. For lighting, I bought a

Valentine, et cetera, were over. David Cronen-few china balls, a halogen lamp set from Wal-
berg would not have had his career if it wasn’t
mart, and I employed translucent shower cur-
for the tax-shelter deals of the time, as his early tains to soften them, poster board for bounces.

films were loathed by critics and the govern-

I used a piece of sheer Styrofoam sheeting
ment. But unfortunately for me I missed those
which I illuminated from behind, creating a
golden years. Cronenberg, after being a success
blank backdrop and clear edges on the objects
internationally, has since been accepted by the
for when I needed to cut out the image in the
government-funding agencies, but he’s an ex-
illustrating process later. I even used an old
ception. If anyone else would submit scripts
crutch to produce some of the characters’ more
like Shivers, Rabid, Scanners, Videodrome or extreme action postures. It obviously makes

The Brood they would get rejected. I ran out you look a little less big-time to the other peo-of money many times during the six years it
ple involved in the project, but using a little
took to finish Blood Symbol. Eventually I ingenuity to fashion your own equipment can
found a producer who convinced a post-pro-
save you thousands of dollars in production
duction house to pay for all the post and be-
costs.

come co-producers, and that’s how the movie

Then there are some expenses you can’t
was finally completed.

avoid, like the camera. Still, you can purchase

For my following projects I tried contacting
a solid prosumer HD camcorder now for a few
a few private companies, to no avail, but it’s
thousand dollars; or, if your budget demands
normal as it is very hard for even established
it, you can start out even cheaper than that.

directors to get projects off the ground. For

Sound is also one of the most powerful and

Lady of the Lake, I took my savings ($15,000) immediate attributes that will quickly differ-and took out a loan ($10,000) and shot half
entiate a good film from one poorly made, so
the film in 1993, edited what I had (50 min-
it’s important to invest in a quality micro-
utes) and did a trailer. Then I tried for five
phone. If your film requires a lot of static shots years to find investors, partners, and money
or slow pans, it’s also a smart move to invest
to finish the film. Many promising leads
in a sturdy tripod that offers some real fluidity turned out to be wastes of time and it was very
to the camera’s movements.

frustrating.

You can often get friends to help out during

In 1998, my friend Martin Gauthier (who
a shoot for crew; even actors are often willing
ended up composing the score) had inherited
to jump on-board for no salary, but in that
some money from his dad, and loaned me the
sit u ation it’s wise to plan out a concentrated money to finally finish the film.

filming schedule and stick to it — especially if But I don’t recommend taking money from
you are paying people little to nothing — be-
family or friends, as it puts a strain on rela-
cause with such favors often conflicts are
tionships. Because, unfortunately, it wasn’t 100
bound to emerge in schedules the longer that
percent clear between me and Martin that the
your production goes on.

money he put in was an investment or a loan.

Maurice Devereaux: To finance my first

This was a big mistake, since we were friends,
film, Blood Symbol, I sold off my huge comic-naïve and clearly not “businessmen.” We

Budget and Funding

71
didn’t do things officially with contracts that
own backyard, Maurice Devereaux — why
made everything crystal clear. I thought the
didn’t you hire him?” The producer answered,
money he was putting in was an investment

“Who?” He had never heard of me, and the
and that whatever money the film made back
first-time director (who had only done a short
he would get first and then we would split the
film), who was making this four-million-
rest. He though it was an investment/loan and
dollar feature, knew someone related to the
that I would eventually pay him back, when I
production and got hired. Contacts ... those
could (no time line, a “gentlemen’s agree-
are the real gold. Ninety percent of jobs come
ment”). Oh, boy, if I had known, I would
through them. And, unfortunately, it has never
never have taken on his generous $100,000
been my strong suit on the filmmaking side.

loan, as even the small $10K loan I had taken

Well, unless you enjoy working with ama-
before took me years to pay off. And a 100K
teurs, EVERYTHING costs money. Good ac-
loan would have terrified me. On the upside,
tors, professional crew, food, gas, locations, in-we finished the film, Martin was happy with
surance, equipment. Until you have made a
it and started a career as a film composer. On
film, you really have no clue how so many
the downside, the film made almost no money
things add up. Even if today some things are
back (only about $20,000). Even if Martin
way cheaper (camera, editing), there are still
never pressured me, it still was an albatross on so many elements that remain that you need
my shoulder and I felt morally obliged to pay
to pay for. Many indie filmmakers think once
him back. I ended up finally paying him back
the film is “in the can,” they’re done. But for
the $80K about nine years later. Luckily, we’re
certain sales (TV) you need extra E&O insur-
still friends.

ance, and you need to make international

For End of the Line I took all my savings sound mixes of your film (without the dia-from my contract work (I edit movie trailers,
logue) to sell to foreign markets. Films are

TV and radio commercials) and partnered
money pits, no matter how professional you
with special make-up F/X artist Adrien Morot.

are. There is always something you forgot and

He would do all the F/X in exchange for 30
need to pay for.

percent of the film’s sales. The film cost me

Donald Farmer: For my first few movies
around $400,000, but sales for the film were

I funded them partly through co-productions
only $185,000 (minus 30 percent for Adrien’s
with video production companies. They pro-
share), so I ended up losing lots of money.

vided the things that represented major costs

So what have we learned is that financing
on a low-budget film: camera gear, lighting,
films out of your own pocket is the absolutely
crew, and editing facilities. If I could get these worst way to make movies. DO NOT DO
items for no up-front cost through partner-

THIS! Not only do you lose lots of money,
ships with various production businesses, I
but worse, you don’t make any useful contacts
then would cover the remaining costs my self
for your next film, as no one in “industry”

... things like actors salaries, make-up staff and knows you. Once Adrien Morot was doing the
supplies, meals, motels, craft services. That’s
special F/X for a horror film shot in my home-
how I worked on my first movie, Demon
town of Montreal, he was talking with the

Queen. I found a Nashville video-production film’s producer, who was candidly sharing his
company a friend referred to me. The owner
feelings about the many problems they were
and his wife were my “crew.” He brought all
having on the film and how it sucked (terrible
the camera and lighting gear down to Miami
script, lousy first-time director who knew
from Tennessee and we filmed for three con-
nothing about horror films, etc) and Adrien
secutive days. Then, to give us more running
mentioned to him, “You have a horror film
time, I wrote a couple of second-unit scenes
expert (*note: His words not mine) in your
set in a video stores that my cameraman shot

72

HOW TO MAKE MOVIES
when he was back in Nashville. That’s where
two actual 35mm prints we would show at

I brought in my friend Bob Tidwell from The
local theaters and drive-ins. This would be the

Summoned to play the video store owner.

last time I’d see such lavish spending on a

After wrapping Cannibal Hookers in Los
movie I worked on. Even five years later, when

Angeles, I moved back to Tennessee and im-

I did four back-to-back movies with a com-
mediately was hired to be production manager
bined budget of 1.2 million, things were con-
and co-casting director on No Justice, a 35mm siderably more frugal, as it should be.

feature with a $350,000 budget and a six-

No Justice could easier have been done for week shooting schedule. This was funded by
about half its $350,000 budget. The waste I
a local car dealer who would ultimately spend
witnessed was a real education in things I
a half million on this and our follow-up movie
wanted to avoid when I started raising backing

Demented. So here I was finally working with for my own movies. Why fly a crew in from
a real budget, even though I wasn’t directing

California when you can hire them locally?

and was involved more in organizational as-

Why have a 30-person crew when half that
pects of the shoot. Even the director wasn’t re-
number will do fine? Why cut on film when
ally directing, since our producer insisted on
your primary market is video and television?

giving himself sole directing credit. But in re-

Why blow cash on fancy catering and wrap
ality, the picture was about 80 percent directed beer? If the crew wants beer at the end of the
by Fred Dresh, whose credits included crew
day, they’ve been paid. Let them buy it them-
work on the John Saxon film Cannibal Apoc-
selves!

alypse.

But there is one useful trick I learned on No I ended up getting a nice acting scene in No Justice for stretching a budget. Our producer Justice opposite Cameron Mitchell, whose had the bright idea of approaching companies
phone number I’d saved after interviewing
for product placement spots. Not for cash, but
him for my Splatter Times fanzine. I’d already for an agreement to provide camera time for
lent Mitchell’s number out when Fred Olen
the products in various scenes in exchange for

Ray was casting The Tomb and needed another a few cases of said product for free. We did
name. Now I had suddenly had the resources
that with Pepsi and Budweiser on No Justice.

to hire Mitchell myself after the producer’s ne-

But a few years later, on Deadly Run and Vi-gotiations with Charles Napier went south. I
cious Kiss, we used product-placement to get had enough in my casting budget for a second,
free rental cars, RVs for the stars, and lots of smaller name, so I brought in Camille Keaton,
lots of free bottled water for the thirsty cast
who I’d gotten to know when I lived in Los
and crew. For any indie directors wanting to

Angeles. We also had Bob Orwig, who’d just
score some free drinks or snacks for their crew
appeared with Charlie Sheen in Platoon, but through product placement, I always recom-he happily worked for a fraction of what
mend the path of least resistance ... namely,

Mitchell and Keaton were paid.

go after the smallest brands in each category.

Having such a solid budget on No Justice

If you need free bottled water, don’t approach
meant we had money for hiring a mostly L.A.

Evian or Aquafina ... go after the obscure re-
crew. We flew everyone to Tennessee and
gional brands that probably can’t afford lots of housed them at the local Scottish Inn for six
advertising. Same with snacks ... let them
weeks, springing for lavish catering (with a
know that your movie will be sort of a perma-
choice of multiple salads and desserts), renting nent commercial for their product that people

Panavision 35mm camera gear and a full grip
will still be watching years from now. Even
truck, paying for multiple locations through
offer to put the company’s website and phone
our three-county shooting area, and finally,
number in your end credits roll, if you think
actually editing the movie “on film” to create
that will help. Any movie, no matter how

Budget and Funding

73
small, is going to HAVE to buy drinks and
snacks for the actors and crew ... right? Why
not get that stuff for free and have some extra
money for your budget?

When I used to shoot on film, the cost of
film stock, processing, and sound syncing
were hard costs that could never be deferred.

But now that everything’s gone digital, all
those costs have evaporated and low-budget
filmmaking is more accessible than ever. Now
maybe the biggest hard cost is hiring an effects house to do your CGI.

Jeff Forsyth: All my pictures, so far, have been self-financed. That has extended the production time on a few projects by months.

With such an uncertain market I had not pre-
viously felt it was the right time for investors.

I have one more micro-budget film in me, I
think, and then I am going to seek investors.

Richard W. Haines: I use independent
investors putting up small amounts of money
which limits their risk. I also roll over profits from one film to the next to make sure I retain

Box art for William Hopkins’ Sleepless Nights

51 percent of the equity for creative control.

The way I budget my pictures is I don’t take
because you put everything on credit cards.

any up-front fees since I own the finished

Eventually the bill comes due. I would guess
product. That saves on producing, directing,
the producers of these supposed no-budget
writing and editing costs. I pay the crew what
films tell the IRS a different story when tax

I can afford but give them a check on a daily
time comes around, especially if the films have
basis. I know that on some low-budget shoots
had any success in the marketplace.

the producers run out of money and are

If you’re approaching your production in a
unable to pay their employees. I discovered it
professional way, you can expect that every as-
helps their performance if you pay them on a
pect of it will cost something. The equipment
per diem basis.

you buy or rent, cast and crew’s salaries, trans-William Hopkins: Everything costs
portation, food and lodging, costumes, sup-
money, it seems. Everybody has their hand out
plies for special effects and make-up, fees paid for money and every aspect of your production
to secure the locations, insurance for the shoot, will come with a price tag on it. We all hear
expendables like gaffer’s tape, batteries, light these stories about films that were made for a
bulbs, foam core. Obviously, you want to keep
few thousand dollars or a few hundred. At
the costs down as much as possible, but every-
least one filmmaker recently claimed his total
thing costs something. Very few films that ac-
budget was 50 British pounds. How true those
tually cost nothing to make have any real com-
stories are and how much is hype and publicity
mercial value in a world where just about
is hard to say. I suppose if the film is shot on everybody has access to high-quality cameras
a deferred-payment basis, you can say it cost
and editing software. If a film like The Blair nothing to make, but that’s a little misleading.

Witch Project, which is about as small and sim-That’s like saying you have no living expenses
ple a production as you can imagine, still cost

74

HOW TO MAKE MOVIES
somewhere between 30 and 60 thousand to

Rolfe Kanefsky: Ah, the eternal strug-
make, according to the reports I read, then it’s gle—raising money to make your film. It’s not
hard to imagine anything with any com mer -
easy. It’s never easy. I have written a lot of
cial value being done for much less than that.

scripts. I have budgets for many of them. I

For both of my films, the funding came
have multiple budgets for many of them. Dif-
from private investors brought to the produc-
ferent levels the films can be made depending
tions by our producers. Nowadays we also
on the money at hand. There are the budgets
have indiegogo.com and kickstarter.com to
with name actors and the budgets with non–
consider. Whether or not those sites will really SAG actors. Basically, most movies can be
be useful to indie filmmakers in raising funds
made for a variety of budgets. When push
for their productions remains to be seen, but
comes to shove, things can be simplified,

I’ll certainly be giving them a try.

favors asked, and films get produced despite

Steve Hudgins: We are low-budget spe-
the lack of funds.

cialists and handle our own entire budget. To

I know some filmmakers who will not make
me, the biggest expense is equipment. De-
their movie unless they have enough money
pending on who you know, you can often bor-
to do so. I also know a lot of filmmakers who
row some equipment, but the basic equipment
have been waiting years and years to make
for making a movie like camera, sound equip-
those movies and end up making nothing. I’ve
ment, lighting equipment, editing software
always felt that the more you do, the better
and a computer powerful enough to deal with
you get and every experience teaches you
it all is where a lot of the money goes.

something. It’s been frustrating because if

Rolfe Kanefsky and producer Alain Siritzky on the set of Rod Steele 0014 in Today Is Yesterday To-
morrow, a James Bond parody and sequel to You Only Live Until You Die.

Budget and Funding

75
there really is very little money, your film will fice. Find a team who shares your dedication.

not have the slick Hollywood look. It might

Treat them well, compliment their hard work,
be a good film but it doesn’t look like a 20 milgive them real meal breaks and you will save
lion dollar film because it ISN’T! But when
a lot in the long run. It’s much better working
the choice is to make nothing versus a low-
with a happy crew than a pissed-off, exhausted
budget independent, I usually choose making
crew that wants to kill you or the producer for
the movie.

putting them through this. Be cheap but don’t

So, what costs money? Well, everything
be too cheap and, if you’re smart, you’ll put
costs money. That’s not to say that you can’t
the money where it belongs ... on the screen!

get favors. Most do. If you shoot in your own

That’s why I started producing myself. I
house or a friend is nice enough to lend you
was sick and tired of watching money being
their house, then you save money on your lo-
thrown away and time wasted on the stupidest
cation. You can steal shots versus getting per-
things. A long time ago, I worked as a P.A. on
mits. You can feed a cast and crew pizza and
a movie called Jack’s Friends. It was a first-time fast food versus hiring a caterer. You can buy
director and we were shooting in the Hamp-
a camera with a 30-day warranty and return
tons at night in the winter. It was freezing. So, it after your shoot. There are many, many ways
we’re shooting this scene where a naked girl is
to beg, borrow and steal to make your movie.

laying in the road to stop a car so she and her

With the exception of stealing locations, I have boyfriend can carjack the driver. Anyway, we’re
never done those other things. I believe in pay-
shooting the scene and it gets to the part where ing people, even if it’s very little. You want to the girl runs to get her clothes and can’t find
show people you respect their services. All ac-
her shoe. Well, the director suddenly wasn’t
tors get paid. All crew members get paid unless
sure if he should shoot a close-up of the shoe
they’re an intern in training. But if you can’t
that she can’t find. He stopped and discussed
pay, then you must feed them well. A good
this for almost 40 minutes with the producers
meal goes a long way. You also have to pay for
while the actors and crew sat around, freezing,
film/tapes and you need to light your scenes
waiting for them to make up their minds. I
properly. Unless you know someone who owns
couldn’t believe it! I was screaming inside my
their own camera and lighting package, you
head, “Shoot the shoe! Just shoot it so you
must pay for this.

have it. Then you can decide in post while ed-

Renting equipment on the weekends saves
iting if you want to use the shot or not!!” It
money. You get extras days and, if you return
would have taken two minutes to shoot the
it by Monday morning, you save a lot. I know
close-up but they wasted almost an hour on
people who have shot entire films on week -
set talking about it. Talk about throwing away
ends, renting the equipment every Friday and
a lot of money and time. These discussions
returning it on Monday. Again, I have not
should have happened in pre-production.

done this but most of my films have been six-

That’s why you should always have a good
day weeks to get the most out of the equip-
pre-production schedule. Prep is the cheapest
ment.

period of time during any movie. But what

I have usually worked with non-union
happens quite often is people get some money,
crews, which saves money when you go over
rush through prep, run into problems during

12 hours, and that often happens. Same goes
production and then try to fix it in post. It’s
for actors but even some SAG actors, if they’re
always a mistake and always ends up costing
on your side, might not blow the whistle if
you a hell of a lot more money. If you plan it
they shoot an extra hour or two.

correctly in the first place, it will be better in Making a movie, any movie, takes a lot of
the long run and save you a bundle.

hours, dedication, hard work, and self-sacri -

Brett Kelly: I’m sure a lot of filmmakers

76

HOW TO MAKE MOVIES
will tell you the advantages of free talent, and preciated, and feeding them is the least you that’s definitely true. Many actors and com-can do.

posers will work for free at the beginnings of

Other important budget decisions are
their careers and I’ve certainly utilized a lot of special effects, nudity, and costuming/props.

their services. At this point, I like to pay folks If you’re making a low-budget flick, you prob-whenever the budget allows, but if you don’t
ably won’t have a name actor starring ... so
have the cash there are people who will work
your stars are your effects team and, if you’re
for free in exchange for clips for their reels or doing something sleazy ... your nude roles.

to build their résumés. I think the bulk of my

I’ll politely not disclose what we pay for
budgets tend to go towards feeding cast and
nude roles (it varies based on the scenes), but
crew on set and during post-production. One
it’s important to pay those folks ... not only
aspect that often gets forgotten is the cost of
for the sake of respect, but because that is a
deliverables to distributors, that’s a biggie.

high-selling point to any distributor.

Don’t blow your money up front, it’s the end

My first three films had zero nudity, and
that costs the most.

every distributor we talked to promised us

Chris LaMartina: Witch’s Brew was our they’d be more intrigued to license with a proj-biggest production to date. We raised $13K
ect featuring more skin. When it came time
through a site called Kickstarter, which funds
for President’s Day, I knew what we had to do.

creative projects through donations. We found

There’s gore and sex within the first two min-
another $2K through investors and ponied-
utes. We got triple the distribution offers com-
up $1K ourselves. It was our most expensive
paratively and we learned a good lesson: sex
film to date, at $16K.

sells.

Using a Kickstarter was an interesting, ex-

Similarly, your body count and/or monster
hausting experience. At the time, the site was

(whatever that may be: a maniac, vampires,
relatively new and we were one of the first pro-
werewolves, garden gnomes, etc.) is crucial
ductions to fund a feature film with it. We
to audience excitement and public inter est.

promoted the link every day through social-

Micro-budget fans love a good gross-out.

networking sites and begged/pleaded with

Don’t let them down. They are the most loyal,
friends, family, and “fans.” Will we ever use it devoted fans out there and they’re consistently
again? Probably not. It’s sort of a one-trick sit-disrespected by cheap effects.

uation and the months following our suc -

Less important, but not to be forgotten, are
cessful fundraising, we saw plenty of projects
costuming/props. If your resources are limited,
fail because of “Kickstarter fatigue.”

and you don’t have money for wardrobe, you

Prior to Witch’s Brew, everything was self-can write your screenplay to be cheap. A story
funded with a handful of small investors. We’d
that takes place in one day with minimal char-
take revenue from local premieres and the
acters doesn’t require a lot of money for cos-
small advances we’d get for distribution deals
tumes. We have a tendency to make ensemble
and just roll them over into the next film’s
films that are also prop-heavy. Often times,
budget.

we make up for this by requesting actors to

Allocating resources and deciding how
provided some of their own costume and dig-you’ll budget varies on the project. Without a
ging through attics, thrift stores, and friends’

doubt, the most important money spent is on
collections.

food. Some might find this shocking, but if

Jim Mickle: Our first film started off with you don’t feed your cast/crew and you work

$10,000 from a friend who had the balls to in-
long hours (which is almost a given in the
vest in a little horror movie. From there it
micro-budget world), you will have a mutiny.

gradually grew to $27,500 to have a cut we

The bottom line is that people want to feel ap-
could deliver to festivals. We sort of got the

Budget and Funding

77
money piecemeal, because it was so risky we
doing. There’s nothing worse than shitty spe-
didn’t know if we wanted to blow it all at once
cial effects. If that’s the case, you’re better off if the movie turned out to be a piece of crap.

doing your own. I hate CGI. I’d much rather

With Stake Land, a fantastic filmmaker named spend extra money and take extra time while

Larry Fessenden came along and hooked up
filming to use practical effects. Use production the financing through Dark Sky Films as part
value. Put the money on the screen. If you
of a slate with two other films.

can’t put the money on the screen, use it on

In both cases I had amazing producers who
food to feed the actors. It’s been said a million could handle the finances and keep it off my
times before and it’s as true today as it has been mind. I’ve seen a lot of directors get carried
in the past: a well-fed crew is a happy crew.

away with the business end of filmmaking,

On my next movie I plan on cooking all the
and I think it can almost be a form of procras-
meals for the crew. I’ll save money, and I think tination to avoid having to start committing
a home-cooked meal will help to build cama-
to creative decisions in pre-production. But
raderie. Plus, I just plain love cooking. When
the sooner you can forget about budgets and
there’s a good sense of camaraderie, making
let producers do their job, the better. Depart-
movies can be a blast. When people hate each
ment heads and producers have done this way
other on the set, it can be hell. It’s also usually more than almost all directors, so the best bet
a good rule of thumb to save money for
is to trust the people around you and team up
screeners, rental for the screening, festivals and with people who understand and enjoy their
general post-production costs. You can spend
job. It can be counterproductive to have a di-

$100 on the movie but if you want it to get
rector who is overly concerned with the ins
out there and get seen you can easily spend
and outs of the budget or the financing.

thousands on festival entries. This needs to be

Damon Packard: Everything costs money,
planned ahead for.

any kind of production or endeavor. It doesn’t

Jose Prendes: Money is the most impor-
matter if it’s a film or not. Talent, equipment, tant thing when making a movie. It dictates
wardrobe, props, locations, scale rates, you

EVERYTHING! You write for your budget
name it. How I handle my budget is usually a
and try to stick to it, but you almost always
situation where I shoot what I can when I can,
go over. Trying to make a movie is basically
simple as that. In other words, shooting is very trying to manage chaos. Things cost more
rare and sparse. The days are few and far be-
than you think, or you break something and
tween, mostly filled with general survival is-
have to replace it, or equipment rentals add
sues.

up, or a thousand other things can happen in

Brad Paulson: Stars cost money. Dwarves
the course of making your movie. For me, I
cost money. A good dwarf is a major commod-
try to get everything for free if it’s coming out ity just because they are so hard to find. This
of pocket. The one thing I don’t skimp on
is also why they can get away with having the
when people are working for free is food. I
attitude that they so often do. But they’re
make sure I feed my cast and crew because
worth it because there are so few around.

good food goes a long way to get everyone on

Good-looking normal-sized actors, on the
your side and keeping them on the team.

others hand, are everywhere in this town. So,

Funding is a whole other ball of wax and really
it’s a balancing act. Things which I consider
isn’t something I can answer because most of
production value on the screen are definitely
my movies have been self-funded, except for
worth the money. Something unique — some-
my next one, which is taking forever to land
thing you don’t see most people use in their
money, and that is the sad truth about funding
movies. Effects are good to spend money on
in general. I don’t know why tons of cheesy
if you have someone who knows what they’re
movies get funding when good projects lan-

78

HOW TO MAKE MOVIES
guish in what is called “development hell,” but
important hire, get at least three quotes. Make
it happens. If you want to make something,
sure that you have insurance if you can because
plan for something you can afford, and then
that is one thing that could bite you in the ass!

make something cheaper.

One of the parts to your question is the

Paul Scrabo: Dr. Horror was self-funded, Chicken versus the Egg. Do you have a specific
so the first item I put in the budget was how
budget available to you or are you going to
much I was going to pay myself for the time
take your script and produce the following?

that I’m taking off from my regular job — how
much I could get by with for those three or

1. Full synopsis and proposal
four weeks. And multi-tasking is a myth —

2. Script/screenplay
you can only focus on your production, not

3. Budget Top Sheet
your day job as well.

4. Estimated time frame

Originally, it was planned to have one of

5. Any marketing material, comparisons and
the mini-movies featured in the film presented
relevant projections start or are you going
like an old Universal horror film. Finally, I had to take your script, budget it.

to get real. Period costumes, sets and cars?

This information is crucial if you are pitch-

Could we get this ready in time? Could I pay
ing for money. There are a number of ways to
for all this? The budget determined that we
build up interest in you project, such as Social would shoot the entire sequence like a situ -

Media, Crowd-Funding, private and public
ation comedy, and we finished it in one long
funding bodies. The bottom line is if you plan
day. Inspiration or desperation? Take your
a budget you can aim for a specific amount of
pick!

funding, which will guarantee your schedule

Eric Shapiro: My first priority is what
and requirements. If you just have 10k, then
most filmmakers often see as the last priority:

you simply have to tailor your cloth, which
making sure the cast and crew are compen-
can be quite exciting in itself.

sated. Sometimes you can’t always make it, but

One of the biggest costs in low-budget film
you should do your best to give the people
is accommodation (if necessary) and food.

who work on it something for doing so. The They say an army marches on its stomach.

difference between a compensated group of

Well, the same applies to cast and crew. Half
people and a group that works for free is mas-
the shooting budget for Call of the Hunter was sive. The former is far more cooperative and
spent on food/drink and accommodation. Be-
happy, even if they’re only getting a token pay-
lieve me, as an actor having done low-budget
ment.

and experiencing a bag of chips after 12 hours,

Anthony Straeger: First, I was very re-

I can tell you that it is the best way to breed
alistic about the amount of money I could
discontent.

make the movie for. So putting together a

On the other hand, what doesn’t cost money
bud get that someone can look at and say,
in no/low budget is talent. These days, sadly,

“This is feasible,” is very important. As this
more and more actors and crew do work for
was a very low-budget film I was able to ap-
free. If someone (as I did) says, “I don’t have
proach friends and like-minded associates.

the money to pay you,” then you have to make

As far as working a budget out, there are
a very definite promise to make it worth their
some great templates that will help — all
while. So this is a list I think every director
down loadable on the internet for free. What
and producer of a no/low-pay movie should
you need to do is break down the component
obey. It’s short but it’s important:

parts from location/equipment/transport, et
cetera. You have to be realistic. Get an esti -

1. The cast and crew have to be treated with
mate on absolutely everything — and, if it’s an
respect and looked after.

Budget and Funding

79

2. They should, without asking, be supplied
ductions. If you can’t afford to feed people and with stills and a copy of the film.

get them to where you need them to be, you

Marc Trottier: I look forward to the day
should rethink your project. It’s the first “pro-when I can make something with a proper
fessional” step.

bud get, where I can pay the actors and the

Further down the line, we’ve made contact
crew what they deserve, as opposed to asking
with enough investors to make sure our prin-
acting friends to work for free ... and to hold
cipal cast and crew are paid for their time and
the boom for the shots that they’re not in. I
expenses for the duration of the shoot. Some-
also taught myself how to use all the editing
times we adhere to contracts; other times we
software because I didn’t have money to pay
play fast and loose, but nobody leaves empty-
someone else to do it. That’s something else I
handed if we can help it.

look forward to — paying other people to do

For a Happy Cloud Picture the paid-for
post-production work.

elements are food, travel, props/effects, in -

The budget for Darkness Waits was sup -
surance and salaries (however small they may
posed to be split between four people, includ-
be). We’ve rarely paid for locations, legal ad-
ing myself. The other three bailed at the last
vice, publicity or equipment rental (though
minute, so I ended up funding it alone. So I
the latter has come up, over the years we’ve
can’t really speak from experience about bud -
scrounged nearly everything we need). The
get and funding, because up to now, it’s always
best advice for not paying for something is
come out of my pocket. Hopefully after read-
make lots and lots of very disparate friends.

ing this book I’ll have some better ideas of how Ritch Yarber: To date, all of our Twist-to pay for stuff!

edSpine.com Films productions have been to-

I know that there are grants that you can
tally funded from our own shallow pockets.

apply for ... but I’ve never done that.

The main reason for this is that we consider

If you’re lucky enough to find talented peo-
ourselves a “film group” and not a business
ple to work for free (or really cheap), then you venture. We are trying to showcase what each
have to at least supply food and beer (I rec-
of us can do if given the opportunity. So far,
ommend supplying beer after filming is com-nobody has come forward to the group and
plete, if you want things done properly).

announced that they want to showcase their

Mike Watt: When we started, money
ability to gain funding to make independent
from Amy, my and Bill’s full-time jobs went
films. That would be great. Till that happens,
towards film, materials and food. There were
we feel that we are investing in ourselves by
times when Bill had to build a new prop from
spending our own money to produce valuable
scratch because we couldn’t afford a pre-built
entertainment that provides us and others with
whatever-it-was. The rest of it was to buy and
experience, visibility and a sense of successful process the film. But a large portion of our
accomplishment. We have always made our
limited budget went towards keeping the cast
money back on our films and have consistently
and crew fed, which meant a lot of home-
reinvested that money into the next project.

cooked meals, sandwiches, snacks and soda.

We are finally at the level where our efforts are Since everyone was working for free, over the
starting to get us the notice, accolades and op-
span of two years, the food went a long way
portunities that we hoped for. TwistedSpine.

to keeping people coming back.

com Films is about everyday people gaining

Over the following years, food was still the
opportunities to become paid entertainment
top priority. But in place of film costs came
professionals through their contributions to a
travel expenses. Gradually, we prided ourselves
successful micro-budget production.

in making sure no one was [paying] out of

The TwistedSpine.com Films attitude and
pocket—at the very least—on one of our pro-
belief is that high-quality productions can be

80

HOW TO MAKE MOVIES
made on a micro-budget by utilizing a grass-
everything’s expensive, and that making mov -
roots campaign to attain equipment, talent
ies at zero cost is almost impossible. In the
and props. Passion does not cost money. Pas-
field of horror movies what costs more, both
sion has you scour thrift stores and flea
in terms of time and money, are the special
markets until you find the best costuming and
make-up effects. I sometimes get annoyed
props that you can afford and that will be ac-
when I have to wait for hours before shooting,
ceptable as real to the viewer. Passion has you
waiting for make-up artists to finish their job.

finding great locations and working out ways

But nowadays it’s hard to think about making
to get them into your film. Passion has you
horror films without special make up effects,
working to find the best actors for your
unless you decide to use CGI. Yet, this only
project. Passion keeps you from settling for
postpones the problem, and all the chickens
the quick and easy fix to a problem. Passion
will come home to roost during post-produc-
has you finding affordable ways to keep your
tion. I have a dream, which is to shoot a horror cast and crew fed, happy and content that their
movie without even a drop of blood in it, to
work is appreciated.

create a scary and creepy atmosphere through

The great thing about how TwistedSpine.

the clever use of camera and photography. Un-
com Films makes movies is that everybody
fortunately, it seems that you can’t shoot a
works as a team, knowing that the success of
movie like this in today’s times; the password
one will be the success for all. It’s not about
for distributors is “more”: more blood, more
making money, it’s about making opportuni-
violence, more sex, more monsters, and there-
ties. That makes for a great creative atmo -
fore, more special effects. You need at least to sphere with everybody giving their best to the
partially adapt yourself to the trend if you
work.

want to recover the money you invested. In

Ivan Zuccon: Managing the budget is the
the end, making movies is also about business,
hardest thing to do. No one can deny that
not just about art.

Production Crew

When you are working on a feature it’s ex-
better. On your first production, get only who
tremely important to work with people you
is necessary. Do you really need a script su-
can depend on and who you get along with.

pervisor or a continuity person? Probably not.

Your best bet is to work with either individuals But you definitely need a camera person (who
you’ve worked with before, whether it be in
can also light) if you’re not shooting yourself—
film school or a professional production, or
and there needs to be a person responsible for
with friends. On my films I tried to use the
recording good audio. A few production as-
same crew people since they knew what they
sistants also come in handy, as they’ll help with were doing. The one thing you really don’t
everything that needs to be done. A tight-knit
want to be doing, particularly on a first fea -
group also makes the production go much
ture, is training people on the job. You’ll have quicker.

more than enough to worry about. If you need

Your crew also has to understand that if
spe cific skills, post advertisements for the crew you’re the producer and/or director that you’re
mem bers you are searching for, such as for
calling the shots. This is not a Hollywood
light ing and audio. You’ll have to have inter-

“film by committee.” By all means, you should
views to make sure you’re all on the same page,
be open to suggestions. Someone may have a
and state if there is pay or not and the type of better or more efficient way to light a scene or hours they are expected to work. I remember
frame a shot — and that can only benefit your
several instances where potential crew thought
production. But it’s not conducive for some -
they’d be working on a half-million-dollar bud -
one to be a “backseat director” in front of your get when I kept on stressing that it was only a
other production people.

$5,000 production. “Oh, you can get money,”

If you are working with “volunteer crew”

they insisted. “I’ll give you a discount of my
then you’ll most likely have to work around
day rate.” Well, a real day rate for a cam era or people’s day-job schedules, and that means
audio person can be anywhere from $300–
shooting on weekends. Most people will not

$500 a day, and that was not feasible with the
give up their weekends unless they have a great
lack of budget. It wasn’t possible under the cir-interest in seeing your movie completed. So a
cumstances. It was either make the movie as
little enthusiasm on your part goes a long way.

cheaply as I could or not to make it at all.

No one will be as excited about your movie as

I’ve also found that the smaller the crew, the
you are. Keep up that momentum.

81

82

HOW TO MAKE MOVIES

The Filmmakers were asked

How do you pick and choose your crew?

Glenn Andreiev: All experienced cine-

John Borowski: The internet is a great
matographers and editors know their stuff.

resource for finding crew. I usually put up ads

Where you want to focus on is their person-
for the crew that I am seeking and receive
ality. It’s a process of elimination. If I know
many responses. Some want to be paid what
they are talented but are full of themselves, or they are worth, but, unfortunately, my budgets
simply look down at you, go to the next can-
are so small, or nonexistent, that I cannot pay
didate. Ask yourself, are they going to respect
full rates. I am always truthful and up front
you as a director? Are they okay with working
when hiring crew and cast and explain to them
on a low budget? Are they going to offer sug-
what I would like to achieve and the amount
gestions that are truly to the benefit of the film I have to work with. The film industry is an
and not their ego? I worked on a feature film
ego-driven business, so you will come across
in Florida that stopped for a good three days
many people with attitudes. It seems that
into production because the editor was a
when making every film there is at least one

“know-it-all” and berated the director with
bad apple. I once worked with a director of
endless, needless “tough-love” filmmaking les-
pho tography who I was upfront with and once
sons. Other crew and cast members started
we started filming he complained to the other
walking off the film — they saw it was doomed
cast and crew members on the set calling it
for failure because of this constantly yapping

“ghetto filmmaking.” I made sure to write him
editor.

a letter, letting him know how unprofessional

Director John Borowski (right) discusses framing a scene with DP Jason Satterfield. Photograph by Matthew Aaron.

Production Crew

83
he was acting on the
set and that I would
never work with him
again. He asked that
his name be removed
from the film, so I re-
moved his name.

Word-of-mouth and
references are very im -
por tant in this indus-
try, so I recommend
to people that they al-
ways be courteous and
professional, as word
gets around quickly as
far as who is problem-
atic to work with. You
have to work long and
stressful hours when
making films. Try to
be pleasant and have
fun while doing it.

Keith Crocker:

These days I choose
crew more by experi-
ence than anything
else. Years ago the
crew was also made
up of actors, techni-
cians, friends, and es-
sentially anyone who
wandered onto the
set. In other words,
everyone doubled up
on duties regardless of
how good they were

DP Jason Satterfield sets up a shot for director John Borowski, while when it came to a spe -
actor David Weiss (rear) awaits his cue. Photograph by Matthew Aaron.

cific job. If you were
willing to do anything, you got the chance to
much a birthing pro cess. Anyhow, Bloody Ape do it. When I was shooting on 16mm, I tried
was the last film that I made taking on way
to do it all: produce, write, direct, shoot, edit too many hats. I ran myself into the ground,

(right down to the A&B roll) and draw up the literally, got physically ill and ended up in the publicity. This helps to explain the exhaustion
hospital. From that point on I vowed to pull

I’d suffer from making films. It felt like giving together crews to make my life easier. And I
birth, except I’m a male and I have none of
did with Blitzkrieg and the two promotional those reproductive organs to even know what
film trailers ( Three Slices of Delirium and Ras -
that feels like. But filmmaking, to me, is very
putin on Campus). In between, when I finished

84

HOW TO MAKE MOVIES

Bloody Ape and began Blitzkrieg, I met a slew use folks who I don’t always like personally,
of people who had various degrees of skill,
but I know are reliable and will come through.

guys like Jim Knusch, who had a background

Filmmaking is work, and you don’t always love
in 35mm and 16mm camera work, and was
those you work with. You cooperate and you
willing to try his hand at shooting digital
learn to work with people. I also use people I
video. Because of his film background, he was
can learn from — I like folks who have ideas
the only man I’d trust to light and shoot
and want to share them. The best films are the

Blitzkrieg (I knew he’d light it and set up angles ones that have collaboration. I don’t like ego,
like it was film). The same goes for Dan
though. I can’t stand when I get a “genius” on

Lipski, who shot two of my latest promo trail-
the set who thinks they know more than any-
ers. He has a good digital background but he
one and wastes your time telling you just how
has shot film as well. And there’s Keith Mat-
great they are. It’s usually the less experienced turro, who did costumes and production de-people who do this. You should only get wiser
sign on Blitzkrieg. Keith is a collector of mem-with experience. Growing a large ego will do
orabilia, who has a big collection of World
nothing but get you into trouble.

War II uniforms, and he understands so much

Richard Cunningham: The first crew I
about the war that the bulk of us don’t know
was involved with was a couple of friends from
because we don’t invest the time in such
high school. We all had particular interests in
things. Without Keith Matturro, Blitz krieg filmmaking and kind of naturally assumed our
could not have been made. In the past, I’d use
roles in production. The guys with whom I
people I was comfortable with; folks that I
collaborated on America the Mental and Year knew wouldn’t give me a hard time. Now, I’ll

Zero, I met after I moved to New York City.

Year Zero’s cast and crew celebrate the film’s world premier at the 2011 Tribeca Film Festival. Left to right: Americk Lewis, Marie-Pierre Beausejour, Pat Rigby, Tim Brennan, and Richard Cunningham.

Production Crew

85

Producer Tim Brennan I met working on film/
budget shoot I usually just need a cameraman

TV sets in New York City and another collab -
and a couple of production assistants who can
orator, Pat Rigby, is a New York City stand-
help wherever they’re needed. On a bigger
up comedian, who I met through Tim.

budget, I look for a director of photography

I guess it’s obvious to pick creative, versatile first, then see if he has recommendations for
people for your production team, but I don’t
camera crew, gaffers, or other crew from people
think it can be overstated. If you’re working
he or she has worked with. Most DPs have a
on a union film, then you’ll have specific peo-
ready list of crew they want to recommend to
ple for specific jobs; but on a micro-budget
you, so why not take advantage?

film, it’s usually a few people wearing a lot of If I’m working with a DP for the first time,
different hats to get the film completed. So it

I want to see clips of things they’ve shot before.

helps if everyone on the crew/production team

I tend to have some of specific requests in
is bringing a few talents to the table. More -
terms of lighting, so I like a DP who doesn’t
over, it’s not easy getting the time commit -
expect total autonomy in this area. I can tell
ment from a large group of make-up artists,
fairly quickly how much I can delegate to a
set designers, gaffers, grips, et cetera for a non-DP — sometimes they will suggest camera
paying job, so the more you can boil down the
placement but I usually do this myself. I’ll
crew, the fewer people you have to depend on.

make the call if a dolly track or any kind of

Maurice Devereaux: Who’s good, who
camera movement is used. My big pet peeve:

can I afford, who’s available... There are union if I don’t request camera movement or a zoom
books with lists of people, but usually go
lens shot, don’t give it to me. I remember feel-
through other filmmaker friends and their rec-
ing beyond pissed once watching rushes from
ommendations. Contacts!!!

one of my 16mm movies and seeing their

Donald Farmer: On a small, ultra–low-
zoom-lens moves that I hadn’t asked for.

Donald Farmer (with camera) shoots a scene for his first movie, Demon Queen.

86

HOW TO MAKE MOVIES

Jeff Forsyth: My crews have always been
with it to see if anyone is interested in helping minimal, not because I like it that way but be-out with crew. From there we stick with the
cause the crew is usually staffed with friends
hardest-working, most reliable and depend -
and family that I train to operate in certain
able crew members.

jobs.

Rolfe Kanefsky: You interview, ask film-

Richard W. Haines: I’ve used the same
maker friends for referrals, and try to continue cinematographers on multiple productions,
working with the people you know are good!

since they understand my shooting style. I

Sometimes it’s trial and error. When you have
allow them to pick the rest of the crew like
very little money, you can’t afford the best peo-AC’s, gaffers and grips. I pay them but they
ple for the job. You have to settle for the “hun-are sub-contracted out by the DP so he can
gry” people who need to work, or the excited
find people he’s comfortable working with. A
film students looking to break into the busi-
film crew must operate as a team, so it’s better ness. You have to learn how to read people and
if they use veterans.

hope your judgment is on target. Every now

William Hopkins: We didn’t really have
and then you find a really good, talented crew
a very large crew on either film. On Demon
member and then you hold on to him/her for

Resurrection, since I was shooting the film my-as long as you can. Basically, everyone has an
self as well as directing, it really just came
agenda. You need to find someone who has
down to four or five additional people, two of
the same agenda as you and then you can help
whom were our producers, Frank Cilla and Ed
each other. I like being around the same team.

Wheeler. Everybody did double and triple

It makes it easier to communicate my vision.

duty. Several of our actors also helped out be-

I also need my crew to trust me. You have to
hind the scenes when they weren’t needed in
win over that trust. You need to work as hard
front of the cameras. It might’ve been nice to
as you hope your team members on the set
have a few more people to help out, but on a
will work. James Cameron is a tough boss, but
small production like Demon, every additional he works his ass off. You either have to stack
person would’ve meant more expense and
up to that kind of leadership or walk away.

more trouble, frankly, since every extra person

On my last production, we had very limited
brings their egos and little personality quirks
means and a very tough schedule. We shot for
along with them, and the likelihood of conflict

54 days, six-day weeks, and almost always
rises. I’d really rather work with a smaller
filmed at night. That is hard, and many, many
group of mature, intelligent people, folks I
of the crew members did not last until the end
trust and who I know are really committed to
of the shoot. But we found a few great ones
the project. I never really felt we were short-
and some that really learned a lot. Back 10, 20, handed on Demon, or that we were missing 30 years, Roger Corman was famous for hiring
out because we didn’t have more experienced
young talented kids, teaching them the ropes
people crewing the film. We all worked to-
with his B-movies and watching them grad-
gether and if we encountered any problems we
uate to big studio films. Charlie Band with his
kept at it till the problems were solved. We

Full Moon company also did that to a certain
muddled through and came out with a pretty
extent. On the East Coast, Lloyd Kaufman
entertaining film at the end of it. So I suppose and Troma Entertainment was the training
when I start readying my next film, I’ll be
grounds. Unfortunately, now, that doesn’t re-
looking to the same people, if they’re available, ally exist. It’s all independent films that can’t or I’ll be taking their recommendations on
put out that slate of productions to keep peo -
who to hire.

ple working. So, you have to move around and

Steve Hudgins: Usually when we send
work on as much stuff as you can. I was lucky
out a casting call, I attach a crew call along
to work for or in association with Corman,

Production Crew

87

Setting up for the “Miss Louise” scene in Steve Hudgins’ Spirit Stalkers. Left to right: Terry Sidell, James Gibbs, Steve Hudgins.

Band, and Kaufman. It was a great training
were totally rude, inconsiderate, and smarmy.

ground and really taught me a lot about

We don’t need the drama, and if you’re making
stretch ing a dollar and making it look like a
a cheap flick, neither do you.

hundred.

Good people bring a lot to a production:

But going back to the question, we find
energy, camaraderie, and a shared sense of
people through ads on craigslist, other web-
purpose. Obviously, you can’t just hire anyone
sites, and through networking. Being at the
because there are plenty of great folks that
right place at the right time makes all the dif-
aren’t interested in honing film skills, but it’s ference. That’s why luck plays such a big part
about finding a balance.

in the film business. If you have luck, talent,

Take the film student who wants a foot in
and drive, you can have a career.

the door versus the twenty-year veteran who

Brett Kelly: I tend to work with the same wants a NY Strip Steak for catering. Most
people a lot, but the way I would meet them
likely, your budget will already dictate this de-is from networking opportunities, such as at-
cision, but if not, definitely consider it. The
tending screenings of other filmmakers. I also
bonus to hiring young talent is a fresh take on
take recommendations from friends I’ve
old ideas. We’ve learned a lot from green film
already worked with.

kids rather than the weathered grumpy old

Chris LaMartina: We will always pick
gaffer. He can teach you a lot, too ... but this the best person over other attributes. I’ve spois an ever-changing industry and passion ranks
ken with plenty of top-notch craftspeople who
supreme in our book.

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HOW TO MAKE MOVIES

Jim Mickle: I spent a few years working
people that have moved here to get involved
as a best boy grip on a lot of indie movies, and in movies, someone will always respond to a
along the way I met a lot of great people who

“Crew Needed” craigslist ad. Filmmaking on

I went on to work with. I met Ryan Samul
an independent level is very old school and
through that and he had a great DP reel and
homegrown. I love that aspect about it. When
we clicked creatively, so he went on to shoot
you’re in the trenches with a good group of
both my films. I worked on Transamerica, where people, making movies has such a small-town

I met my girlfriend, Linda Moran, and she’s
feel to it. It makes you feel like you’re doing
been producing movies for 15 years. She’s an
something good and are far removed from all
amazing producer and an invaluable cre ative
the corporate bullshit of studio movies. How-
partner and she’s introduced me to a lot of tal-
ever, I’m looking at a lot of the people I’ve
ented people. My sister Beth Mickle produc-
known over the years who have moved out to
tion designed my student films and now she’s

L.A. and just got destroyed by the brutal sys-
gone on to be hugely successful in the film
tem that exists in this town. Most people don’t
world, designing movies like Drive and getting now how to live broke. I would have been out
nominated for BAFTAs, so her crew was kind
of here years ago if I hadn’t trained myself to
enough to get down and dirty and do Stake
live at my means and nothing else. I’ve disci-

Land. A lot of people, like composer Jeff Grace plined myself to live dead-ass broke out here
and sound designer Graham Rez nick, came
since the day I made California my home. I’m
from Larry Fessenden and Glass Eye Pix’s team.

like the guy in the post apocalypse who’s

That’s another great part of living in New
shacked himself up in the hut learning how to

York and working in film. There’s a whole cul-
survive off nothing for years, just waiting for
ture of like-minded people to surround your-
the nuclear fallout to clear so I can venture out self with, so when the opportunity comes to
and make a movie again. I really don’t know
make a movie, you get to work with all your
why I stay. It’s certainly not for financial rea-friends.

sons. It must be a combination of the fact that

Damon Packard: It comes down to pure

I enjoy being around like-minded people and
practicality, whoever is available, willing, and am a glutton for suffering. To live here there
agreeable. The logistics of getting everyone
has to be something wrong with you, and to
avail able and together on the same day and
move here to pursue a career in filmmaking
hoping nobody drops out at the last minute
you have to be insane.

(which often happens) and nothing else goes

Jose Prendes: If they are willing to work wrong is a miracle in itself. And this is partly for free and are hungry for film experience,
why so many months/years unnecessarily pass
then they are in my crew. That was the original
for what should amount to a week’s worth of method. Now that I am dealing with union
work!

stuff, my crews are selected very carefully and

Brad Paulson: The crew is usually people
résumés are weighed. But I like to work by in-
we’ve worked with before that we trust. It all
stinct. I like to meet the person, talk to them
kind of revolves around the film school prin-
about their favorite movies, why they want the
ciples, really. Everyone helps each other out
job, and I can usually read a person correctly.

on projects. However, this tends to dry up

I haven’t had any crew problems on my sets. I
after a bit. There are only so many things peo-
try to make sure everyone is having a good
ple will work on for free. After that, it’s time time.

to move on. This is what we’ve had to do from

Paul Scrabo: They are friends who also
time to time. This can be a good thing,
work in media, and are all too familiar with
though. Sometimes, working with new people
dead lines and budget restrictions. And they
can reinvigorate things. Since there’s so many
know other professionals as well.

Production Crew

89

Eric Shapiro: I imagine I get my crew like through a combination of the above. As my
most others in the indie world: based on avail-
crew was very lean, it comprised as follows:

ability, how conducive their needs are to what

John Slocombe, our executive producer,
you’re offering monetarily, and how easy and
who provided over 50 percent of the invest-
civil they seem. There’s an intensive talent de-
ment in the project. Helped project manage
mand for the DP and editor; for the rest,
the movie and found the location.

proficiency and competence are acceptable.

Dennis Morgan was chosen as director of

Anthony Straeger: There are two ways
photography because we had worked on a
to pick your crew:

number of projects in the past, ranging
through corporate filmmaking through to

1. From people you know — some may be in
short films and TV. He is a solid lighting cam-
the business; some might just want to get
eraman who has years of experience and always
into the business.

keeps his cool under pressure.

2. From websites such as Crew United, Cast-

Chris Reading, our soundman, came from
ing Call Pro and Shooting People in the
an advert I placed on Shooting People. He was

U.K. These places are great resource points
straight from college and was looking to build
and you will find many artists more than
his CV. He had a great personality and sense
willing to contact you to find out more
of calm that was just what I needed for this
about your project.

project.

Other ways of finding cast and crew are

Stephen Gawtry, our writer, worked as pro-
through Networking nights, and these can eas-
duction manager and continuity — in our sit-
ily be found on Facebook, Google et al.

uation there was a need for anyone who was

I chose my crew from Call of the Hunter
involved in one capacity to double and triple

On location in a forest shooting the Call of the Hunter: Anthony Straeger (foreground), Dennis Morgan (directly behind), Stephen Gawtry (looking down), and Nick Gregan.

90

HOW TO MAKE MOVIES
up their jobs — He actually helped by supply-
crew were either guys at my film school or
ing a great brew of tea.

people I worked with at the lab, whose films

Nick Gregan, a photographer friend, fan -

I had seen. The ones we had the best relation-
cied himself as a Steadicam operator and so
ships with were the ones we continued to work
he came on board as Steadicam/second unit.

with. As the years went on, we networked with

Other duties included gaffe work on the
other filmmakers and talents. Jeff Waltrowski
movie.

graduated a year or two behind me and made

Richard Unger was brought in as stills pho-
the terrific Project: Valkyrie and became my DP
tographer and again came through an advert
on A Feast of Flesh. Aaron Bernard, an actor on Shooting People. But once we had met, it
on A Feast of Flesh, came on as the second-unit was found he had so much equipment that he
director on Splatter Movie and also authored became head sparky, gaffe and rigging.

that movie’s (and Demon Divas) DVDs. Dig-Sally Alcott was also found straight from
gerFilm’s crew originally approached us to take
college and via the advert on Shooting People.

part in their documentary and their stuff was

She was SFX make-up/hair/costume. Once
so impressive that we hired them for Demon
again she was relatively new to the business,

Divas. For Razor Days, my longtime friend having also only recently finished her degree.

Alan Rowe Kelly introduced me to Bart Mas-

She coped really well with a very limited
tronardi ( Vindication), whose photography budget of less than $1,000.

and instincts are among the best I’ve ever seen, Martin Shenton and myself go back many
and I realized he was the only one who could
years and he was brought in as fight coordi-
shoot this movie.

nator and stuntman. He’d worked on Bond

We tend not to “audition,” however, or hire
movies and is very experienced so was glad
based on reels alone. At any end of the busi-
that he could afford the time to come and do
ness, it’s best to find your principal crew
some sterling work for us.

among talented people you have either met or

The most important thing about our pro-
know through someone you trust. You have
duction was the time pressure and being stuck
to move too fast and be too flexible to work
in one place 24/7 for 12 days. I selected every-
with any wild cards. If someone comes rec-
one not solely based on ability but on their
ommended to us, we’ll meet them first and try
personality and nature. It worked out really
to gauge if their personality will mesh with
well, and I will be forever in there debt for the the rest of the HCP family. Very rarely a crew
amount of work they had to do and how well
member will end up being not what we’d
they did it.

hoped for — great at one thing but not open

Marc Trottier: I’ve never had a proper
to improvisation when problems arise is the
crew, because, like I’ve mentioned, I’ve never
biggest occasional hurdle.

had a proper budget to pay for it. But I look

The more movies you make, your instinct
forward to the day where I’ll have a dedicated
for talent refines and usually blossoms into fu-
sound guy, lighting technician, boom operator
ture collaborations. Movies are horrifically
and director of photography with the proper
stressful events, more so, I believe, than mov-
equipment to assist me.

ing, public speaking or possibly even the death

I’ve been lucky enough to always have actors
of a spouse. Frustration and exhaustion is in-
who were kind enough — and multi-talented
evitable. It’s not a point of pride and it’s not enough — to help out with all the other stuff.

fair, but it is a true trade secret: every movie But like the song goes, “That’s what friends
needs a “dog”— that one guy everyone focuses
are for...”

their frustration on to avoid everyone killing

Mike Watt: This process varies from film
each other. Sometimes the dog is a volunteer
to film. In the beginning, the majority of my

PA or another type of crew with too little ex-

Production Crew

91
perience, to the point they just get in the way.

productions we had a pair of dogs, but in each

With low-budget shoots, though, particularly
case they wound up working together on other
when it comes to people who aren’t being paid
projects and are still cordial to everyone else
in any way beyond food, it’s difficult to just
they worked with.

ask these people not to return. “Dogs” aren’t

Ritch Yarber: Our filmmaking group al-
usually malevolent, just inexperienced. If
ready has a stable under structure. That is,
they’re causing real problems, by all means
people that have performed the same dut ies
dump them. But even if they’re utterly useless,
on many of our projects. We add more crew
unless they’re knocking down walls or setting
to this structure by having open calls for peo -
buildings on fire, they still provide the purpose ple that want to do various tasks on a pro ject
of “ire magnet.” It sounds very cruel, but a
for the experience. We review the in ter ested

“dog” can be an essential member of the pro-
people to determine if they “fit” the standards
duction. Maybe all they come away with is
that we are seeking, i.e., talent, tempera ment
that we’re a bunch of dicks, but they still
and dependability. Once chosen for the pro -
learned from the process.

ject, we try to allow as much input as possi -

But you can’t assign the role of “dog” to
ble from that person pertaining to their posi-
anyone. They have to earn that title. The first
tion and to allow them to make true and
day is a freebie. Subsequent days of screw-ups
valuable contributions to the overall project.

(laziness is not tolerated, but misfiring syn -

As the “president” of the group, I make the
apses on a daily basis can add to the stress and final decisions and take the responsibility
adventure) force you to decide if you have the
of getting the production to where it needs to
time to replace the “dog” or just let him be the be.

focus of bitching, which takes a lot of stress

Ivan Zuccon: I trained my crew during
away from other interpersonal relationships.

the years. At the beginning they were just

If the rest of your folks are professionals, there movie lovers with the will to learn a pro -
won’t be much yelling at the dog, just gritted
fession. Now they have become high-level pro-
teeth and forced politeness. On two of our
fessionals who I could never do without.

Actors

Other than a solid, entertaining script, I
videotape the auditions because you’ll have to
think the second most important thing for a
re-watch all of them to make your final casting
low-budget production is the actors to bring
choices. This is also because of the “photo -
that script to life. They can make or break a
genic factor.” Sad to say but some people do
movie as their performance makes the story
not photograph as well as they appear in real
line believable. Do not cast non-acting rela -
life. But the reverse also holds true.

tives in a part just because it’s easy. Spend time Before the actual shoot make sure to have a
on having auditions and finding the best actors
reading of the script with all the actors present.

available in your area. If you live near a major It’s at this point you answer any sort of questions city, this will be easier.

they have about the script or the characters they Be up front if there’s pay or not, how much
portray. I always told the actors to get together time is expected of them, how long the shoot
and practice their lines. They usually had a
is, just as you would with your crew members.

month or two to practice, from the time they

The majority of the time I was unable to pay
were cast to the time I started shooting.

actors BUT I did promise them a copy of the

During all of this, make sure to treat your
finished movie and lots of publicity. This was
actors well. Don’t rant and rave during the
easier with horror films and actresses, as
shoot, don’t take out your aggravation on
photos of a vampiress covered in blood always
them. They are there to make your vision
made a few genre magazine covers. Quite a
come to life.

few of these actors I’ve cast in my horror

To get the perspective of a low-budget
movies have gone on to much higher profile
movie actor, I asked actor David C. Hayes,
gigs, appearing on such television shows as
veteran of dozens of genre films, to give an

Lost, Desperate Housewives, Party Down, South-actor’s take on low-budget productions.

land, CSI, Dexter and Mad Men.

The usual process of finding actors is to post

Interview with
an ad, listing the characters and descriptions. It Actor David C. Hayes
usually took me a few weeks to go through all
the head shots and résumés and then another

What is your background as an actor?

week or so to set up the auditions. I always ask What first got you interested in acting?

the actors to do a one-to-two-minute mono-

My background as an actor is pretty ...

logue, as this weeds out the real actors from the unique. I started as a grip/gaffer type in Chi -

“wannabes” and immediately shows you if they
cago and noticed a bunch of horrible acting
can act or not. It’s a given that actors should be in the projects I had been involved in. I menable to memorize lines. After you listen to their tioned to a sound mixer friend that I could
monologue you can decide to have them read

“do that stuff,” and he hooked me up with a
a page or two of the character in the script.

short film and I landed my first role. Un -

This saves a lot of time. Also, make sure to
trained and unapologetic about it, I figured I

92

Actors

93

Actor David Hayes at the first Annual Flint Horror Convention, in 2011.

should learn something, so I began to give a
like me. Before leaving the West Coast I had
local theatre company free coffee from the
finished a role in A Man Called Nereus. It is a Starbucks I worked at. Sooner than later I had
pretty unique animal, a metaphysical action
landed a role in their 1998 Rudolph the Red-
comedy, where I play Nereus. The role called

Hosed Reindeer show, a transvestite reindeer for an autistic-like savant on one plane and a
musical. I went on to be a part of their musical genius manipulator of physics on another
version of Carrie and then began to seek out plane. On one side I’m just a big kid. On the
the cult/horror/bizarre films in town. I’d
other side, I consider myself semi-educated
always been a genre fan and decided to focus
and teach college ... just need those steroids.

on these types of projects.

What was the best acting experience

How do you normally prepare for a role?

you’ve had in a film?

It depends on the role. What I like to do is

The best experience I’ve ever had was work-
to take a piece of my own personality and put
ing on Bloody Bloody Bible Camp. We wrapped it on steroids. I get a lot of weird/creepy roles, last year and I’ve recently seen the final cut and for some reason. When I’m dealing with some-I’m pleased. The film is set in the 1980s and
thing like that, let’s say Motorman Dan in
is an homage/spoof of the slasher genre. The

Machined or Reborn. That is nothing more slasher genre is where I cut my fanboy teeth.

than amping up the collector mentality in me

Michael Myers, Jason Voorhees, the rip offs ...

already. I love collecting comic books, movies,
all of it influenced me so much. So, when I
et cetera. What Dan does, he collects serial-
got the chance to play one of my favorite
killer memorabilia and eventually creates his
slasher archetypes, the local that warns the
own serial killer. All he is doing is searching
campers about the bloodshed and tries to save
for the ultimate piece to his collection ... just the day, I was thrilled. We had a great time on

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HOW TO MAKE MOVIES
set, shooting near Big Bear, in California. I
would love to explore Divine and show the
had some great scenes with other genre vets,
world just how brave and tough she really was.

like Jeff Dylan Graham, Tim Sullivan, the leg-

As an actor, how do you recommend to di-
endary Reggie Bannister, and I got to perform
rectors how to do auditions? Give both
in my third film with Ron Jeremy (all of them

“good” and “bad” examples.

clothed ... at least partially).

Auditions. I’ve been on both sides of the

What was the worst acting experience
camera as far as auditions go and I’m always
you’ve had in a movie?

more grateful of the more clinical approach.

Hmmm. Rough one. I am going to have to

This may be different from every other actor
go with a film we’ll call the Cherry Blast to on the planet (but I’m different from every
keep the guilty from getting any real press.

other actor on the planet). I like to walk into

That isn’t the name of the film, but it will do.

an audition, and I’m not there to make

I was cast as a cab driver that takes the main
friends. I don’t care what the guy before me
char acter a few places and provides some
did and I don’t care what the director’s résumé
below-average horror movie exposition and
is. If I’m in that audition that means I have
a funny story. Cool, I can dig that. Unfortu-
enough information about the project to make
nately for me, and everyone else, after three
it worth my time. Once you’ve got me that
excruciatingly long table reads in a loud Mex-
far, don’t feel as if I’m waiting with baited
ican res tau rant, I find out the director is a rag-breath on your next direction during my cold
ing alco holic. Right before we shoot my ONE
read of the first draft. I’m not that invested. I day, he is arrested. So, that shoot is postponed.

can’t be that invested. If I become that invested I feel bad for the kids here, so when he gets
then the eventual rejection (since this is a busi-out I agree to do my day. I was coming off of
ness of rejection) would be too great to bear.

another feature the night before so my turn-

So, the ideal audition is one that I have the
around was about four hours, and I’m pretty
proper information for. I come in, say hello
tired. I get to the location only to find out that politely, hear what the director/casting director the di rector had been fired from his own film.

is looking for, and perform. I then say

Apparently, his only job was to procure a taxi
goodbye after leaving my picture and résumé
for the scene and he got drunk and forgot. So,
and either the production calls or they do not.

not wanting to waste any more time, the AD/

A bad audition is to hold me there to read with
co-writer/co-producer/actress (one of those)

multiple people or to vary the cold reads by
took the reigns and rented a gold Cadillac.

degrees. I understand the concept of finding

Think ing quickly, a Tupperware dish was
out whether or not someone can take
turned upside down and TAXI was written on
direction, but after two minutes with an actor
it with a Sharpie. This was duct taped to the
and seeing how their look fits the vision, a de-
top of the Caddy and, lo and behold, we’re
cision has already been made to either move
ready to shoot. Got there at six A.M. and the
onto the callback or not. Don’t waste all of our first shot was off by noon. Yeah. Great times
time. Thanks, and good night.

were had by all. I went to the screening and,

How should first-time directors deal with
well, yeah. It turned out as well as I thought
actors? What is the most important thing
it would.

they should do? Again, give both the “do’s”

What would be your ideal role?

and the “don’ts.”

I desperately want to play Divine in her life

It depends on the actor, but there are some
story. She is such an interesting creature, a phe-universal truths that first-time directors need
nomena cut down in her prime. I’ve been a
to deal with: (1) They are never as prepared as
huge John Waters fan for many, many years and
they think they are; (2) The specific language

Actors

95
of the screenplay is merely a suggestion (if
is and how, and let me be clear here, DIFFER-
you’re me); and (3) You cannot break the rules

ENT CHARACTERS SPEAK DIFFER-
of proper filmmaking before you’ve learned

ENTLY. Not in funny accents, mind you, but
the rules of proper filmmaking. We’ll take
with completely different vocabularies and in-
these in order. Firstly, the first-time director tents. Characters speak differently to different is never, ever prepared for what they encounter
characters as well. The serial killer can say the on an independent film set. This usually re-same thing to a cop and to a victim, but they
volves around all of the jobs that an indie di-
will not be the same verbiage. You have to let
rector has to do that do not involve directing.

your actors go with their instincts—unless you

When I directed my first, disastrous feature I
hired your friends. In that case you’re screwed.

also cooked lunch, produced the damn thing

Lastly, if you don’t understand how to turn on
and ran sound. That sucked. I wasn’t prepared.

the camera or light a simple scene properly,

As an actor, I’ve seen it happen lots of times
what the hell makes you think your artistic vi-
to first-timers. You have to know how to do
sion will even be editable? I mean, come on.

everything on that set since; invariably, you

Some directors may not know this, but post-
will have to do it. Secondly, if you, as a new
production doesn’t fix anything ... it is a Band-director, are tied to the language of the script Aid on an axe wound. In focus, properly lit
as immutable then you don’t understand the

(meaning, lit for story and meaning and
collaborative nature of film. I guarantee that,
theme) will help your actors bring your script
if I just walk on some set, I’m a better writer
to life. After you’ve learned how to speak in a
than whoever just “polished” that script. Most
cinematic language, you can then change it up
actors who’ve spent some time in the saddle
a bit and try your Tarantino-esque opus. Until
realize how language works, how powerful it
then, learn the right way first.

The Filmmakers were asked:

How do you get your actors? What is the weirdest story you have about an actor/actress?

Glenn Andreiev: Originally I placed an
and kept them prisoner in the White House
ad for actors in Backstage Magazine, and au-basement for many years. She also insisted that
ditioned about 20 people for each major role,
if we hired her there could be no shooting dur-
and went from there. Now I feel I have an es-
ing mid-afternoon hours. Those are the peak
tablished stock company of fine actors I used
hours for the evil energy coming from all the
numerous times, such as Frank Franconeri,
local computers, and that energy severely

Shawna Bermender, Ashley Wren Collins and
changes behavior patterns.

Mike Gadinis, to name a few.

John Borowski: For finding cast mem-

You want a weird story — here’s one: An ac-
bers, the internet is the ideal location to place tress with a great face and interesting credits
an ad. Acting publications and websites are
came in to audition. At the audition I asked
also excellent places to place ads for cast mem-
her about her one credit. As a teenager, she
bers. Make sure to mention if you are seeking
was part of a singing trio that performed for
union or non-union actors. Usually, Holly-

President Reagan at the White House. Very
wood talent requires you to make the film as
seriously, and with great detail, she explained
a union film, but there may be a contract
that Ronald Reagan kidnapped the singing trio
where you can negotiate hiring of both union

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HOW TO MAKE MOVIES
and non-union performers. When making
cents — they felt strong competition with each

H.H. Holmes, I sought an actress for the voice other for this reason. One actress, who was
of Carrie Pitezel, whose children were mur-

Slovenian, disliked another actress because she
dered by H.H. Holmes. In the ad, I instructed
was from Montenegro, and their accents, while
the women to call my answering machine and
not quite exact, were close enough. The Slo -
cry as Carrie would have cried in court. It was
venian girl was also half Austrian, and she was
a fun experience to come home and listen to
tiny and small framed. But the girl from Mon-
all these different women crying on my an-
tenegro was tall and blonde, which I also think
swering machine.

was an issue. Two girls from Roman ia hated

Keith Crocker: Again, back in the early
my Russian actress simply because Russia had
days, the cast was usually made up of friends
control of Romania (through Com munism)

and friends of friends taking on roles and not
for so many years. But when I queried them
knowing jack shit about acting. One actor
about not liking her they simply said, “I don’t
that’s stayed with me for years is Paul Richichi, like her acting!!!” And I’m thinking “Hey, let
who was in all the silent and sound 16mm
me worry about her acting — you guys just do
work I did in the ’80s. I always chose Paul be-
your job.” I teach an adult education film -
cause he was 20 years older than me, he had
making course and I always tell the students
age on his face, that look of experience. You
that they have to be part psychologist when
could pretty much drop him in any role you
it comes to working with actors and actresses
had that required a person of maturity. Now,
because they carry so much mental baggage
is Paul a good actor? The answer is no, he’s
and can easily derail a film with their bull -
not, but he plays eccentrics perfectly due to
shit!

the fact that his acting skills are so flawed. His Richard Cunningham: I’ve posted cast-delivery is insane, he speaks without taking a
ing notices for open-call auditions in local
breath between sentences, and there is no
newspapers and on craigslist (this was back in
human being that logically speaks that way.

the day). When you put yourself out there like

Some folks think I ruin films by using him,
that to the masses, you’re likely to get one or
but it’s the exact opposite — people remember
two odd calls, and we did, but we also man -
him, they remember those scenes. He literally
aged to discover some talented, com mitted ac-
has the power to bring a house down. When
tors. Though my approach today is quite dif-
we had the theatrical showings of Blitzkrieg, ferent.

people in the theater went ape shit over Paul’s

Once I moved to New York City and
delivery in the final scene. They applauded,
started doing background and stand-in work
yelled out loud, they loved him. He re-
ally drove the film home. We are using
an au then tic weirdo to play a weirdo.

It works.

Now, in terms of weird stories, actors
and actresses tend to be weird people
to start with. They spend a lot of time
admiring and loving themselves and are
the most self-absorbed people you are
ever going to meet. During Blitz krieg
shoot I was using act resses from various
parts of Europe. Now, for the most
part, a few of them disliked each other

In America the Mental, Pat Rigby plays sociopathic simply because they had similar ac-stand-up comedian/drug enforcer Rickjack Smitty.

Actors

97
on productions, it became a very convenient
actor calls me to back out of the project. It
environment in which to cast actors, because
took a long conversation to convince him to

I was meeting several of them at any given gig.

stay on and not destroy me. Also on Lady of

The cast of my film is usually a mix of aspiring the Lake there had been a five-year break dur-actors, willing to work for little or no money
ing the shoot due to lack of funds (half was
for the experience or to acquire clips for a reel, shot in 1993, the other half in ’98), so when I
or just because they like the material; that and was gearing up for the second part of the
willing friends and family members.

shoot, I had to track down my lead actress,

But there are also casting websites available
who had moved to the Czech Republic. I had
online, where you can post notices, some free,
to pay to fly her back, and when she arrived
some pay-sites, like Actor’s Access that offer

(the day before the shoot) she had omitted to
exposure to a large pool of both union and
tell me she had cut her long curly hair and we
non-union acting talent.

had to, in a panic, find a matching wig for the

Maurice Devereaux: For my last two
next day ($450 down the tubes). Also, when
films I hired a casting agent, money well spent.

preparing the second half of my shoot on Lady Only once, on Blood Symbol, my first film, did of the Lake, I contacted Angus Scrimm (the a “wannabe” actress try to seduce me into

Tall Man in Phantasm) to play a small cameo being in the film (she wasn’t my type for the
part, he graciously declined, feeling the money
film or otherwise, although I never did and

I would have to pay for his salary, flight and
never will use my position in that way). On
hotel would be better spent on the film itself.

Lady of the Lake, the night before starting a But six months later he saw the finished film
three-week shoot, everything had been paid
at the Fantasia Film Festival and loved it! He
for (film, equipment, locations, etc.), my lead
was quoted in Cinefantastique magazine as say-On location for Lady of the Lake. Left to right: Tennyson Loeh, Erik Rutherford, Denis-Noel Mostert, Francis Tessier, and Maurice Devereaux.

98

HOW TO MAKE MOVIES
ing he thought the film was superb and that
marched up to her on the set one day and said,
he wished he were in it. A classy gentlemen

“Girl, you’ve got an attitude problem!” Any -
and a terrific actor.

one who knew Hillary could understand what

Donald Farmer: I used to get most of my

Whitney was talking about. Anyway, I’d al-
actors through agencies. I’d make arrange -
ready filmed a couple of days with Hillary for
ments with each agency to set up auditions in

Cannibal Hookers when we ran into a road-their offices, then have the actors come in on
block. The “roadblock” was a dead body Hil -
a staggered schedule of maybe one every 15
lary discovered in the parking lot of our loca-
minutes. And Screen Actors Guild performers
tion!

have to be hired through their individual

I’d found Hillary through the same talent
agents, with a little bit of negotiating back and agency in Ft. Lauderdale that booked her on
forth if they have any name value. If you’re a

Miami Vice. Apparently this agency was the producer/director with little or no track rec -
show’s main supplier of background extras.

ords, even minor names want some assurance

There was a huge photo of stars Don Johnson
they’ll be paid. For instance, when I hired
and Phillip Michael Thomas in the lobby to

Cameron Mitchell for No Justice, my deal with remind prospective clients of this fact. I
him was to pay him in cash as soon as he
needed an office building to film one day and
stepped off the plane. If I showed up empty-
worked out a deal with the agency’s director—
handed (which I didn’t), Cameron let me
we could use the location on a Sunday, a day
know he would get right back on the plane
they’re normally closed — as long as only Hil -
and go home. For hiring Brigitte Nielsen there
lary handled the building keys. That was fine
were even more precautions. I was required to
with me, so we all arranged to meet there Sun-
put her full salary in an escrow account to
day morning. Hillary showed up a little early
guarantee our production company had funds
and found a car already parked by the front
to pay her. But sometimes you can get an actor
door with a 20-something girl sitting in the
with minor name value for no more than
driver’s seat. Figuring it was another actress
you’re paying everyone else. Bob Orwig had
waiting for her to show up with the keys, Hil -
already co-starred in Platoon when we cast him lary went over to say hello. Very quickly, poor
in No Justice, but he got no more than the Hillary wished she hadn’t.

minimum daily rate we paid actors. Ray McK-

Hillary didn’t find one of the other female
innon has already co-starred in the Oscar-win-
cast members behind the wheel of that car.

ning picture Driving Miss Daisy when I hired What she DID find was a freshly deceased fe-him for Vampire Cop. He didn’t charge any-male body covered with multiple stab wounds.

thing extra ... neither did an actress in the same Hillary, naturally, freaked—police were called,
movie who’d just does a bit part in Terms of and shooting was suspended ... indefinitely. It

Endearment with Jack Nicholson.

turned out the dead girl had been murdered

But once you hire an actor, there’s no guar-
by her boyfriend several blocks away, then
antee you can keep them through the whole
driven to our office building. Her body had
shoot. As I mentioned earlier, I had to rewrite
been propped up behind the steering wheel
the ending of Cannibal Hookers when we lost and left there for some unlucky person to
a male lead due to a broken leg. I also lost the discover. Police quickly traced the victim’s ad-original female lead of that movie, Hillary Lip-
dress through the car’s plates and found a stillton, just three days into production. Hillary
bloody crime scene, with the killer in resi-
was a gorgeous blonde who’d been an extra in
dence. This genius hadn’t even attempted to

Miami Vice and in the Kevin Costner/ Whit-clean up the evidence. As for Hillary, she was
ney Houston movie The Bodyguard. Hillary so traumatized by the experience she dropped
cracked me up with her story of how Whitney
out of the movie. I couldn’t use the incomplete

Actors

99
footage I’d already shot of her so Cannibal
their work and know what they are capable of

Hook ers went on hiatus. Several months later before we ever get on set together.

I moved to Los Angeles and restarted it with

Richard W. Haines: As with the crew I’ve
an all-new cast. But when the movie came out
used the same performers for my leads in sev-
on video in France and Belgium, it was a
eral features. I shoot very fast and expect
photo of a topless Hillary that appeared on the
everyone to be prepared for working at that
box cover.

speed. It keeps their energy level up, since

Hiring Dana Plato for Compelling Evidence
filming is very exhausting for everyone in-
in ’94 was the only time I’d had to check with
volved.

a probation officer for a star’s services. Dana

For supporting players and bit parts I place
had been a huge sitcom star in the ’70s and
an ad in Backstage and hold auditions at a

’80s on TV’s Diff ’rent Strokes, but her star had rented rehearsal hall. I have a video camera set seriously fallen. Now Dana was probation for
up and ask the applicants to prepare a short
the 1991 Las Vegas video store robbery that put
monologue so I can see what they look and
her back in headlines all over the world. Our
sound like. Then I review the footage and call
casting director, Gerald Wolff, was also Dana’s
back those who might fit one of the roles, giv-
manager and trying his darndest to resuscitate
ing them “sides” [script excerpts] to perform
her career. I wanted to fly Dana to Atlanta for
with other players, until I find those who have
the movie but learned that out-of-state em-
some chemistry together.

ployment needed the consent of her probation

After we’re cast I rehearse and block out the
officer. So I dashed off a letter that I proposed entire movie in the rehearsal hall. Whatever
to give Dana “gainful employment” in the
choices, character nuance or improvisations
state of Georgia for one week, and he granted
the actor wants to try needs to be worked out
approval. Once Dana arrived she was a com-
in pre-production. On set there is no time to
plete professional, nailing most of her shots in do anything other than film their per form -
one take. I’d given Dana a fairly dialogue-
ance. This technique works best for me and
heavy role and needed her to deliver long spiels keeps costs down. I rarely do more than two
in several unbroken shots, but she made it
takes of any shot. I figure if we need a third
seem effortless. One critic said, “Dana Plato
take someone isn’t prepared and we rehearse
gives a funny and solid performance in Com-
the shot a few times before shooting another
pelling Evidence. As a fast-talking tabloid re-one.

porter, Plato brings to mind Jennifer Jason

I have many amusing stories about actors,

Leigh’s performance in The Hudsucker Proxy.”

but here are a couple. During the production

Dana was great to work with, a real sweet -
of Space Avenger I thought it would be quirky heart, and I still miss her.

to hire a porn star for the scene when the fe-

Jeff Forsyth: For my first project I placed male alien has sex with a human. She gets so
an ad for auditions in a local newspaper and
hot she literally screws him to death, frying
had quite a few responses. Also, I had worked
him into a skeleton. We hired X-Rated star
on another filmmakers’ projects and met sev-

Jaimie Gillis for the scene. Gillis was one of
eral local actors on those sets. Now I do a lot
the few performers in the adult industry who
of scouting through the local theatre groups
could act. He was good in the role and amused
and met actors from all over the country
us with stories about his career between takes.

through Facebook and a few other social-net-

We shot one of his scenes in Peekskill, New
working sites. At this point I have a huge data-

York, and the local officials got wind of it and base of actors and actresses I can call on. It’s a tried to throw us out of town. They thought
great feeling to have the contact info of so
we were making a porn instead of a sci-fi com-
many people and to have been exposed by
edy. The co-producers met with the politi -

100

HOW TO MAKE MOVIES
cians and convinced them we were a legit film
rather challenging but we were able to make
production and they allowed us to finish our
it work in the end.

shoot there.

On Demon Resurrection we tried to avoid While we were filming a rooftop scene in
similar problems by casting talented actors we

Space Avenger, Kirk Fogg kept getting tongue-felt would be really committed to the produc-
tied. I asked him what the problem was and
tion and would stick with us through the
he told me that the scene was the one he kept
rough spots. We also made sure to have every-
auditioning with and he had done it so many
thing planned out so we could get through the
times he had a mental block. I took Kirk to a
script in 21 days. It was a grueling shoot and
local bar and bought him a few drinks. That
everybody was worn out by the end of it, but
relaxed him and he was able to perform the
we got it done on time. The cast did a spec-
scene without any problem. I wondered if I
tacular job. Everyone was terrific and com-
should create a new Method acting technique
pletely professional. We really were very lucky
based on this remedy.

to have been able to put together such a great

William Hopkins: For both of my films
group of people.

we ran ads in the trade papers and rented out

Steve Hudgins: We always do an open
studio space in Manhattan to audition the
casting call for the majority of our roles. We
people who responded. We got several hun -
let local theaters and agents know. We also
dred headshots each time and we winnowed
post the casting calls on our website and Face-
the piles down to a couple of dozen people we
book pages along with any other regional web-
thought would be right for the available parts.

sites that post casting bulletins.

Most of the best people we saw were folks who

Rolfe Kanefsky: The level of actors has a were experienced stage actors but had relatively lot to do with your budget. I’ve worked with
limited film experience and weren’t SAG
professional casting directors on the bigger
members. On Sleepless Nights, a couple of the projects. I’ve done casting myself by putting
actors in our cast were actually in Broadway
out notices on lacasting.com and nowcast
shows during the time of our shoot, and
ing.com. I’ve met actors at parties and have
would come to our set after doing their show
had friends/filmmakers recommend certain
for the day. One actor actually went on tour
performers. When you’re going after name ac-
with a show while we were shooting Sleepless tors like Brad Dourif, Jeff Fahey and Steven

Nights. We had to shoot around him, using Bauer, you have to get to their agents/lawyers
stand-ins for him, while shooting the scenes
or a casting director who knows them, unless
with the other actors. Then we shot all his
you happen to be friends with them person -
close-ups about a year later when he got back
ally. But if you aren’t next-door neighbors with from the tour.

Michael Madsen, then you have to make an

Our leading man on Sleepless Nights ended offer to his representation. And by offer, I
up leaving the production about midway
mean money. Many times to get them to agree
through. The shoot had been a troubled one
to your project you have to make a pay-or-
and we were way behind schedule. He got a
play deal, which means you will pay them no
job on another film and left ours, probably as-
matter if you make the movie or not. Then,
suming it was wise to move on since our film
of course, you have to send them (meaning
looked like a lost cause. But we didn’t give up.

their agent/manager) the script and hope they

Fortunately we were able to shoot all of his

(again, agent/manager) reads the script, likes
close-ups for the remainder of the film on the
it, and passes it on to their client. If the money last night before he left the production. Then
isn’t good enough, this will probably never
we continued to shoot after he left, using
happen. It’s a tricky business, but names are
stand-ins. It made the editing of the film
important and many times you need them to

Actors

101
get the money to make your movie. It makes
that most of the time the cast will work itself
the investor/distributor comfortable.

out. I’ve had actors drop out at the last minute When dealing with non-names, this process
and be replaced by other actors who are so
is a lot easier. You just put up a notice and
good in the role that I can’t believe I even con-bingo, you’ll have thousands of submissions.

sidered someone else doing it. Every movie has

If the part requires female nudity and doesn’t
its share of casting stories.

pay well, the submissions go down substan-

Here’s one: I was casting for Nightmare
tially. But that’s another discussion. Anyway,

Man. A lot of the actors in this film I had on a typical Rolfe Kanefsky flick, we send out
worked with before. I knew Tiffany Shepis
a character breakdown on various websites
from The Hazing and kind of wrote the char-and get a lot of submissions. I then go through
acter of Mia with her in mind. I had just
the online head shots, read the résumés, and
worked with Blythe Metz in Jacqueline Hyde
hold auditions. Auditions can go on for weeks
and knew she’d be perfect for Ellen. James Fer-
or months depending on the project. I also
ris was also in Jacqueline Hyde, and he was a video tape the audition because it’s great to
perfect Jack. There were four other important
have a reference to go back to and see how
roles in the movie. We need an “Ed,” a young
your actor photographs. Does the camera love
guy who was supposed to be Mia’s boy-toy
him/her or hate him/her? Then come callbacks
boyfriend. We found him on nowcasting.com.

and eventually you have your cast. Like crew

Ellen’s husband was a different issue. One of
members, I enjoy working with actors that I
the producers of Nightmare Man was Brazil -
get along with. I have used many of the same
ian, and, in exchange for the money he in -
actors. Right now, Robert Donavan is in the
vested in the film, he wanted all Brazilian
lead. I’ve directed him in 20 motion pictures!

rights to the film, which we gave him. He also

Tiffany Shepis is another favorite. We’ve
wanted a hot Brazilian star to play William,
worked together seven times now. But you’re

Ellen’s husband, and suggested Luciano Szafir,
always looking for new talent as well.

who I was told was the “Brazilian Tom

In term of weird actor stories, I’ve found

Cruise.” I insisted on meeting him. He flew
into Los Angeles and, after the meeting, I
agreed and he got the role, accent and all.

Richard Moll happened to live up at Big

Bear, where we were shooting the film.

One of the other producers, Esther Good-
stein, worked with Richard a long time ago.

Fate brought the two together and we of-
fered him the role, a one-night shoot min-
utes from where he lived. He liked the
script, accepted the money offer and did
the part. Easy in, easy out, and very helpful
for getting us press for the movie. He was
our only “name” in the cast.

Now, there was one more role: the part
of Trinity, the blonde possible heroine of
the piece. She had to be beautiful, but also
strong and intelligent. We saw a lot of ac-
tresses from LACasting and NowCasting
for this role. There was nudity required,

Scream Queen Tiffany Shepis on Wrath of the Crow’s
set. Photograph courtesy Marija Obradovic.

which limited us a bit, but we found some

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HOW TO MAKE MOVIES
good possibilities. Well, as we were casting,
subsequent project, our successes garner more
an actor/friend of mine, Clu Gulager, was eat-
interests and more potential cast members. We
ing at Cantor’s, a famous deli in Hollywood.

posted ads on sites like craigslist, various film His waitress on evening was a very pretty

Facebook groups, and other actor websites.

blonde who also happened to be an actress.

It’s important to get a quasi-legitimate lo-

He talked to her and told her she should come
cation for this meet-up. Don’t make strangers
to this bar on Thursday nights where a lot of
show up to your apartment to read lines. You
his filmmaker friends gather to bitch and
can get a hotel meeting room, a library or even
moan about their careers. She liked the idea
a church hall, for super cheap.

and showed up. Myself and Tiffany Shepis

At our casting calls, we like actors to set up
happened to go that night as well. I meet her,
slots through email so it runs smoother (we
liked her look, told her that I was audition for still take walk-ins, however). They are emailed
the part of “Trinity” and invited her to read
sides ahead of time so they can get comfortable
for me two days later. She auditioned and sur-
with them.

prised us all by being great! She was the best

A receptionist (usually one of our girlfriends
actress I’d seen. She even agreed to do the nu-
or wives) greets the talent and hands them a
dity. I was about to cast her when she called
questionnaire. This paper is super important.

me. She really didn’t feel comfortable with

We ask a few questions: (1) Will you smoke
doing a topless scene. She had never done it
for a scene? (2) Will you do nudity? (3) Will
before and said, “If you can’t cast me because
you do partial nudity? (These questions help
of that, I understand.” I understood her hes-
siphon out actors for specific roles so there’s
itation and because I was also one of the pro-
less drama later into the process). The final
ducers of this film, I decided that her acting
page of the questionnaire is a calendar with
ability was more important than her boobs. I
our potential shooting schedule (usually a
changed the scene to let her wear a bra, and
window of two months) where we request
cast Hanna Putnam in the role. She quit her
every actor to plug in when they are available
waitress job for the time being and starred in
and what dates they are unavailable. This is
her first movie. She then later got cast in Feast fantastic because it shows who’s really too busy 2 & 3 directed by Clu’s Gulager’s son, John.

to do an indie film. We’ve loved certain actors

So, there’s the old “waitress-becoming-an-ac-
who just couldn’t do our schedule and, rather
tress discovery” story for real.

than offering them a role and backpedaling,

Brett Kelly: I ALWAYS audition folks.

we tell them right off the bat it won’t work

The reason for that is simple — if an actor
out.

earns the job, they will respect it. If they are Use this method. Trust us. You don’t want
just tossed the gig, they won’t treat it like
to cast someone blindly without seeing their
something they earned. If they don’t respect
work schedule, no matter how good they are.

the job, they will waste your time. I have so

Filmmaking is a community-based process
many weird actor stories — they are an inter-
and one person’s shitty schedule can put every-
esting breed of person. I can’t even narrow it
one’s lives into jeopardy.

down. I teach a workshop on auditioning and

Jim Mickle: I met Nick working on a stu-
can go on for hours with mistakes actors make
dent film for a friend. Nick was the lead actor.

to screw themselves out of a job.

We hit it off and I cast him in my student film

Chris LaMartina: Don’t use your friends!

and then started talking about screenplays to-

Well, okay ... use a couple friends, if they can gether. It all happened very organically.

really act. Otherwise, hold casting calls. Even

On Mulberry Street we wrote a lot of parts on our first production with no frills, we au-around good character actors we knew, so a
ditioned a ton of actors and it paid off. Each
lot of the casting was happening while the

Actors

103
script came together. On Stake Land I got to Damon Packard: I can’t think of any -
work with a casting director named Sig De -
thing “weird” offhand. I look [for actors] in

Miguel, and we cast a lot from meetings with
every way possible. Years ago, prior to the in-
great local actors and auditioning for the side
ternet age, it was posting breakdowns in pub-
roles. The meetings were much more inform-
lications like Dramalogue and Backstage West.

ative than auditioning because it’s a chance to

Now it’s all via online sites like lacasting.com discuss the role and the story and the tone and
and others. The process is still the same: you’re also get a feel for what type of people they are.

poring through hundreds and hundreds of

Especially on lower budgets, it’s great to see if candidates. In my case, thousands. Maybe one
you click with somebody and if they’re up for
in 500 has an interesting quality worth con-
the indie mentality.

tacting. Maybe one in 5,000 is available and

In the case of Kelly McGillis, I had some-
willing given the circumstances and/or mini-
how never seen Top Gun, but I grew up near mal pay. It’s extremely difficult (if not impos-Amish country and had seen Witness many sible) to find uniquely talented actors, espe-times. When her name came for up for Sister
cially in the micro-budget independent world.

in Stake Land, I thought she’d be perfect but But that’s just my experience. It’s always a
never thought in a million years she’d be in-

Scarlett O’ Hara search for me and practicality
terested. She hadn’t done a movie in almost
always wins in the end. In my experience the
ten years, and didn’t seem into the horror
casting gods always find the right people, even
genre. But it turned out that she lived 20 miles under the most unusual conditions. The film
from where I grew up, and, where we were

I’m doing now, for example, has multiple ac-
shooting, I wrote her a letter and Sig talked
tresses playing Foxfur, which isn’t the way I
to her manager, and the next day she took the
planned it. But given the no-budget, more
part. Turns out she never read the letter and

“experimental” circumstances of the version
she took the part because she could drive to

I’m doing, it works well and seems to make
set every morning.

sense (and was the ONLY way to shoot it).

Amanda Mullins as the sorceress in Damon Packard’s Foxfur

104

HOW TO MAKE MOVIES

Not that (as usual) anyone will be able to make

30 minutes outside of where he wanted to be.

sense of it. But again, I attribute this to budget He instantly freaked. We were going to be
constraints. If I had the money I could make
gone for three days and he was not going to
a perfectly sensible linear film.

be anywhere near civilization. What followed

Brad Paulson: In the beginning, we went
was only what I could imagine a full-blown
through the free casting sites — we even had a
exorcism to be. There was definitely a demon
few cats help us with the process. Lately,
inside this man. We had to pour a bottle of
though, we’ve just been picking people we
whiskey down his throat just to get him to be
know and avoiding the casting process entirely.

quiet. He passed out and we finally had peace

There are a number of stories about actors that
for the first night. We had no idea how long
have been a pain in the ass to work with. Some
the weekend ahead of us was about to be.

are an absolute joy and others are a nightmare.

Each following day got progressively worse,

Some are great on one movie and a thorn in
until we realized our actor was going through
your side on another. It’s really one giant crap-serious withdrawal. He looked like living hell.

shoot. You never know what you’re going to

Too bad we weren’t making a zombie movie
get in L.A. There are many bizarre stories we
because we would have been won an Oscar for
have about actors.

make-up. The thing is, he was the lead actor,

One time we had an actor who was a drug
so things got very difficult. My AD had to feed
addict. More actors would turn out to be drug
him hot tea just to keep him from passing out
addicts in the future, but that’s beside the
and dying. We, to this day, compare it to Ed
point. This is just one of the stories. About

Wood tending to Bela Lugosi, except this guy
this particular addict, I didn’t know he had a
wasn’t nearly as cool as Lugosi. When I drove
drug problem at the time. My small-town up-
him back he was so anxious to get inside his
bringing has been responsible for quite a bit
house, I thought he was going to jump out of
of my naïveté. However, I believe it’s also kept the car. He told me he needed to get home as
me grounded and from crossing over into the
soon as possible because his mother was arriv-
dark side that so many people find themselves
ing and he needed to clean the house to im-
in when they move here. I just thought he was
press her. Yeah, right. More like clean all the
naturally charismatic and funny. However, on
sobriety out of his veins. And then, after the
the first day of filming, he got real shitty real movie came out the son of a bitch extorted
fast. Where was his naturally entertaining de-
money out of us. We were too naïve at the
meanor? I was just too naïve to know what
time to know any better, so we let him do it.

was really going on. He wasn’t getting paid, so

Needless to say, we’ll never be using him again.

he instantly diva’d out and demanded to be

Jose Prendes: If they aren’t “names,” it is driven around to pick up painkillers before we
always based on if they are good at what they
started shooting. I must have driven him to
do and if they are willing to work for food.

ten locations before I realized that maybe he

With my “name” actors, meaning someone
was looking for something a little stronger that with a recognizable face and a fan following,
just painkillers. Either that or he just had a
it was always whether they were available and
whole lot of pain he needed to kill and a very
if I could pay them enough while not breaking
short time to do it in. Then, 20 minutes after
the bank.

we picked up his painkillers he was somewhat

On Monster Man, I approached Tom Savini
less of a dick. Everything was okay until we
at a horror convention and asked him if he’d
went out of town, although even on his best
be up for playing a part. He was hesitant, until behavior he remained a smug, condescending

I offered him $400, and then he jumped at the
ass. He was under the impression we were
chance. We filmed the scene in my hotel room,
going to be in city limits, but we were about
and it took, like, 30 minutes. That’s just how

Actors

105
it happens in the micro world. But he was
me do my own thing” rather than [adhering
great and fun to work with.

to] strict dialogue. So the night before, we give Paul Scrabo: I was fortunate to be ac-him the “good news,” that his part just got
quainted with several actors already living on
bigger and he freezes, takes a breath and says
the East Coast, including, thankfully, Debbie

“Paul, I’m putting myself in your hands.” I

Rochon and Mike Thomas. They had already
laugh and say “Don’t worry” and leave the
made their mark in the indie film world as
room and immediately start to worry. I pass
solid performers.

Trent Haaga, who is done for the day and

I was looking forward to shooting a scene
hunched over his laptop working on a script
featuring Mike Thomas, Nathan Sears and
for a future film. Trent’s a good actor, a good, John Zacherle (Zacherley, the Cool Ghoul). It
fast writer and a great listener, having heard
was written as fast-talking banter that required what just happened. Without looking up, he
a lot of energy. Zach’s role was to punctuate
says, “A buddy of mine worked with Conrad.

the scene here and there, taking advantage of

He said that if you get him first thing early in his natural timing and talent for comedy. He
the morning, he comes through fine.”

could only be with us for one day, but we

While having my morning coffee, I see that
ended up using that time on Zach’s major
producer Rich Scrivani is already outside with
scene — the musical number. So now Zach is
the cast, and George Ann Muller hits me with
gone and we still have to do that three person
the tripod she’s carrying. “Let’s go.” This scene scene. It was obvious that we had to move up
is designed as one master shot, and I figure

Conrad Brooks’s participation a notch. Now,
if we just keep doing it over and over until

Conrad is a cult/B-movie legend and that’s
we’re all totally sick of it, something has to be why he’s in the film, but his acting style is “let usable. Take one — Conrad’s perfect. I’m not

The Demon Divas: Debbie Rochon (Nemain), Lilith Stabs (Babd), Brinke Stevens (Morrigan), Amy Lynn Best (Lamia), and Robyn Griggs (Masha).

106

HOW TO MAKE MOVIES
sure. Let’s go again. Take two — Conrad
scene with your cast, but you can’t always
couldn’t be better. Three takes and he’s great
count on it. My four leads, Debbie Rochon,
in all of them.

Mike Thomas, Trent Haaga and Nathan Sears

Now, it’s worth mentioning again that you
were always ready to go, and improved what
must have real actors in your production, be-

I had on paper, on many occasions. Debbie
cause as I think many of your interviewees
helped with continuity all the time, and what
may agree, you do not have time to really di-
a bonus that was.

rect—you are too busy “putting out fires”! You

Eric Shapiro: For Rule of Three, we put have to direct the budget and the scene, and
out a casting call for SAG performers. It’s a
then, hopefully, you’ll have time to discuss the good idea to get union talent if you can, because they have a lot of experience on sets
and are great with memorizing their lines and
not blowing takes. My initial encounter with

Lee Schall, who stars in Rule of Three and Mail Order, was very strange. He came in for his Rule of Three audition holding what appeared to be a toolbox, and his first words to
us [producers Rhoda Jordan and Cerris Mor-
gan-Moyer were also there] were, “I’ve done
this before, right?” We didn’t know what he
meant. We thought he was crazy, and were
expecting him to open the toolbox and start

Top: Brutal sociopath Russ (Rodney Eastman, left) reflects on how his behavior has impacted Jon (Ben Siegler). Bottom: Eric Shapiro (center) gives direction to (left to right) Ben Siegler, Cerris Morgan-Moyer, Rhoda Jordan, and Rodney Eastman.

Actors

107
beating us to death with a hammer. Turned
lying on his back with his wallet gone and a
out he meant the psycho character he eventu-
nicely piled turd on his chest. Not so much
ally played in the film had raped women in
weird as nasty!

the past, which was indicated in the text. He

Marc Trottier: I get actors by picking up froze us for a moment, though, and we never
the phone and saying, “Hey, I wrote this part
found out what was in the box.

for you ... wanna do it?” (That’s one benefit

Anthony Straeger: My system for crew
of being an actor with acting friends.) Or I
and cast is identical. I often use people that
call up actors that I don’t really know, and tell have worked with me, that know how I oper-them about the project and the role, send
ate. In Call of the Hunter the cast comprised them the script, tell them that there’s no
of Don McCorkindale, Katrin Riedel Kelly,
money involved and convince them to join

Angelique Fernandez and Michael Instone, all
the team. Usually actors are looking to add
of whom had worked with me on different
stuff to their demo reels anyway, so as long as
projects, such as shorts, corporate and events
you’re giving them something good to use,
and shows. The other three—Sarah Paul, Julia
then they’re more inclined to say “yes.” I’ve

Curle and Jonathan Hansler — auditioned
never had anybody say “no.” As a matter of
after answering the call via our advert.

fact, peo ple often say, “Let me know next time As an actor I have often wondered why so
you’re filming something, I want to be in it.”

many production companies use the same ac-

It’s always fun to see people wanting to film
tors and crew. But the fact of the matter is,
things simply for the love of filming.

when it gets down to it, I am guilty of the

A funny/weird story was that I asked an
same thing. The theory about casting (which
actor (Morgan Kelly) to play the boyfriend of

I guess a number of directors will also adhere
my girlfriend at the time (Annie Julian) in
to) is that you cast by trust. Don, Katrin, Mike Darkness Waits, and he agreed. There was a and Angelique are people I had worked with
scene where they were supposed to get hot and
over a number of years. They are professional
heavy before being killed by the psychopath
and experienced. The rest of my cast — Sarah
in the movie, and he turns to me and says,

Paul, Julia Curle and Jonathan Hansler — had
to audition.

I was looking for good team players that
could work under pressure for 12 days straight
and keep a smile on their face and their energy
up ... and they all were.

As to weird stories... Hmmm... There have
been some odd people down the line and some
people I have auditioned have been so totally
incapable of delivering anything, but other
than that the only bad story I have concerns
an actor I was working with on a theatre tour.

One night after the show we went out for a
few drinks and a few drinks became more
drinks and then he started chatting up this
woman, who was, well — I wouldn’t have!!!

Anyway, he was completely hammered when
he took her to his apartment. He went to bed
with her, but must have passed out without

DVD packaging for Darkness Waits, directed by delivering. He woke up the following morning

Marc Trottier

108

HOW TO MAKE MOVIES

“Come on man, I can’t make out with your
hurting her, while I was saying, “She’s out!”

girlfriend,” and everybody starts laughing. So

Then I ran down the stairs and got to her, and
in that scene, they’re leaning against a rail ing before long she regained consciousness and
that leads upstairs, and the killer chokes Annie asked, “What’s going on?” I explained what
from behind with a leather belt. I was playing
had happened and that she was okay. She was
the role of the killer that night, as I did most up and ready to go again, right after. I think
nights (almost all the scenes with the costumed
everyone was a little freaked out, but I was
killer were played by me). So I was holding
used to that because of my experience with
the belt that was wrapped around her neck
chokeholds in grappling martial arts. I think
through the railing, and I told her that I wasn’t Morgan thought that I had killed her. Fun
going to pull on the belt, and that I wanted
fact: We actually used that take in the movie.

her to gauge how much pressure she needed

Mike Watt: I hate auditions. We’ve con-
to push against the belt to make it look con-
ducted only a couple in 14 years and they’re
vincing. Well, she pushed hard ... and she
miserable for all involved. Nobody is relaxed,
ended up choking herself unconscious! So
including us judges, and it’s always difficult to when she was supposed to die, she got really
judge a performance based on a couple of cold
heavy ... and I ended up holding her body
readings. We have, on occasion, “stolen” actors
weight up with this belt around her neck be-
from other people’s auditions, however.

fore I realized that she wasn’t acting! No one

There’s less tension, at least on our end, if we’re else realized in time, so I had to stretch my
not shopping for something at the moment,
arms through the railing as far as I could go
but adding headshots to our wish list, so to
to try and let her down onto the tiles without
speak. We very much prefer approaching other

Shooting the Resurrection Game opening sequence in the Munhall Cemetery, ca. September 2000.

Left to right: Dan Franklin (zombie), Bill Homan (producer/co-star), Gina Preciado (Ms. Hill), Mark Dobrowolski (assistant camera), Bill Hahner (cemetery scene director of photography), Mike Watt, and Brian Kohr (sound engineer). Photograph by Amy Lynn Best.

Actors

109
filmmakers and saying, “I really liked so-and-
characters you love on screen are usually far
so in your movie. How are they to work with?”

removed from the people who play them, so

Ninety-nine percent of the time, you’ll get an
meeting them first-hand is essential, particu-
honest answer; you then meet with the actor
larly if you’re dealing with SAG actors. You’ll
and discover they’re perfect for the role.

be spending a lot of money on their participa -

One thing we’ve done consistently over the
tion, you’d better be sure you like who you’re
years has been to try people out in small parts
working with. Someone who is “an amaz ing
or as featured extras, see how they are on cam-
actor” but requires more attention than a new-
era, off camera and how they get along with
born isn’t someone you need to bother with.

people. On The Resurrection Game, Charlie The world is filled with “amaz ing” actors and

Fleming and Tim Gross started out as back-
actresses who aren’t pains in the ass. Unless
ground zombies and became not only good
that “name” is guaranteed to sell your movie
friends but proved to be such fun actors to

(which isn’t a guarantee at all anymore), find
work with that their roles started expanding.

someone you like who can do the job.

Charlie wound up as a major character in

But through conventions we’ve become

TRG, and he and Tim both starred in Severe
close friends with some very recognizable and

Injuries.

wonderful people. The two names that always

The same can be said of many members of
spring to mind, and always will, are Debbie
our family — Stacy Bartlebaugh-Gmys, Alyssa

Rochon and Jasi Cotton Lanier. Not only are

Herron, Sofiya Smirnova, Nikki McCrae — all
these two ladies amazing friends but their tal-
started in small roles in projects and proved
ents know no bounds. They were both essen -
themselves to be fun and talented and we’d
tial to our getting taken seriously in the in-
bring them back again and again. Every film
dustry without asking for anything in return,
company develops a family in this way.

doing us great favors at the beginning of our

For Razor Days, we searched for the third careers. And we met them both at conven -
lead almost as long as the script had been in
tions. Facebook and email are terrific, but
development. We approached a number of
nothing beats a face-to-face meeting.

union actresses for the part and the problem

Working with name pros, even if they are
was never money, but scheduling. Since Amy
close friends, can still be intimidating. And
and I are big believers in kismet, we chalked
since no one really teaches “How to Direct 101
all of these “failures” up to the universe telling and Not Feel Like a Loser or a Tyrant,” it’s
us we hadn’t found the perfect actress. Finally, tough, at first, to work with people whose ré-we sat down to watch the rough edit of Eric
sumés are longer than the average roll of wall

Thornett’s period horror movie Sweet and Vi-
paper. I’m not ashamed to say that the first
cious, starring Bette Cassett, an actress he had times I worked with Brinke Stevens, for in-been telling us for years, but one we hadn’t
stance, was a nerve-wracking experience for
met. Within the first scene, Bette proved she
me. The same was true directing Debbie for
was capable of conveying great subtlety and
the first time on The Resurrection Game, even subtext with only facial expressions, and it was in a small cameo. The real nightmare blow to
a real slap-to-the-head moment for us. Here
my confidence came on Razor Days, where I was our perfect actress right in front of us, if not only had to direct Amy through some very
only we’d set aside the time to watch the movie
nasty emotional scenes, but also Bette (whom
earlier.

I’d never worked with before), Debbie in the

Finally, the best audition process is the hor-
largest capacity since we’d known each other,
ror convention, particularly the ones with a
and Jeff Monahan, who’d been directed by
more “relaxed” atmosphere where you can

John Sayles, George Romero and Dario Ar-
hang out with the celebrities and talent. The
gento. That’s when I really had to follow John

110

HOW TO MAKE MOVIES

Huston’s advice: “The secret to directing is

Casting, I have always been able to find the
hir ing the right actors and then getting the
best actors/actresses for my needs. We have
hell out of their way.”

also held auditions at local conventions, but

I’m trying to think, but I can’t recall too
the results have been less than stellar, with too many weird experiences. In five features and many out-of-town actors trying out. Out of

13 years we’ve had only one no-show — some-
town means scheduling problems, or worse,
one recommended by a friend at the last min -
having to put up money for a place for them
ute who was in touch with us up until 20 min-
to stay. There are usually enough talented peo-
utes before her call time. Then she vanished
ple from the area to find what we need, but
off the face of the earth for two weeks. We
we have paid hotel fees on occasion to bring
managed another Hail Mary pass to replace
in just the right person for a role.

her at the zero hour. Eventually she called our

There are so many actors/actresses trying to
mutual friend to assure her she was still alive, break into films that most of them will go to
but we never really got the whole story as to
great lengths to impress even a micro-budget
why she bailed.

filmmaker like me. They will give everything

On one film, we had an actress volun teer
in their performances, even more than you
some nudity that wasn’t called for in the
may want. Our lead actor in Murder Machine! , script. Since that’s usually a good selling point, E. Ray Goodwin, is one of these actors. He
we accepted. When it came time to do the
totally locked into the role of the ultimate
scene — actually, many hours before — she ac-
killer. So much so, that he actually would
cused us doing some sort of bait-and-switch
creep out some of the other actors when he
on her. I pointed to the scene in the script and was in costume. He literally became the char-showed her where it remained unchanged “X
acter. In one scene, the character is fighting a Character is clothed,” and reminded her that
jail cell full of local thugs that he has been in-the nudity was her idea. It was nerves and cold
carcerated with. He has killed all of them ex-
feet on her part, but we resented being accused
cept for the leader. The gag was that he actu -
of “tricking” her into it. She isn’t Coco and
ally does a martial-arts punch to the thug’s
this wasn’t Fame and the scene was fine the chest and tears his heart out and eats it as the way it was.

victim looks on in shock. We used a bloody

Other than that, everyone’s been perfectly
pig’s heart from a local butcher shop for the
professional and certifiably batshit crazy in
prop. It had been frozen and thawed and then
their own special ways.

actually frozen and thawed again as the date

Ritch Yarber: After making films for over changed unexpectedly that we were going to
ten years now, I tend to rely a lot on actors
do the shoot. Goodwin rips the heart out of
that I have previously worked with or have au-
the dummy and proceeds to start eating it with
ditioned in the past. I keep people in my
a demonic look in his eyes. Everyone was so
memory bank and when a part comes around
in awe of what was happening in front of us
that is perfect for them, they get the first call.

that we forgot to yell “Cut!” He quickly

Beyond that, I have always gone to North
gulped the whole heart down. Realizing that

Coast Central Casting in Cleveland to hold

Goodwin had just eaten something potentially
casting calls for my projects. The organization
dangerous, I quickly ran to him and apolo -
is headed by Ray Szuch, who teaches martial
gized for not stopping the scene. I guess I
arts during the day and facilitates an acting/
figured that he would stop when he put the
stunt school in the evenings. He provides
smelly lump of meat to his lips. Goodwin said
many wonderful services and opportunities
that it didn’t taste bad at all and that he really for independent filmmakers and artists in the
didn’t think that it was a real heart, but rather Cleveland area. Through North Coast Central
something that we came up with in the prop

Actors

111

Shooting a jail scene for Wrath of the Crows with actors Michael Segal, John Game and Matteo Tosi. Photograph courtesy Marija Obradovic.

department that was edible. The scene is in
and I have a great respect for them. It’s true
the movie and really looks nasty and vicious.

that sometimes they behave in a strange way;

Goodwin never got ill.

they’re eccentric people, able to influence your Ivan Zuccon: I usually use my instinct to job. But I think this is an interesting and
choose the actors. Sometimes I make audi -
amusing side of working on movies. I like my
tions, sometimes I don’t, depending on my in-
set to be heterogeneous. I think variety can be
stinct. I love actors. I love working with them
very stimulating.

Locations: Where You Live
and Where You Shoot

The main benefit of being an independent

One of the things that irritated me in
filmmaker is that you can do it anywhere, as

Michigan, at the time, was the government
long as you have access to what you need to
passing film-incentive tax breaks, which lured
get your movie done. When I lived in New
out-of-state production companies to shoot

York City it was like having a large movie set
their movies here. They’d get up to 40 percent
at my disposal. Any exterior I shot had pro-
of their budgets paid for. These were films like duction value. Also, everything was within

Gran Torino and Vanishing on 7th Street. While subway or taxi distance, so that saved on
this may have helped the catering compan ies
travel. Many actor’s apartments were used, if
and allowed a few hundred locals to be “ex-
they were available. For a few of my films I
tras,” these companies brought in all their
had access to an entire empty floor of a build-
crews. Yet acquaintances never failed to tell
ing where I worked. It was convenient and
me how lucky I was that they were now mak-
cheap — I just had to slip the freight elevator
ing Hollywood movies in Michigan. Why?

20 bucks and I had all day to shoot. Wires

This had absolutely nothing to do with me or
were ripped out of the walls and it had the
my films. The incentive was only for out-of-
post-apocalyptic look I needed. In fact, years
state companies and budgets over $100,000.

later, the company that makes the Jarvik Heart

Untold hours were spent explaining these facts
took over this same space.

to non-film people, who typically answered,

It was also relatively easy to find crew and

“You never know, they may need a director.”

actors in the Big Apple. There was talent.

On the flip side, even non-experienced pro-

When I moved back to my home state of
duction assistants and unknown actors wanted

Michigan and did a feature, I found it a bit
the “Hollywood cash” when working on a
more challenging. There are very few film/
micro-budget production.

video production professionals in this entire

Not surprisingly, this was about the time I
state, so there was little support. While I could switched to the documentaries. I could do 90
handle most of the technical end of produc-
percent of the work myself, from shooting to
tion, I had a much smaller acting pool to
editing. When I began producing/directing
choose from. Also, finding suitable locations
these non-fiction features I made sure that the
and figuring out the logistics of travel was
majority of them could be shot in the Metro-
more work. In fact, the talent pool and crew

Detroit area. A few were health related and
choices were so lackluster it put a damper on
one was on a psychic Capuchin Monk. I also
making the low-budget genre movies entirely.

traveled to New York City at least twice during

These films were, for the same budgets, so
the year for freelance-editing work, so I could
much less than what I was doing in New York
also videotape there without adding any fur-

City.

ther expense to my productions. This added

112

Locations

113
more production value to the projects and
this past decade, I found that this type of pro-
made the programs wider in scope, which
duction suited where I was living much better
helped with the national television broadcasts.

than making horror features did. Wherever

While I honestly had no intention of be-
you are based, use your locale to your film’s
coming a “documentary director/producer”

advantage.

The Filmmakers were asked:

Does where you live have an impact on getting your films made? And, if so, why is this?

Glenn Andreiev: I’m lucky. Long Island
tons and Montauk, both of which offer sum-
is next door to New York City, which has end-
mer retreats for the very wealthy and Holly-
less resources for a filmmaker — trained pro-
wood types, but also have lots of local folks
fessionals, equipment and prop-rental houses.

who are extremely organic and border on in-

I also live near The Cinema Arts Centre, a pri-
breeding. I’m from Nassau County, which
vately run movie theatre with an enormous
once had a taste of country to it, but has since audience turnout. They often play the works
become overpopulated, and now really func-
of local independent filmmakers. Seeing your
tions as an extension of Queens, New York.

film with a big audience is so important and

We have some historic landmarks, but lots of
fun. It would be great if this were available to fantastic places have been torn down. Very
filmmakers all throughout the country.

little regard is given to historical preservation.

John Borowski: I suppose if you live in

There is wilderness if I need it, and there are

New York or L.A. you will be under constant
suburbs. With Blitzkrieg I lucked out because scrutiny while shooting your film. Other
we have the remains of the Suffolk Psychiatric
cities, including Chicago, seem to more laid

Center, which was built in the late 1800s, and
back about filming. Once your film is com-
now sits in decay. Once I saw that place, I
plete and you search for distribution, it does
knew right away that it would serve as the per-
not matter if you live in the Antarctic. When
fect bombed-out prisoner of war camp I
completing my second film, Albert Fish, I lived needed for the film. Bloody Ape benefited from in Los Angeles and I mailed my film to dis-the Long Island locals because it was small-
tributors in the U.S. and around the world.

town set, and Long Island was still small town-

Ironically, I decided to have my first distribu-
ish when I shot it (beginning in ’92). The areas tor, Facets Video in Chicago, distribute Albert I shot Bloody Ape in look quite different today.

Fish as they did such a great job distributing They’ve been given a face-lift. Honestly, with
my first film.

the type of film I like to make, I’d be better

Keith Crocker: I live in a suburb of New
off living in Europe!

York called Long Island. I’m about 40 minutes

Richard Cunningham: I think some-
from Manhattan, which is convenient when
times it can have more impact on what hap-
it comes to casting my films, as many of my
pens to a small-budget movie after it’s made.

actors and actresses come from New York City.

I grew up in rural upstate New York. There

Lots of acting hopefuls are there. You really
wasn’t a film department in my high school,
have your pick of the lot. Long Island itself is or anyone really to approach for guidance, let
very eclectic; you have farms far out east, yet
alone funding. I remember in middle school
you also have an airport. We have the Hamp-
my friends and I went around to houses once,

114

HOW TO MAKE MOVIES
like kids for charity, except we were asking
country, as well as by theatergoers in the New
random houses for money for our movie pro-

York City region. I think, if this trend picks
duction. Later on, we just got jobs and in -
up — and I suspect it will —film festivals soon
vested in our own movies. The problem was,
will not only offer recognition for good low-

I still wasn’t expanding the film’s promotion
budget filmmakers, but greater chances of ex-
beyond a local audience, or even hitting my
posure to the masses: the filmmaker’s best
target audience.

challenge, no matter where they live.

Currently, with the advances of digital video

Maurice Devereaux: Well, if you’re talk-
and post-production software, and also with
ing about an indie film, not so much. You can
the development of the internet and social
make them anywhere. But the drawbacks
media, people can make a quality film and
would be, if you’re in a small town, your
promote it effectively, wherever their back -
choice of quality actors and crew will be lim-
drop. Film festivals attest to that, I think.

ited. The upside will be that it will be easier

They play all over the country, and beyond
to get people to work for free or let you use
that, the globe now; and these little indie films locations, as they haven’t been corrupted by
from just about anywhere, made on shoestring
many expensive film shoots and it’s still exotic bud gets with blood and sweat and love and
and exciting. Cities that have lots of film
dedication, play in festivals around this coun -
shoots, everything is overpriced and people
try all the time.

are jaded.

In 2010, the Tribeca Film Festival launched

Donald Farmer: I’ve filmed all over the
an online festival featuring a portion of their
world, though its obviously easier to film in
official selections. It was a great chance for
the general area you’re living. I was living in
some of the lower-profile features and shorts

South Florida when I did Demon Queen, so it to gain more exposure. In 2011, Tribeca fea-was a no-brainer to shoot in Miami. That was
tured Year Zero online, and by having my the city with the biggest talent pool for cast -
short streaming through the festival’s website,
ing, and it has the best variety of locations

Year Zero could now seen by anyone in the within a concentrated area. But since my cam-Keeping out the zombies: a still from Year Zero

Locations

115
eraman and equipment was coming down
minute movie and made it an episode of my
from Nashville for three days only, this put the anthology film Red Lips: Bloodlust. I had a pressure on me to shoot everything in a very
friend in Russia help me find local actors, then concentrated time frame. When I made my
we filmed at some of the most iconic places

Super 8mm movies like The Summoned, I shot in St. Petersburg, like the summer palace of
them at a leisurely pace over months, never at-

Cath erine the Great, with sweeping staircases
tempting more than one scene a day. Then,
lined with life-size gold statues, and the huge
after a ten-year layoff from filmmaking, my
courtyard of the Hermitage Museum. I didn’t
first day on Demon Queen I have a schedule to have a camera crew in Russia, so I rented a
shoot at least a dozen scenes over three or four camera before the trip and shot everything
different locations! At least I didn’t repeat that myself. But when I went to Paris to film An
situation the next year on Cannibal Hookers.

Erotic Vampire in Paris, I hired a French pro-I got a cameraman who lived in the same town
duction crew so I could concentrate on direct-
as me, and we spread the schedule out over
ing. I think I set a personal record there for
several months, just getting together to film
doing the most different locations per day. I
on weekends. The trouble with this type of
made a wish list of great spots around the city
schedule, though, is that some actors may be-
like Notre Dame Cathedral, Père Lachaise
come unavailable if you count on their partic-

Cemetery, the ferris wheel at Place de la Con-
ipation for months at a time. Our male lead
corde, et cetera, and was determined to get
on Cannibal Hookers shot about 75 percent of them all in.

his role before he broke his leg in a motorcycle Jeff Forsyth: I think where I live has a
crash. This required me to complete rewrite
positive impact on getting my projects made.

the film’s ending and add two detectives as

I live in Syracuse, New York. It’s a small city
last-minute heroes.

and filmmaking is happening here, but not on

Even though I live in Tennessee, I’ve shot
a big-budget scale. When I approach people
most of my movies in Georgia. That’s where
about being part of a project or using their lo-

I found the investors for Compelling Evidence, cation, they are more apt to be say yes because

Deadly Run, Vicious Kiss, Demolition Highway, this request is outside of the norm and is fun

The Strike, Blood and Honor, Battle for Glory for them.

and Chainsaw Cheerleaders. And, nine times Richard W. Haines: Since most of my
out of ten, investors tend to want a movie shot
cast and crew live in New York City, that’s
where they live. At least the ones I found want
where most of my features take place. All they
to be able to come on location every day. And
have to do is take a subway or cab to our lo-
if they have a nice house we can film in for
cation. The Big Apple is also very photogenic
free, so much the better. On Compelling Evi-
and recognized throughout the world. How-
dence I actually convinced my producer to pay ever, I have secured locations in other parts of $1,200 a day to rent a $4 million Italian-style
the Tri-State area (New York, New Jersey,
villa for us to film all Brigitte Nielsen’s scenes Connecticut). I try to limit these shoots since
in. When you’re lighting and setting up shots,
it increases transportation costs to get everyone who wouldn’t prefer a house with big, ornate
there on time.

rooms and ridiculously high ceilings. Instant

William Hopkins: If you live in a city
production value!

like New York, as I do, where every third per-

Finally, if you’re going somewhere exotic on
son is an aspiring filmmaker and the cost of
vacation, why not shoot exteriors there you
just existing is higher than everywhere else,
can use for a future movie? I did that one
you have to expect that the expense and
better when I took a vacation to Russia one
difficulty of making an indie film is going to
year. I whipped up enough script for a 15-
be that much greater. But being able to say

116

HOW TO MAKE MOVIES
your film was made in New York City and
know) and want to help and support you.

being able to use the city as a backdrop can

That’s not the case in Hollywood, since it is
certainly add commercial value to your
such a business. So, it’s sometimes easier to
project. So there is that benefit. Permits and
shoot anywhere else.

insurance are an additional expense you have

If you are making a movie outside of your
to worry about if you’re shooting in public
town/state, then you have to worry about
places. We shot the majority of Sleepless Nights travel and living situations. Putting people up
and all of Demon Resurrection on private prop-in motels/hotels can get pricey. You can fly in
erty in Long Island, where there’s a greater va-
your main talent and key crew members but
riety of locales — everything from modern
then you have to find local hire. That’s
office buildings to undeveloped woodlands —
cheaper, but you may not find the greatest ac-
and things were a little less expensive. Being
tors or crew people locally. Professionals ver -
in Long Island meant our transportation ex-
sus wannabes is the big difference and can
penses were higher, but it still wasn’t anywhere affect the final result of your movie. I worked
near as expensive as it would’ve been if we had
with a lot of people who thought it would be
shot in New York City. And the locations we
fun to work on a movie, only to realize that
were able to find in Long Island were pretty
it’s a lot more work and pressure than they
spectacular, which added to our film’s produc-
thought it would be, and quit. Again, plan
tion value.

everything and have backup plans. I worked

Steve Hudgins: It’s going to cost you
with a producer who told me, “When di -
about ten times as much, if not more, to shoot
recting a film make sure you have Plan A, B,
a movie in L.A. or New York. You shoot it

C, and D ready. And then be prepared to use
any where else, especially smaller-type towns

Plan E.”

as opposed to big cities, and you’re going to

Now, I’ll also answer this question in terms
save yourself a fortune.

of finding funding for your picture. If you are

Rolfe Kanefsky: Well, this is actually a
trying to raise money from investors from Cal-
tricky question. I’m from New York and made
ifornia and you live in Ohio, you will probably
my first two films there. Then I moved to Los
need to travel to California. Out of sight, out

Angeles and have been making films in Hol-
of mind. You must be in the investor’s face
lywood for the past 20 years. There are advan-
and ready to take a meeting. It’s always hard
tages in shooting in L.A. You can find many
finding that money, but trying to do it long-
talented actors, crew, and have easy access to
distance is near impossible. That’s one of the
equipment. On the downside, you need per-
reasons why many people move to L.A. Be-
mits for everything, and it can get very expen-
cause that’s where the major studios are. But
sive. Plus, there are no film funds in Cali -
if you’re doing a low-budget independent,
fornia, so there’s very little government/loans
you’re not going to be getting your funding
support. When I made Nightmare Man, it was from studios. You have to find a private in-impossible to shoot that film with the loca -
vestor and convince them why you and your
tions we needed in L.A. We had to go to Big
project are a good investment and, for that,

Bear, two hours away, and put up the entire
you need to meet face to face with a well-writ-
cast and crew. Surprisingly, that was actually
ten proposal that you can pitch like a pro.

cheaper to do than dealing with all the union

Brett Kelly: I’m in Ottawa, Canada. We
rules.

don’t have a big infrastructure of a film indus-

The advantage, if you’re not in L.A., is you
try here. There are indie filmmakers and oc-
can get a lot of favors and places to shoot for
casionally some [made-for-television movies]

free. Many small towns and communities find
will come here to film, but that’s about it. As
movie-making exciting (oh, how little they
a result, permits aren’t a big deal here and you

Locations

117
can often get permission to shoot in residences
can save money and add a lot of production
and businesses quite easily. Actors here are
value if you can use areas you know well. In
starved for opportunities, so I’m happy to pro-
both cases we were able to involve locals and
vide them. A bigger town, like nearby Toronto
friends to help out and be in the movie as well, or Montreal, is full of jaded film folk that we
so it’s a huge advantage to be outside the bub-
don’t have.

ble and making movies at home. That’s one

Chris LaMartina: Baltimore, Maryland,
of the things that separate my films from
my hometown, has a great pool of talent, cul-
mainstream genre films. And it’s fun.

tural energy, and support. There are countless

Damon Packard: From what I hear it’s
filmmakers here that also produce micro-bud-
easier to keep a dedicated group together, will-
get content and there is a great community at-
ing to work for no pay, outside of California.

mosphere. We work on each other’s projects,

But I don’t know for sure. People tell me lo-
attend each other’s premieres, and provide a
cation shooting is much easier outside of Los
network to make sure we’re not hiring jerks/

Angeles, as it’s easier to obtain permission or
potential headaches.

simply film without hassle (free of charge) in

We’ve been very lucky to live in a city where
many other places, but it depends. The loca-
everyone is excited to help and not rude
tions I’m usually interested in are very difficult enough to ask poor filmmakers for big pay-or impossible to get access to without massive
checks. We rarely pay actors (although I sin-
amounts of money.

cerely wish I was in a position to do so); we

Brad Paulson: The best thing about
hardly ever rent locations; and we consistently
living in Los Angeles is the talent pool here is find folks who go out of their way to be in-so huge. There’s a lot of actors here that will
volved. Now, this is not the case for every pro-
work for meals, copy and credit, either to
duction, but Jimmy and I make sure every
build their résumé or because they’re finan -
person who works on our films feels valued.

cially stable, have the free time and really enjoy The most important words to come out of a
acting. In small towns you don’t have a lot of
directors mouth are “thank you.” You’ll bust
options. L.A. houses a lot of the great actors
your ass for someone you believe in and who
as well as a lot of shitty ones. The trick is
respects you.

learn ing to differentiate between the two.

The budgetary restrictions must be com-

However, any director worth half their salt will bated with genuine passion and goodwill. We
be able to do this. L.A. is also home to a lot
couldn’t make the films we make in Holly -
of flakes and bullshit artists, but as long as you wood or a bigger production town. Favors are
can avoid this, you can pull off some good
phoned-in constantly and, because of this,
things here. If you’re in a small town, on the
your reputation is paramount. No bridges are
other hand, you can get all kinds of amazing
worth burning.

locations for free. And you don’t have to deal

Jim Mickle: I live in New York City, and
with noise, either. With L.A. you have to deal

Mulberry Street is a complete product of living with that bullshit constantly. You can’t go any-there and shooting in a real apartment. Much
where here for peace and quiet. There’s always
of that movie’s success is due to its authen -
planes flying overhead, dogs barking, cars
ticity. Half of Stake Land was shot in my dad’s driving by, screaming kids, domestic argu-backyard, where I grew up in Berks County,
ments, you name it. And if you’re guerrilla

Pennsylvania. The other half was shot in up-
shooting there is also the risk of getting shut
state New York, where I have a cabin and
down and/or fined. On the other hand, L.A.

spend a good deal of time. The locations play
is a town so many people are used to the idea
a major part in that movie.

of filming in, you can actually get quite a bit

When you’re working with low budgets, it
done here as well. In Evil Ever After we were

118

HOW TO MAKE MOVIES
doing a scene where an actor got their heart
there is an old saying in a writing class: write ripped out in the back parking lot of my apart-about what you know. So whether you are
ment and people kept walking by pretending

Miss Suburbia, Mr. Hicksville — everything
nothing strange was going on. Not only that,
lies on your doorstep: friends, acquaintances,
one neighbor of ours who I’d never met before
and locations.

brought their kid over to come talk to us and

Some advice I like to give first is, as a film-
joke around. The kid probably thought it was
maker/director, don’t take it personally. Sec-
cool that we were ripping someone’s heart out
ond, if you can’t stand the heat, get out of the in the parking lot for a horror movie. I don’t
kitchen. Finally, you have got to give it every-
know if I want to run into that kid again when
thing until you don’t want to give any more.

he grows up.

This business attracts lots of “wannabes,” but

Jose Prendes: I think where you live does keeping yourself motivated is difficult when
indeed impact your film career. I used to live
your rent is six months behind.

in Miami, Florida, that’s where I made my first

So, to the nub of the question and taking
two films, and I didn’t exactly break out of the into consideration the above, where you live
box with them. Now I live in Los Angeles and
will never have an impact on getting your film
have made so many contacts and can call in
made. You will have the impact as to whether
so many favors from great, talented people that
you get your film made.

I know my next [project] will be bigger and

Marc Trottier: Up to now, I’ve primarily
better, and will probably get a lot more atten-
lived in Montreal and Toronto, where it gets
tion. That’s not to say that someone from
mad cold during the winter months. So unless

Kansas or Nevada can’t break out with an indie
you’re filming indoors or in a studio, it gets
hit, but if you look closely, all the movies peo-really difficult and uncomfortable to film out-
ple are talking about started from L.A. I rec-
side during that time (especially if you have a
ommend you move on out here to Hollywood
low budget). I’m not sure if I answered this
and swim with the sharks. If you’re realistic
question correctly, but for me, weather/tem-
about your goals, things can happen.

perature definitely play a role in filming.

Paul Scrabo: I think you can produce a

Mike Watt: Living in and outside of Pitts-film anywhere. You should be realistic. Does
burgh, locations are usually easy to come by,
that important three-minute dialogue sequence
depending on what our needs are. Offices,

HAVE to be shot in Times Square? Do you
homes, interiors, exteriors, full haunted attrac-have the permits and insurance?

tions — all have been gotten through polite,

Eric Shapiro: I’ve been in Los Angeles for casual meetings and location agreements

11 years, and aside from having great access to

(which always include a clause on damage,
a huge pool of SAG actors, which is impor -
which is covered by our insurance). Friends of
tant, I exist with the awareness that I can make ours who shoot primarily in New York and
films anywhere. This becomes more true every

New Jersey, often tell us how they spent $500
day, what with other states having tax incen-
for two hours of shooting at some lavish lo-
tives and California taxing the business out of
cation. Farther down or west of those places,
its own borders.

people are as likely to volunteer their property Anthony Straeger: Hmmm! Interest ing!

as they are to give permission. This falls under If you had asked if being of a specific race,
the “it never hurts to ask” department. We
gender, physical ability have an impact I
usu ally approach an owner [by saying], “Your
would have answered with a resounding YES.

house/farm/national landmark is gorgeous and

There are funding bodies all over the coun-
we’d love to shoot here. Would you be okay
try (U.K./U.S.). The fact that it is cheaper to
with that, and how can we make that hap-
make a film now more so than ever before,
pen?”

Locations

119

Always credit people correctly. Actors, crew, these people are hoping to achieve, and I try
extras and anyone who helped you in any way,
and make it happen ... for all of us.

shape or form. It’s the absolute least you can

Cleveland has been getting some notice
do, and it makes people more amenable to you
lately by the big studios, since Ohio is offering returning. (Or, in the case of the owners of
great incentives on making films in this state.

Laurel Caverns in Uniontown, Pennsylvania,

The bad news for local filmmakers is that lo-
willing to come find you when you’re hope-
cations that were previously pretty open for
lessly lost half a mile beneath the ground).

use in independent productions are starting to

Ritch Yarber: Living in Cleveland has a
tighten up. Everybody wants to get their share
double-edge in its impact on getting my films
of the money pie, so it doesn’t matter if you
made. It is not the greatest place to try and
are local or a big studio, everybody thinks that break into filmmaking on any level since it is
films mean money to be made, thus, less free-
not a hotbed of opportunity. That being said,
bies. It is another shot in the heart for micro-
it makes it much easier and affordable to get
budget independents.

my films made as there are so many people

Ivan Zuccon: I like telling stories about wanting to get their talents noticed but cannot
my country, and that’s why I locate my movies
take on the challenges of moving to the East
here in Italy, near my home. I think a director
or West Coast to “give it a go.” So much great
should tell stories about what he knows best,
talent is at my fingertips for little or no cost.

because the cultural background helps in

People are looking for a venue that is local and strengthening the storytelling.

convenient to show their work. They cannot

Making movies is like a drug. Shooting
afford to take the big gamble. My films give
movies turns your life upside-down (for better
them that chance. This is lucky for me since
or for worse), and your life starts hinging on

I, too, am in that same boat. I have three chil-
the shooting of the movie. Once you finish
dren, a wife and a handicapped father who
shooting, you immediately begin to think
count on me for their livelihood. I have
about the next film, and so on. There is no
worked at the same job for 26 years. I cannot
way out. It ‘s like a curse. The important thing afford to leave and “take my shot” at Holly-is to impose a limit on yourself. If things start wood. I have to try and create my opportunity
working to your advantage and what you do
from here. That makes me even more passion-
gets a good response, great. Otherwise, you
ate and dedicated, since I understand what
should quit.

The Filmmakers were asked:

How do you secure locations?

Glenn Andreiev: The best thing to do is
what I was doing, and how I can get them
to tell the location owner you will mention
local press. He gave us two rooms for free, and
their place of business in your press release
let us hit their breakfast buffet. If the manager (never say “news articles about us shooting will sees you sneak in lights, camera, and, espec -
mention your place of business” because you
ially, a woman, he’ll think there’s a porno
have no power what the newspapers will edit
shoot and toss you out.

out from your press release). This worked well

John Borowski: When seeking locations,
for me when I needed to film in a hotel room

I usually work with the local film office if the for The Deed to Hell. I let the manager know location needed is a substantial location. By

120

HOW TO MAKE MOVIES
substantial I mean a large set that cannot afford the old head of guards was fired and now they
to be built. For Carl Panzram, I worked with have a guy there who doesn’t give a shit. We
the Chicago Film Office to secure a jail loca-
buy that guy a box of donuts, and he simply
tion. I was surprised to find out that Michael
says, “Don’t destroy anything.” So, we shot

Mann filmed Public Enemies at the same jail.

there three or four times. At one point we had

Liability insurance is needed when filming
about 35 war re-enactors crawling all over the
on any location. I recommend buying into a
property, and not once did we get thrown out.

group insurance as it is more economical and

The Lord works in mysterious ways.

you are covered for liability insurance for an

Richard Cunningham: Ha. I don’t usu-
entire year. When filming Albert Fish in L.A., ally. I started guerrilla filmmaking when I was

I rented out a studio where porn films were
young, I guess. I asked permission to film on
filmed. Not only did I get a great deal, but I
a location if the property’s owner was around,
had the run of the studio, including their
but sometimes there was trespassing done in
standing sets and the area around the exterior
the name of the film. I also shot a no-budget
of the studio. If the location needed is not sub-mockumentary/horror film called America the
stantial, I usually utilize the guerrilla filmmak-Mental that has all kinds of beautiful New ing technique of trying not to attract attention York City locations, scenes that were often
and being as quick as possible. For Albert Fish, captured in one take, if you follow me. Of

I needed an empty apartment set. I knew
course, I’m not recommending this.

many apartments in L.A. were left open by the

I’ve gone through the proper channels for
realtor for renters to enter and check out the
locations, as well. In New York City the gov-
apartment. There was an empty apartment
ernor has an Office of Films that processes per-
two doors down from where I lived so I took
mit applications. I’ve also worked with local
the actor, one light, and my camera and tripod
municipal offices for permission to film in
there and filmed as quickly as possible and left.

public; you can directly approach a business,

No one ever knew we were there.

like a café or bar. Many [owners] are willing

Keith Crocker: I don’t secure locations, I to accommodate a low-budget film without
steal them. Just about every location I have in
charge, if you don’t cause them inconvenience
my films is begged, borrowed or stolen. I don’t
or take too long getting the scene down.

believe in securing permits — it takes time and

Maurice Devereaux: If you have no
money. I simply hit and run. Let me give you
money for a location scout, you look around
an example. For Blitzkrieg, I used a closed-for what you need (online, drive around, ask
down psychiatric institute to double for a
friends), then find the owner and negotiate a
bombed-out prisoner of war camp. When I
price. This part is not rocket science. Try to
approached the first security officer about get-
find places with easy access by public trans-
ting permission to shoot on the site, he said
portation, available parking and low-noise lev-
that “if he caught us trying to shoot without
els. Also make sure if ever you rent someplace,
proper permission he’d confiscate all our
that you don’t need to re-rent it for extra time, equip ment and not give it back.” Okay, I tried
as they now have you in a vice hold and can
to get permission from higher-ups, especially
overcharge you if they feel like being greedy,
since my alma mater owned the property,
since they know you need to shoot there.

but they (the school) kept telling me they no

Once, on End of the Line, I rented an empty longer owned the property but were obli gated
warehouse for one month for $1200. Then,
to guard it. Anyhow, I start seeking out another while shooting, my production designer met
location [when] I meet a guy who wants to act
an old acquaintance on the street. She lived in
for us, and — surprise — he turns out to be a
a loft across the street, I needed an apartment
former guard from the school. He tells me that
for a small scene in the film, and her place was

Locations

121
perfect. Unfortunately, she worked in the film
rented as the home of Brigitte Nielsen’s char-
industry and was greedy — she wanted $500
acter. For that I checked with the Georgia
for a day of shooting. Since it was so close by, Film Commission for their list of Atlanta es-it made sense to still go there. But, three weeks tates available for location rentals. I toured
later, I needed an extra day at the warehouse.

through some jaw-dropping homes that had

Well, the owner said sure, that will be $1500.

been featured in Driving Miss Daisy and Box -

I almost choked! “We paid $1200 for a month!

ing Helena before picking the place that was What the hell?” Well, what happened was, the
supposed to be the home of Brigitte Nielsen’s
girl next door who I rented the loft from,
character.

KNEW and told the owner of the warehouse

I’ve shot a couple of times in New York City
what we paid for her place, so now he had me
and always hear stories about how it’s impos-
by the balls. Since we had already shot there
sible to shoot there without expensive filming
and needed it for continuity, I was fucked and
permits. But I shot right in the heart of Times
had to pay.

Square for Red Lips: Bloodlust, with no prob-Donald Farmer: There’s about as many
lem. A policeman even walked right by us at
ways to secure a location as there are locations.

one point and just ignored us. Then on An

Sometimes we shoot in a cast member’s house.

Erotic Vampire in Paris we pretty much filmed Sometimes we may shoot in MY house, as I’ve
where we pleased, never asking for permission,
done on Scream Dream and Deadly Memories.

including inside Notre Dame Cathedral. Our

Other times I’ll get double duty from the

French crew recommended some other good
motel where our cast and crew is staying. If a
locations, and all the interior scenes were
room’s already on the production tab, why not
filmed at the Paris home of our cinematogra-
knock off a few bedroom or shower scenes
pher’s father-in-law.

there? The opening scene of Demon Queen was Jeff Forsyth: I have been very fortunate
shot in some Ft. Lauderdale motel. All the
with locations. I have lived in or around Syra-
nude scenes for Vampire Cop and Deadly cuse, New York, all my life and even when I

Mem ories were done at motels, too. When I was not working on a project certain locations
needed a quick shot in Compelling Evidence of speak to me and I remember them. Through

Lynn Lowry answering a late-night phone call,
so many wonderful people I have met in my

I didn’t rent some studio for a three-minute
life I have been able to shoot in some wonder-
scene — I shot it in Lynn’s room at the Atlanta
ful places. Plus, I am not completely ashamed

Holiday Inn. Another case of double duty on
to say that I have shot rather quickly in some

Compelling Evidence was when we needed a places that I probably shouldn’t.

movie theatre to film a screening of our lead

Richard W. Haines: The locations I use
character’s new action movie. An Atlanta pro-
for my features are secured in advance of writ-
duction company providing our camera gear
ing the script, as I mentioned before. There’s
happened to have a screening room, so we
no point in writing a scene at a place that
filmed it there. It was a little trickier getting would be too expensive to film, at considering
permission to shoot in a real TV studio for
my budgetary limitations. Sometimes I’m able
some of Dana Plato’s scenes, but the local
to get a building for free by offering services

FOX affiliate eventually gave us the okay.

to them. For example, I’ve shot scenes at Tech-

When I needed a nightclub for the musical
nicolor Career Institute by using the students
scenes in Scream Dream, I told a local club there as extras or production assistants. That
owner how our movie would be great adver-
gave them a credit and reference, so it worked
tising for his place. He agreed, and we used it
out to everyone’s advantage. Some complex
for both that movie and Savage Vengeance.

locations, like the Gothic Castle, have to be

The biggest location was the mansion we
rented.

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HOW TO MAKE MOVIES

On the power plant set of Space Avenger

William Hopkins: On both films, the

With Demon Resurrection, I simplified the producers and myself put out the word to all
shoot by writing a script that could be done
our friends and associates about the type of
in and around one house. But finding that
locations we would be needing. Sleepless Nights house turned out to be a real trick. It had to
was a far more challenging experience, since
be an old house — our story wouldn’t work in
the script required several rather difficult lo-
a more modern building. And it had to be re-
cations, like an abandoned warehouse and a
mote — the story wouldn’t work in a house on
midtown–Manhattan skyscraper. Those aren’t
a block with 20 other houses. And it had to
easy things to find when you have a budget of
be a fairly big place, since the action of the
less than $100,000. We never did find the sky-
script was spread out over several different
scraper, so we had to fake it using various sub-
rooms of the house and the yard outside.

stitutes. And as the production dragged on,

We were just a week or two away from
we kept losing access to locations after we had
abandoning the project because we couldn’t
begun to shoot scenes in them, so with both
find an acceptable place, when a friend of
the skyscraper scenes and the abandoned ware-

Frank’s put him in touch with the owner of a
house scenes we ended up shooting in several
beautiful piece of property way out on the fur-
different places and cobbling it all together in thest reaches of Long Island. It meant a good
the editing. The scenes that take place on the
part of each day was spent in travel back and
roof of the skyscraper were actually shot on
forth, but the location was ideal. It was big
roofs in Manhattan, Queens, Brooklyn and
and old, with plenty of rooms and a slightly
the Bronx. And the abandoned warehouse
run-down look. It had plenty of exposed
scenes were done on locations in New Jersey,
wood and big rafters running overhead, which

Queens and the Bronx. That all the stuff cut
was perfect for our purposes. And it was sur-
together properly was a small miracle in itself.

rounded by several acres of woodland and sit-

Locations

123
uated right near a cliff looking out over Long
morning when they closed and be out before

Island Sound. It really added enormously to
they opened the next night. We also used
the look and feel of the film, almost as if it had Gabriella’s house that we dressed to be many
been designed for us. In a way, the house be-
different places. The Beverly Hills office we
came a character in the film, which is just what shot at night in a real office. It was $3,000 for I was hoping for when I wrote the script.

one night, which I paid for myself. However,

Steve Hudgins: We ask. You’d be sur-
the outside of the office was actually a building prised how many people are happy to let you
in the valley that always keeps its lobby lights use their location for a movie if you ask nicely.

on. Paul Deng, my director of photography

Having a good amount of experience under
on that film, turned us on to that, and one
your belt, along with a good reputation, goes
night we just went there and stole all the ex-
a long way as well.

teriors. The funny thing is that the company

Rolfe Kanefsky: Usually, you just have to that ended up buying our film and selling it
pay for them unless it’s the producer’s house.

to Warner Bros., had their offices inside that

I’ve shot a lot of scenes at producers homes.

building. Small world, huh?

If you’re doing a real small production, you

So, if you’re smart you can get a lot of lo-
may be able to keep a low profile and “steal
cations for free and pay for the ones that are
locations,” like parks or streets, or fronts of
really worth it. Jacqueline Hyde was shot in ten stores. I did a lot of that on Pretty Cool Too!

days for under $100,000, but it looks a lot big-

There’s a montage when the main character is
ger and a lot more expensive. I believe our lo-
using the power of his cell phone to seduce/
cations had a lot to do with that.

control people he meets. He goes to the park,

The same can be said for the main house in
a Goth store, and the beach. We shot all of

The Hazing and the three different homes that these scenes on the same day with a four-per-made up the main house in There’s Nothing
son crew and a few actors. Nobody stopped

Out There. Personally, I love shooting in actual us. We were in and out without anybody really
locations versus building sets. It is sometimes
noticing.

limiting but a real place feels like a real place But if you’re shooting in a house and are
and that shows on screen.

going to be there for a while, you need per -

Brett Kelly: Always get written permission mits, permission from other homes in the area,
from the owner. That’s the whole trick.

signs that say you’re filming, and usually a pay-Chris LaMartina: Micro-budget film-
ment to the owner of the house. A great loca-
makers have a tendency of setting films in one
tion can add a lot of production value to your
central location and it’s often somewhere easy/
project, so sometimes it’s worth it. On Jacque-safe to shoot in (e.g., a summer house full of
line Hyde, we found an amazing house that al-perky teenage girls). It’s cheaper to use this
most becomes a character in the movie. The
motif, but we’ve tried to veer away from that
people who owned the house were magicians
because it is so common. We, like most artists,
and had never had a movie shoot in their man-
want to stand out. An interesting location can
sion. We got them down to a thousand dollars
really add to the atmosphere and eeriness of a
a day, which was more than we wanted to
horror flick.

spend. In fact, it doubled our cost. So, to

Find interesting locations that you already
make it work, we cut down the number of
have access to ... you’ll be shocked at what you days at that location from six to four. But it
can use just because of a business owner’s en-
was so worth it. Luckily, we didn’t have to pay
thusiasm. Using this philosophy, we’ve shot in
the strip club because Gabriella Hall, the
nursing homes, antique shops, and even fu-
star/producer, knew the guy who owned it.

neral parlors. If you can’t get away with using

We just had to shoot after two o’clock in the
them for free, figure out a favor trade. For

124

HOW TO MAKE MOVIES

On the set of President’s Day, director Chris LaMartina checks the audio levels of screams while Director of Photography Joe Davidson captures Evil Lincoln chopping up actress Carolyn Wasilewski. Photograph by Jimmy George.

Grave Mistakes, we shot expensive-looking certain places, people would often offer up
mansion scenes at a local bed and breakfast,
their place or another that they knew of.

and in return, I was asked to do a video tour

On Mulberry Street we had written in three of their business. We shot our slasher comedy,
or four main apartments in the script and had

President’s Day, at a small private high school gotten permission from many of Nick’s neigh-because we agreed to install exit lights in every bors to use their place for some time to shoot.

hall and make a small donation to the “Prin-

But the day before principal photography, they
cipal’s fund.”

all backed out, so we improvised and shot the

Think within your means, but get ready to
whole thing in Nick’s one-bedroom apart -
rely on your charisma to seal the deal. A great
ment. He and the art team redecorated for
attitude and friendly smile can go a long way.

each location, painting walls, taking out cab-

People want to get involved generally, but they
inets, and building fake doors to play as four
have to trust you first.

different apartments. It worked seamlessly.

Jim Mickle: I’ve secured them with loca-

The best advice is to be incredibly respectful
tion managers and good producers who are
of locations. I’ve worked on crews that abuse
willing to do the legwork to develop and
locations, and I’ve had my own place torn
maintain respectful relationships. Lots of
apart for other people’s shoots and it sucks.

places in Stake Land were written for specifi-Treat it like it’s your own.

cally, but for other locations our producer,

Damon Packard: In my case it’s often not

Brent Kunkle, took on the role of location
a budgetary consideration, so it’s a situation
manager, moving to the area for about six
where you hope and pray that nobody tosses
weeks of prep and getting to know the area
you off a location in the first five minutes. I’ve and making contacts locally. When we needed
been very lucky in that regard. But I have also

Locations

125
been thrown off hundreds of locations. One
moviemakers, but securing a location can be
should always have backup locations, if pos-
done fairly easily ... and usually for free.

sible.

Paul Scrabo: I haven’t had much practical Brad Paulson: In the good old days we’d
experience with that. We did a bit of “run and
guerrilla most of the locations and plan on
gun” here and there, and that’s never pleasant
being out of there before the cops arrived. Or

By the way, a few months after we wrapped up
we used to get locations for free. But times
shooting at the house used for the main loca-
have changed and so have the owners. So we’ve
tion, a tree fell on it. It’s since been largely re-been scaling back to shoot in places we ab-
built and now it can be a new location for our
solutely know we can get, not just ones we
next film!

think we can get. From now on, I’m going to

Eric Shapiro: When you’re going beyond
do what’s easiest for me. I’ve had my fun with
residential locations — which friends and fam-
guerrilla filmmaking and will still do it from
ily are great for supplying — it’s a lot like cast-time to time, but I’ll only do it if it’s some -
ing. If it’s a hotel, like we used for Rule of Three, thing I can pull off quick enough before any-it’s a good idea to talk to the management and
one arrives to shut us down.

get a feel for their disposition. If somebody

Jose Prendes: Well, with no budget you
seems like they’re gonna drive you crazy for
shoot at your house, or you get your friends
three weeks, run. If you’re dealing with rea-
to hook you up with a sweet location. In the
sonable people, it’s a matter of negotiating
case of Corpses Are Forever, I filmed in a massive costs and time frames. On Mail Order, we shot warehouse studio and had to rent it out for
in Sante La Brea, a great restaurant that’s now
the duration, which was costly. But if you
closed. I told the manager we couldn’t pay
want to shoot somewhere, then go shoot there.

much, but that we’d buy the cast and crew din-

That’s easier said than done in Los Angeles,
ner from the restaurant. He was sold.

because the cops are savvy to the ways of indie

Anthony Straeger: In terms of securing

Call of the Hunter location—Cleve House Ivybridge—shooting the night transition shot.

126

HOW TO MAKE MOVIES
locations I can definitely say that I’ve never

“stable” actors, Stacy Bartlebaugh-Gmys and
used a location scout or a locations bureau.

Ron Gmys. The only requirements were that

Whatever script I have done, once it is broken
we limit the blood use to one specific room of
down and I have a fairly good idea of what
the house and that we not track shit in from
locations I am looking for, I either contact
outside. We had them sign a location release
friends and associates to see whether they
form and chipped in for their utilities (which
might know of such a location, or I do some
they hadn’t asked for, but we felt it was only
internet research, looking at areas that are in
right to do so). Thus, we had a gorgeous Vic-
the best and most convenient location.

torian house to utilize for our little ode to

Working as an independent filmmaker, you

Hammer.

are continually pulling favors, and I personally In the case of the working haunted attrac-have had some great locations for nothing. I’m
tion, the Hundred Acres Manor, which in-
fairly sure that people can sense that you
spired Splatter Movie: The Director’s Cut, we haven’t got a shed load of money to hand to
knew one of the head employees and, through
them for their location, and as my budgets are
him, we met the location’s owners. They re-
often limited, I think that I have been lucky
quired that we provide them with proof of in-
with the people I have met. If a company or
surance, which turned out to be much easier
individual wants too much for a location, it’s
and cheaper to obtain than you’d expect,
simply not plausible, and I look elsewhere. If
which has now become standard operating
it’s close and it’s free, the foibles of the venue procedure for us. Debbie Rochon’s on-set ac-can often be worked around.

cident, resulting in partially severed fingers

Marc Trottier: Finding locations is kind
and leaving her nearly bankrupt thanks to am-
of the same as finding actors. You’re filming
ateur filmmakers lacking the simple policy,
stuff in your parents’ basement or your friend’s served as a wake-up call for all professional in-pool, or you’re sneaking onto private property
dependent filmmakers. In fact, if you can’t af-
to get certain shots (don’t get shot trying to
ford what usually amounts to a couple hun -
get your shot!). I filmed a short film where we
dred dollars for a million-dollar policy, you
robbed a convenience store (in the film—don’t
have no right to ask your actors or crew to risk actually rob a convenience store to get money
even the smallest amount of hazard.

to film). We knew the girl behind the counter

For Demon Divas and the Lanes of Damna-
and she was bored, so we did it on the spot.

tion, the idea to use King Lanes bowling alley Another time during the filming of Darkness
was pitched to us by the owners and their

Waits, we went into a hospital (which we used daughter. We renewed our insurance policy
as the entrance to our mental institution), and
and paid for all food and beverages provided
we asked the receptionist to hand my character
by the business’s kitchen staff. Since we were
a clipboard to sign before leaving ... and she
shooting during an off-period (as we did with
agreed.

the Hundred Acres Manor) near the end of

You need to come up with creative ways to
summer as they geared up for league-play,
film in certain locations that would otherwise
there was no demand for any sort of rent. In
cost money, like pretending to be a security
fact, owners Bob and Sandy Hall actually pro-
guard, or a construction worker to divert traffic vided the majority of our cast with sleeping

... or sometimes just by asking nicely.

accommodations at their home and came

Mike Watt: The easiest thing to do, for
aboard as associate producers.

us, has been to ask. Many of our movies have

Utilizing the Laurel Caverns for Razor Days
actually been written around the location,
came about through a series of coincidences.

such as the “Bathory House” in A Feast of

Amy and I had covered the shooting of a seg-

Flesh, which was owned by our friends and ment of George A. Romero Presents Deadtime

Locations

127

Shooting Demon Divas in King Lanes, Kittanning, Pennsylvania: Top, left to right: Michael Barton (Cal), Rachelle Williams (Frankie), Tabatha Carlson (Becki), Tara Cooper (Infinity). Seated: Nikki McCrae (Lisa), Sofiya Smirnova (Taffy). Standing: Hugo Bissonett (camera, DiggerFilms), Mike Watt (director), Steve Villeneuve (Camera, DiggerFilms) Stories for Fangoria. The film’s writer, co-pro-to-person negotiations are usually very
ducer and co-director, Jeff Monahan, put us
smooth.

in touch with the landmark’s proprietors and

Obtain liability insurance for personnel, at
we arranged a very reasonable agreement that
the very least. For additional fees you can get
allowed us to shoot uninterrupted for a week-
your equipment covered as well, but, nor -
end, again, under the stipulation that we pro-
mally, your gear is already covered by home-
vide proof of insurance. The insurance didn’t
owner’s insurance (if you’re a homeowner, ob-
make us physically comfortable a quarter-mile
viously). But under no circum stances should
beneath the Earth during a snow-melting
you risk the health and livelihood of your cast
spring, but it covered anyone who might have
and crew in order to save a few hundred dol-
slipped on the limestone paths, walked into a
lars. Most of these people are your friends and
stalactite, et cetera.

family. How would you feel if someone was

So the long and short of things has always
injured to any degree under your watch? The
been: Ask first; it rarely hurts. Especially if you old “we make everyone sign a waiver that says
don’t live in a “Hollywood” town where pro-
any injury is their responsibility” is a callous prietors and property owners are used to being
and cowardly attitude to have.

compensated by movie crews. Most people

Don’t be a jerk. It’s not your property, and
find the filmmaking process to be fascinat ing
even if you’re paying a fee to be there, that
and love to be on set. As long as you and your
doesn’t give you ownership. You and your crew
crew don’t act like entitled jerks, the person-
are guests of someone else and they don’t have

128

HOW TO MAKE MOVIES
to let you be there. Maintain a good relation-
the customers started to arrive for their riding ship with the owners, agree to their restrictions lessons. When you are getting free access to a
and utilize the location the best way you can
location, you have to suck it up and do what-
in the movie. To that end, have a location
ever has to be done to get your shots.

agreement signed by both you and the propri-

TwistedSpine.com Films has a policy that
etor. It’s always best to have things in writing, we are sticklers about when using a location.

and it covers all parties. Remember, people

We always leave a location as clean or cleaner
are usually fascinated by the filmmaking
than it was when we arrived. Our reputation
process until they realize just how tedious it
for this policy helps us continue to secure lo-
really is. Some people may tire of having
cations that we could never afford to pay for.

everyone around, even after a few hours, and

With this policy in mind, I recently worked

I’ve known a number of “handshake” agree-
on another local filmmaker’s project as part of
ments fall apart simply because the proprietor
the crew. We were shooting at Burke Lake -
of the business lost interest midway through
front Airport, in downtown Cleveland, Ohio.

the first day’s shoot. You can easily download

Some one removing garbage from the craft-ser-
a boilerplate agreement whose terms you can
vices area of the shoot had left a trail of liquid modify to indicate how long you’ll be at the
out the door and all the way down the con-
location, times that you will arrive and leave,
course of the airport. It was on a weekend and
et cetera. One slip of paper keeps everyone
the place was practically empty. I was the last
honest.

crew member at the location. I was assigned

Ritch Yarber: We secure locations by ba-
to clean up the remaining craft-services area
sically explaining what we are about and what
and secure the location as I left. There was no
we are trying to do. Luckily, so far, we have
mop to be found anywhere I looked in the
never had to pay for the use of a location. A
whole airport. I was forced to clean the entire
lot of people are excited about being a part
concourse on my hands and knees, with a roll
of a film and are eager for us to use their loca-of paper towels and one old rag. I was tired
tions. Some are less than eager, but, begrudg-
and sore when I left that day, but I remem -
ingly agree under specific conditions and
bered that this policy had enabled me to get
times. For Murder Machine! we shot for four many great locations for my films and that,
straight weekends at an old horse barn in
even though this was not my project, my rep-

Oberlin, Ohio. Since the place was a working
utation and opportunities were earned because
ranch during the day, we could only shoot at

I always operate to a higher standard. When
night, which was great for us since the scenes
you are trying to make movies for no money,
took place at night. The owner was a friend
your reputation can be just as important
of one of the wives of one of our actors. He
as money when securing great locations that
said that we could do whatever we wanted in
will add fantastic production value to your
the barn and use whatever we needed for the
works.

shoot. Problem was, he worked nights, leaving

We have never written up a contract for
his wife in charge of the barn at night. She was terms to use a certain location. Other film-never very happy to see us. It put a whole new
makers that I know have had horror stories
level of pressure on us to get the shots we
about verbal agreements that suddenly change
needed under the disapproving eye of the wife.

in the middle of the shoot. Please keep this in

We had to shut down production several times
mind when committing to a location. People
during the night as she fed the animals and
are fickle.

“tended” to things in the barn. We had to

Ivan Zuccon: It’s hard to find a location wrap by daylight and ensure that everything
for free. When we find a location that is good
was cleaned up and that we were gone when
for the film, we look for the owner and we ask

Locations

129
him how much money he wants for the rent.

wood and start asking for tons of dollars. Usu-

Of course, we explain him that we are making
ally we use this trick: we tell them we are mak-
a low-budget movie and we do not have a lot
ing a student film. This often works, and we
of money to spend. Because when they hear
secure a location for a cheap price. But no one

“making a movie” they believe we are Holly-
gives you anything for free here.

Special Effects

There are two types of special effects. The
portfolio and [demo] reel, so he was hired to
first are the ones you do during the actual pro-
create two full-bodied lycanthrope outfits. He
duction, like make-up or blood effects. The
had several months do to this. But as the date
second are those done in post-production, like
of the production neared he said he was having
explosions or computer animation. With both,
problems meeting the deadline. If I canceled

I tried getting professional effects people, prithe dates of the production and postponed
marily because I wasn’t able to do those effects them, I knew the movie would not get made.

myself. With the first film, Vampires & Other Everything was coordinated and locked in,

Stereotypes, I had the services of a professional from locations to actors. So I told the guy to
effects company out of New Jersey. They were
mail me what he had finished and I’d use what
the same outfit that did Rolfe Kanefsky’s
he had. What came in the mail the next day

There’s Nothing Out There a few years before.

looked like two cheap gorilla suits and un-

On my film they did everything from the
painted latex masks. There was no sleep to be
vam pire fangs to full-head demon prosthetics
had that night, as the co-producer and I “fixed”

to giant rats. However, with my next film, the
them. But what to do with these giant Mup-
anthology Twisted Tales, I did the majority of pet-looking werewolves? I treated it as if I were the make-up effects myself, as they were so
shooting a 1960s Godzilla film.

much simpler to execute. I also needed a break

The first digital effects I needed were on the
from time-consuming special effects. That was

Alien Agenda movies in the mid–’90s. This the main thing I learned from doing an ef-was a trilogy of features that revolved around
fects-laden feature — those effects take hours
two different types of aliens overtaking the
of preparation.

Earth. The needed effects were done by several

Blood and gore are fairly easy on a low
different people, to expedite the post-produc-
budget. On a zombie short I did for an anthol -
tion. Again, many different filmmakers were
ogy called Goregoyles I created most of the spe-involved and they were responsible for many
cial effects to see if I could do that myself. In-of their own effects. However, certain effects
testines were made from uncooked links of
and props needed to be consistent, such as the
sausage, blood from Karo syrup and food col-

“look” of the aliens, so all that had to be
oring. Even the Fulci-like zombies were mod-
coordi nated. With the sequel series, The Alien ified from generic rubber masks, doctored

Conspiracy, I had one person create most of with liquid latex and moss. In fact, I was more
the miniatures, such as the flying saucers, and
pleased with the effects in that short movie
another person digitally manipulate them into
than anything else in the entire production.

the various scenes, such as flying over the Twin One of the worst experiences I had with

Towers.

effects, which haunts me to this day, were the

Although there’s been great advancement
werewolf costumes in Rage of the Werewolf. I in digital effects I recommended that you keep
had been impressed with the effects artist’s
your effects to a minimum. Today’s audiences

130

Special Effects

131
expect a lot and there’s no way you can meas-

What I’ve learned from 20 years of produc-
ure up to Avatar on a minuscule budget. In tion is that if you aren’t able to realize the
fact, watch nearly any movie made for the Syfy
effects in your script then you probably should

Chan nel and you can see lousy computer ef-
do a rewrite.

fects.

The Filmmakers were asked:

How do you handle special effects?

Glenn Andreiev: Try not to go over your

Keith Crocker: I let other folks handle
head. On a $15,000 film you’re not pulling off
special effects. Back in the old days, right up
the “bullet time” effects from The Matrix. It’s to Bloody Ape, I also did the make-up effects easy to make do with what you already have.

myself. Every once in a while I’d get a “guest”

In Mad Wolf, for gunshots to a tree, we drilled make-up artist, like Nathan Schiff, another
holes into a tree and put firecrackers in them.

Long Island-based filmmaker, who handled

During post-production in Silver Night, we Herschel Gordon Lewis–style effects very well.

saw this shot of a vampire woman running to

On the Bloody Ape, George Reis, Larry Koster catch a victim. We wanted to turn that into a
and I called ourselves the Cinefear Effects
special effect. The shot was done with a steady

Troupe, and we handled all the special make-
camera on a tripod, and we did five takes of
up effects ourselves. But when Blitzkrieg came, her running off. I simply superimposed all five

I had John Farley, who had been working on
takes of her running together so it looks like
other Long Island–produced horror film ef-
she pulls apart into five ghostly figures. We
fects. Nothing pleases me more than having a
sped up the image and added a weird scream.

make-up effects person; I’m sick and tired of

The shot came out pretty good.

handling and cleaning up stage blood. I don’t

John Borowski: Photoshop and After Ef-
miss doing effects at all. I never really liked it.

fects are amazing programs. They are almost

And, again, you don’t want to wear too many
limitless in what can be created and manipu-
hats.

lated for special effects. I edit my films on a

Richard Cunningham: With my first

Mac in Final Cut Pro and create all of the ef-
productions, Lycian and Arcadium, the story fects in Photoshop and After Effects. There
had a fictional medieval backdrop. Some of
are many tutorials available on the internet
the visuals we accomplished by brute force,
that guide you through the making of certain
like building a village set that spanned more
special effects. Sound is very important as you
than half an acre of land. For that we were car-
can utilize sound to complement and enhance
rying fallen trees from the surrounding woods
the spe cial effect. When filming H.H. Holmes, to form building frames, transporting rocks
a fake hole in a wall was created to serve as a
to make functional fire pits, carving and paint-
chute opening where Holmes would dump a
ing Styrofoam to make fake rock walls. For
body from the third floor down to the base-
the castle scenes in the movie, I contacted an
ment of his “castle.” The set was built in my
actual castle in Tarrytown, New York, that op-
apart ment, so the chute was fake. But the il-
erates as a hotel, and they allowed us to shoot
lusion was complemented by the sound of a
on their property. CGI ultimately became
body falling three stories and then landing at
necessary to capture the grandeur of a capital
the bottom.

city referenced in the script, and to fill the sets

132

HOW TO MAKE MOVIES
with more extras than had
originally shown up. That
task fell on my production
partners, who accomplished
it by pain-staking rotoscop-
ing techniques with Final

Cut Pro.

With America the Mental,
we were doing minimal ef-
fects, but because the film
was shot impromptu, we
usu ally had but one take to
get the shot right. These ef-
fects involved blood spatter
or other violence, and re-
quired some trickery of cam-
era framing and/or actor
concealment, so that the ef-
fect could be accomplished
seamlessly during long shots
without inserts dedicated to
featuring the effect itself. I
suspect, for this reason, that
stage experience would be es-
pecially useful knowledge
when filming a movie in that
documentary-like style.

Top: John Farley applies make-up to Tatyana Kot so she will appear battered and bruised in

Blltzkrieg. Bottom: Another disturbing scene from Year Zero.

Special Effects

133

With Year Zero, my production partner set suming on set, so beware and schedule your
me up with the programs, and I took on the
shoot accordingly.

challenges of special effects myself. To give the Donald Farmer: I like to leave special ef-animated film its particular look, I photo -
fects to the experts. As I mentioned, I was my
graphed objects and brought them into Adobe
own effects man on The Summoned, rigging Photoshop, where I added a filter that con-one of my friends with a firecracker, but I don’t verted the still images into line drawings. I
need to repeat that experience. I’ve mentioned
then extracted the subject, creating an indi-
how I hired Rick Gonzales for the make-up
vidual layer, coloring it in and shading it, and effects on Demon Queen right after he’d assisted eventually adding it to a composite image.

Tom Savini on Day of the Dead. I used Rick From there I used Adobe After Effects, sep-again on Scream Dream, Savage Vengeance, Vi-arating each layer within a sequence to mimic
cious Kiss and Vampire Cop. For that last one perspective when employing the movement of

Rick did a vampire’s death scene that Joe Bob
the program’s virtual camera and lighting fea-

Briggs described as “ten seconds of a drug
tures. I used something called a “Puppet Tool”

dealer’s face turning into Silly Putty and get-
in After Effects to manipulate the still images
ting fried off in the sun.” Actually, it was more into animation, with a few other techniques,
like 90 seconds — I liked to milk Rick’s effects like stop-motion, but that was often a comfor all the screen time they were worth!

plicated and awkward process.

As I had no crew, I was taking
photographs of myself, using
the camera’s timer, and a gui-
tar case as a stand-in.

For the opening titles of the
short film, I wanted to begin
with a shot of a single cell di-
viding exponentially, and that
required me to look into sev-
eral After Effects filters, but I
managed to find one for free
that accom plished the effect. I
even used an old GIF ani -
mator for a sequence. What-
ever got the job done.

Maurice Devereaux: I
don’t [do special effects]... I
get someone who does that for
a living. I was lucky to be
friends with Oscar-nominated
special make-up F/X artist

Adrien Morot, who is a tre -
mendous artist; he worked on
all my films at a discount rate

(or, in the case of End of the

Line, for free in exchange for
a percentage of the film). But

Donald Farmer poses with Jackey Little (in demon make-up) on special F/X are very time-con-the set of Scream Dream.

134

HOW TO MAKE MOVIES

For Cannibal Hookers I found an effects guy this in Taxi Driver, then again in Dawn of the named Brian Sipe who had absolutely no film

Dead, so I wanted it in one of my own movies.

experience but was making these huge anima-

And, with Bob in charge, everything worked
tronic dinosaurs for museums out of his ga -
perfectly on the first try.

rage. I came by his house one day, saw a huge

Chainsaw Cheerleaders was the first time I robotic Tyrannosaurus head he’d made and
wanted to go the CGI route and was referred
hired him on the spot. Now Brian is one of
to a guy could do both CGI animation and
the top effects guys in the industry, with cred -
traditional make-up effects. Joey Pruitt had
its on Hannibal, Star Trek, Van Helsing, Ter-just done a movie for Lionsgate called Side
minator Salvation and The Curious Case of Show, where he created some disturbingly re-Benjamin Button. But his IMDb page still lists alistic CGI snakes, so I had him do one better

Cannibal Hookers as his first feature credit.

on Chainsaw Cheerleaders. Joey designed and Another effects man I’ve used is Bob Shelly,
animated a CGI mutant snake that could rape
who runs a full-blown studio and weapons

Debbie Rochon, slither through her body, and
museum in Atlanta with his son B.J Shelly.

burst out of her neck in a blast of CGI blood.

Bob’s done everything from Jim Wynorski’s

Naturally, I featured this effect front and center Return of the Swamp Thing, creating gunshot in the preview trailer.

squibs for Robert Rodriguez in Desperado, rig-Jeff Forsyth: On the first film I handled ging rain effects in The Notebook, and running all the make-up, props, design work and dig -
various pyrotechnic and gunshot effects in
ital effects myself. I believe in the idea that

Zombieland. When you hire Bob you can usu-knowledge is power. If I didn’t know how to
ally film on his studio lot as part of the pack-
do something I either read about or asked
age, which is very useful for doing car stunts
some one how to do it. Originally, all the UFOs
and explosions without having to get permits
in Children of the Sky were models, which was and blocking off public streets. We filmed a
rather fun to construct and photograph. By
big chunk of Vampire Cop on Bob’s lot, then the time post was finished on that film I en-came back a few years later for a motorcycle-
tered the world of CGI. I love being able to
crash scene in Vicious Kiss. Bob and B.J. both do all my work myself. I don’t really want to
work on Demolition Highway, doing the extra do all of it but I like being learned enough bloody squibs I requested, along with bike
about special effects to guide people to what
stunts and a laundry list of other effects, big

I’m looking for.

and small. My favorite of Bob’s work for me

Richard W. Haines: My features that re-
is the front and back squib he created for ac-
quire special effects or squibs and explosions
tress Doris Ragsdale in Compelling Evidence.

are handled by hiring F/X Artists and pyro -

Doris is supposed to get blasted through the
technicians. Amodio Giordano and Ralph Cor -
forehead, with blood flying out the back of her
dero did the gore effects for Splatter University.

head. Bob made a filament cord/button effect

John Bisson and Ralph Cirello created them
for her forehead that reveals a pre-made bloody
for Space Avenger. Brian Spears handled them wound. Then he taped a protective metal plate
for my latest movie, What Really Fright ens You.

on the back of her head with a small explosive

In all cases they utilized latex rubber tech-
charge rigged beneath a condom full of movie
niques, which involved making molds of mon-
blood. For the effect to work, one man deto-
sters, aliens or the actors. I prefer those type nates the charge at the exact instant another
of effects. I’m not a big fan of digital mon sters, guy yanks the filament cord. This pulls a bur -
which look artificial and cartoonish to me.

ied button from her forehead and reveals the

CGI are astronomically expensive compared
make-up, just as a spray of blood come out
to the latex monster effects. Wilfred Caban
the back of her head. I’d first seen an effect like and Neal Ruddy were among the pyrotechni-

Special Effects

135

Top: Brian Spears works on an effect for What Really Frightens You? (2007). Bottom: Filming a gargoyle creature for What Really Frightens You?

cians I used for blood squibs and explosions.

then close-ups. I prefer to shoot the special ef-I like to shoot as many of the effects shots in
fects close-ups during pre-pro duc tion, then
advance of principal photography, since they
match them to wide shots on location later. It
take a long time on set. It’s a reverse of the
also gives me the option of re-shoot ing the ef-
usual method of shooting wide-shots first and
fects if they don’t come out the first time.

136

HOW TO MAKE MOVIES

William Hopkins: With both of my
of additional effects shots and color correction, films we hired professional make-up artists to
looping, et cetera. Since all of that was being
do beauty make-up and hair styling for the
done by just one person, the post-production
cast and to supply things like vampire fangs
period stretched on for well over a year.

and some gore effects. With Demon Resurrec-

I think the special effects work in my first
tion, I did the zombie costumes, with Frank film, Sleepless Nights, was a little spotty, though and Ed assisting, and I did the monster baby,

I recently spruced up the film for re-release
which was a puppet shot in front of a blue
and fixed some of the weaker effects. But I’m
screen and inserted in the shots with the act -
very happy with the effects work in Demon
ors. All the optical work and a number of more

Resurrection. I think the zombies look quite elaborate gore shots were done by me in post,
good, and some of the gore scenes, like Marcy’s
things like Steven’s neck being ripped out and
belly ripping and the monster baby’s birth, al-

Marcy’s belly being ripped open on the shards
ways get very strong reactions from audiences.

of broken glass. I tweaked a number of the

Steve Hudgins: It’s nice to have a knowl-
gore effects we had done on the set in the com-
edgeable effects member on board. But if you
puter in post.

don’t have access to such a person you need to

Just about every shot in Demon Resurrection
remember that we live in an information age
had some optical work in it — the addition of
and you can find all kinds of “how to” tutorials smoke or the supernatural glow around the
on the internet, which allows you to go the
zombies or the breaking glass shots — and all

“do it yourself ” route, if need be. You can also of that was in addition to the actual editing of learn a lot by watching some of the “making
the film, the scoring of the film, the shooting
of ” specials that are on many DVDs nowa -

Creature shop for Demon Resurrection

Special Effects

137
days. You’d be surprised at how simple many

Man. If you don’t have a lot of money, you can great special effects are to do.

still do amazing things, if you’re creative. Like Rolfe Kanefsky: Very carefully. They’re

I’ve said, sometimes the most effective things
delicate, you know. But seriously, effects, es-
are the things you think you see but don’t.

pecially in horror movies, are very important.

Lighting can trick the eye and the right camera

If they look cheesy and cheap, they can destroy
angle can give the impression that you saw
your whole movie. I have done a lot of horror
something horrible when, in actuality, it was
flicks and have never had enough money to
your imagination making it more than it really
really do great effects, but I try my best and
was.

hire the best people I can.

Again, talk with friends and find out who

When I started making films and shorts as
is good or who may think your movie is cool
a teenager, I did my own effects. Fake blood,
enough to want to do it, even without a lot of
earthworms, et cetera. In college, I found a
money. Now that CGI has taken over, there
friend who created a monster hand for a short
are a lot of very talented effects guys out there called Peek-A-Boo. The result was so-so.

looking for work.

When my first professional film came along,

It also helps to know how to shoot the ef-
since I was in New York, I looked for some
fects. I have impressed many special effects de-
local effects places. We needed many effects
partments by telling them that when the effect
for There’s Nothing Out There, including the is ready, I want to shoot the close-up of it first star creature, and found Scott Hart and his
so I get it looking its best. I can’t tell you how company, Imagifects Studios. He had worked
happy they are to hear that. Most of the time,
on some low-budget stuff, including The Base-directors shoot the master wide shots first and
ment, a film that just recently came out for the work their way into the close-ups. By the time
first time. He made our creature and head
they get there, the effect has to be cleaned up
molds. It was 1989 and everything was done
and reset and loses some of it glamour. Telling
practically except for the opening credits and
them that I know it’s better to shoot effects
a few electrical sparks at the end.

first puts them at ease, since they know their

Then I moved to L.A. and my next direct -
hard work will be shot correctly. You’ll really
ing assignment was on a series of sexy come -
get them on your side if you do this. It also
dies designed for late-night cable. Nudity was
helps to know what you want. Give them
the most important aspect in these films, but
some creative freedom, but know what you’re
since I wrote the scripts I tried to put in some looking for. Many directors have vague ideas
special-effect gags in as well, like someone’s
but don’t know what they like until they see
tongue suddenly growing three feet long and
it. That trial-and-error process drives effects
a woman getting so aroused that her nipples
guys crazy. Plan and discuss everything. Find
suddenly jump to attention underneath her
out what can and cannot be done with the
leotard. Well, there was a young effects man
time and money at hand. Figure out simple
working his way up in the Corman ranks at
ways around certain gags and decide which
the time, and he ended up doing all my effects.

ones you really, really want. It’s better to have His name was and is Robert Hall and he’s now
five to ten really good effects than 20 poorly
a big effects guy as well as a director himself.

executed ones.

A few years later, I had a few bigger budgets

Brett Kelly: I always hire experts in their (almost million-dollar projects) and for To-field. A director should be good at directing.

morrow by Midnight and The Hazing, the ef-Find other people who are equally good at
fects job went to SOTA effects. Then, my
what they do. I usually budget half a day’s
budgets went down again and I worked with
shoot for an elaborate blood or make-up ef-

Jeff Farley on Jacqueline Hyde and Nightmare fect — they always take longer than you

138

HOW TO MAKE MOVIES
think — and things WILL go wrong. Plan

I’ve gotten very comfortable with compositing
ahead and budget the time, and it should all
and 2-D/3-D work. It’s also incredibly helpful
be good.

to be able to mock up effects shots during the

Chris LaMartina: Early on, we did a lot
editing process so they can go hand in hand,
of the effects ourselves, but after your camera
instead of farming it all out to different de-
buttons start sticking with Karo syrup you
partments and trying to keep many people on
question the practicability of that dynamic.

the same page. There’s an excellent website

For Book of Lore we hired a fellow named called Video Copilot (www.videocopilot.net)

Darren A. Mosher, who was killing time (no
that teaches After Effects through entertaining
pun intended) in Baltimore before a big move
and informative tutorials, from beginners to
to New Zealand, where he got a job with
advanced. They also have a lot of great prod-

WETA.

ucts, like lens-flare plug-ins and stock-action

For President’s Day and Witch’s Brew, we footage, elements like blood spatters and shat-used graduates of the Tom Savini effects
tered glass. Highly recommended for doing
school. Kaleigh Brown did President’s Day solo genre films on a budget.

and then we used her, Jason Koch, and John

Damon Packard: Well, again, that’s de-

Laveck for Witch’s Brew.

termined by budgetary constraints. You do

There are plenty of make-up school grad-
what you can.

uates, just like film school kids, who want to

Brad Paulson: If it’s horror, we can do a get in on projects so they can remain active
lot of those ourselves and they usually turn out within their craft. They understand limited
better than if we have someone come in and
resources, but are positive artist types who will do them for us. If it requires make-up, though,
give you their all for low numbers.

make-up artists are aplenty here in Hollywood

Jim Mickle: For make-up, I worked with
and they’re very hungry for work. That’s an-

Adam Morrow on Mulberry Street. We had gone other perk of living here. A good one who
to NYU together and I heard he was working
knows how to do gore is pretty much impos-
a day job and still doing effects whenever he
sible to get for free, so I’d recommend learning could. We gave him a big chunk of our very
the basic carnage effects yourself. The one gold tiny budget to design and create the effects,
mine that I found when doing effects was the
and he wound up leaving his job and work -

Mexican supermarkets. In L.A. they’re an ab-
ing on our effects full-time for many months.

solute gold mine if you’re looking for authentic On Stake Land, we worked with Brian
gore. They’re the only places that carry strings Spears, who is a part of Glass Eye Pix’s fre -
of sausages that look close enough to human
quent roster. He and his partner, Pete Gerner,
intestines. In Montana we used to go to slaugh -
are very good at being flexible and doing what-
ter houses to get our gore supplies. They would
ever it takes to pull off ambitious ideas. They
get us leftover parts, but were upset for some
recycle a lot of gags (a lot of our vampire teeth reason when we asked if they had any extra
were also in Glass Eye’s I Sell the Dead, worn eyeballs lying around.

by the same actors, in fact). A lot of heads and Jose Prendes: Short answer: I don’t. I let body parts were put together, like Mister Po-the special-effects guys do it. Long answer: On
tato Heads to create many different looking

Monster Man I was the F/X guy and I used dead bodies. Brian also played two of our key
ground beef as brains and Alka-Seltzer as dis-
vampires, which made casting and effects pre-
integrating alien goo. That’s why I leave the
production very easy.

bloody work to the blood experts.

For digital effects and compositing, I’ve

Paul Scrabo: Most of our film was de-
done my own for both films. My day job re-
signed with minimal physical or digital effects
quires a lot of After Effects and animation, so
in mind, with the exception of the last section:

Special Effects

139

The Perfect Woman, the science-fiction tale co-in the film. But, for the sake of a few moments
written by Brinke Stevens.

in the film, it took a great deal of preparation Originally, our hero enters a cave and finds
time. Being hung from an actor’s point of view
a hidden alien craft, where a group of sexy
is a very scary business ... you could die. So
space babes are monitoring the behavior of
you require someone who understands all the
earth men, hoping to find the perfect man to
health and safety issues and has all the neces-
take back to their planet. Flying saucers and
sary equipment to keep an actor as com -
an alien city of beautiful women were also fea-
fortable and safe as is possible.

tured in the story. Not having the money or

If you are looking for visual effects, you have
time to present this as any kind of state-of-
three options for people you might employ:

the-art digital-effects extravaganza, we thought Someone new who might like your project and
it best to go the old-fashioned way. George
is in the process of learning Nuke (A video ef-Ann Muller created a city out of assorted
fects program) or something like that and will
flower vases turned upside-down, and built an
do it for free [for the love of it]. Someone who interior of a flying saucer out of Owens-Corn-will do it relatively cheaply as they are not a
ing insulation, the natural pink color matching
novice and realize how long it takes to work
perfectly the motif of the female planet. Co-
on any project. Someone who is at the top of
writer Brinke Stevens changed the opening
their craft and will deliver, but for this you
scene from a cave to a spaceship interior, where have to pay. We had some green-screen work

Queen Exotica can be “teleported” to earth.

on call of the Hunter along with a decapi ta -

We used a leftover Fourth of July sparkler for
tion, and Nick Tregenza of TrigFX did a really
that effect. And here’s what I never expected.

good job at producing exactly what we needed.

The Syracuse B-Movie Film Festival nomi-

The special effects in a film can also be a big
nated the film for “Best Digital Effects”!

eater of cash, so you have to be inventive with

Digital-effects technology can also be used
little money and work out a clever way around
to correct mistakes that, years ago, you may
any problem.

have been stuck with. Two scenes in our film

Marc Trottier: I didn’t have special effects revealed a boom mike, and it was relatively
in my films in the beginning, only because I
easy to paint it out.

didn’t have any resources to do so. But then I

Eric Shapiro: Never heard of ’em! (laughs).

taught myself how to use Adobe After Effects,

As of yet, I haven’t had the opportunity. I’m
and now I can pretty much do anything I
generally interested in behavior and psychol-
want. There are a lot of great tutorials on the
ogy, and don’t necessarily foresee doing an ef-
net that teach you how to do everything your
fects-driven film, but never say never.

heart desires. One amazing site for learning

Anthony Straeger: Realistically — I
and for purchasing great products and plug-
don’t— not my bag! There are a number of de-
ins is: www.VideoCopilot.net. (I have no
partments to do that, from a make-up special
affiliation with this website.)

effect — e.g., vampire teeth, lenses blood etc,

I combined a few different tutorials that you
action effects (like a hanging or car crash or a can find on that site, and I created a short film Visual Special effect or CGI Effect), all need
called Urban Saber, which you can see on a specialist.

YouTube.

For standard make-up effects you have to

Mike Watt: This is one area in which
get luck to get someone like we had on Call of we’ve always been incredibly lucky. When we
the Hunter Sally Alcott made less than $1,000
first formed Happy Cloud Pictures, partner
dollars go a long way in blood, guts and gore.

Bill Homan had graduated from the Art In-

From the action side, Martin Shenton pro-
stitute with a degree in special practical effects.

duced a hanging, which was very important

He hand-picked and trained make-up assis-

140

HOW TO MAKE MOVIES
tants for our numerous zombie make-ups and
also understand time and space constraints.

gags and created a very efficient team. I was

Don has applied make-up on actors while we
also fortunate to meet another AIT student,
recorded voice-over dialogue, and there wasn’t

Don Bumgarner, who became an indispensa-
a noise on the track. When gags fail for what-
ble unit of the family over the years.

ever reason (and it happens on every set, re-

Our main fortune came from the opening
gardless of the artist’s experience) there are al-of the Douglas School of Education and the
ways two or three backup plans on hand.

Tom Savini School of Make-Up and Special

When choosing an artist, ask to see samples

Effects. The head of this department is Jerry
of their work. They usually have a portfolio

Gergley ( Buffy the Vampire Slayer, Babylon 5) on hand or, nowadays, on their phones. Get
and happened to be one of Don’s and Bill’s in-
to know them through a face-to-face meeting,
structors at the Art Institute. With this rela-
talk to other people they’ve worked with.

tionship already established, along with getting Some guys who seem like awesome guys may
to know other instructors, particularly Eric
have different set personas, or vice versa. If you Molinaris, we have managed to employ hand-like their work and they seem to “get” the
picked students for all of our make-up and
project, trust them to do their jobs. If they’re special-effects needs, usually in exchange for
pros at heart (again, regardless of experience)

credit, food and gas money. When Eric served
they’ll be at the ready with anything, for
as our lead, he used the shoots as teaching op-
touch-ups, “last looks,” et cetera.

portunities as well. Many “kids” whose first

Ritch Yarber: I have a pretty good back-
set experience came on one of our movies have
ground in special effects and make-up. When
gone on to work with KNB, Stan Winston,

I was younger, I wanted to be the next Tom

Optic Nerve and Precinct 13.

Savini, my idol. I took courses in college at

The nice thing about the indie horror in-

Cleveland State University, acted and did
dustry is that relationships beget relationships.

make-up as part of The Legion of Terror, a

Through Jerry and Tom Savini, Pittsburgh’s
noted local haunted house organization and
hometown gore god, we met Greg Nicotero,
experimented with techniques discovered in

Robert Kurtzman, Al Tuskes and Gino Crog-
books that I collected. I have established my -
nale, all of whom have been there for us on
self as a person with know-how. However, I
num erous occasions with advice, techniques
have come to understand that I really do not
and tricks. Gino and Jerry both lent assistance
want to be a professional effects person. I only on Razor Days, charging us far, far less than did it to take part in the rest of the acting and their talents were actually worth. And, again,
filmmaking that I enjoy. I do special effects on the “don’t be a Jerk” rule always works in your
my films if I have to, otherwise I hand those
favor.

jobs off to people that come to us and express

The best thing about working with pros
interest in pursuing this discipline as a profesand students of pros is that they have terrific
sional and that are seeking experience. Cur-

“bedside manners.” I’ve never worked with an
rently, our special effects are supervised by
effects artist who didn’t talk the subject through Ernie Smith, a local filmmaker and talented
the processes being applied to them. When
effects artist. Our CGI work is handled by

Bill made a face cast of me, and when Jerry cre -

Andy Tubbesing, a great artist that we hooked
ated Amy’s, they kept up a stream of reassuring
up with at one of our open-to-the-public meet -

(and usually hilarious) chatter to sub vert any
ings we advertised on a local bulletin board.

claustrophobic or other concerns we’d have

Ivan Zuccon: I lean on high-level profes-
while having our faces encased in alginate.

sionals: this is obviously a cost in terms of time Above all, effects guys know how to impro-and money, but that’s how it works if you want
vise. They understand low budgets and they
to do a good job.

Music

Music is important — if your film needs
ask for payment — they used the publicity
music. However, it’s probably one of the last
of the movie to sell their own CDs, which
things you’ll deal with in terms of production
worked out for them.

when you are making an ultra-low budget

However, when I switched over and did
production.

documentaries, I needed music for the specific

A few years ago I had a “producer,” the son
tone of each project. The purpose of the music
of a famous Hollywood actress, ask me advice
was to create a “feel,” whether to signify sor -
on how to make a low-budget independent
row or happiness. In many of these cases, I
movie. He confided in me that the first thing
finished the documentary, sent it to the musi-
he did was pay someone $5,000 upfront for
cian, and they had a few months to compose
music. He didn’t even have the actors cast or
the tracks I needed for certain sections. I gave a frame of the film shot. Then he complained
them specific “examples” of the type of music
how he didn’t have as large a budget for his

I needed and they emulated that.

actors. When I asked him, “Why did you get

One band I’ve consistently used the past
your music already?,” he was surprised and
decade is Seasons of the Wolf. Their songs are
sputtered, “You have to have music!” Through -
in The Alien Conspiracy movies and my most out the years I’ve repeatedly heard filmmakers
recent documentary, The Life of Death (2011).

say, “I already have the soundtrack,” before

It’s an example where the visuals and audio fit
they even wrote the script for the movie. How
quite well, though both were done independ-
is this a good plan?

ently of each other. Below, writer/composer/

With all of my genre films music was
guitarist Barry D. Waddell (a.k.a. “Skully”)

thought of after the fact. I figured I’d find
answers a few questions about his involvement
music that “fit” after I made the movie. It was
in the world of low-budget, independent pro-
a budgetary and time consideration. Plus,
ductions.

there was nothing in the content of the films
that needed to have exact music cues. Of

Interview with
course there was instrumental music for when

Barry D. Waddell
characters were talking, but also I could use
entire songs if it was a montage scene it was

What is your background as a musician?

going over. My first two vampire films had

First off to give away my age — hahaha!— I
original scores, while others, like Twisted Tales started practicing guitar when I was 12 years
and Rage of the Werewolf, used already-existing old and had my first band together playing
tunes. I put an advertisement out for music
originals at age 14 in 1974.

and received hundreds of responses. I did not

I never really got into playing cover ma -
need to own the music — I just needed their
terial. I only listened to it and practiced along permission to use their original music in my
with it to learn all those cool riffs. I played
movie(s). More often than not they did not
bars with one cover band called The Dirt Bags

141

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HOW TO MAKE MOVIES
from ’79 to ’82. And even then we would

With our music being spread out in the un-
throw in several originals I wrote. I was in sev-derground over several releases we ended up
eral different bands until age 24. I learned to
making a lot of friends and, of course, even-
play drums and bass just so I could be in bands
tually SOTW music coming into contact with
that needed those positions filled. This was
and being used by several independent film-
good training for my future role as a music
makers. So the music part came around full
producer. I ended up being lead singer and
circle to what Dennis and I originally started.

song writer in a progressive hard rock band,

Over the years Dennis and I have recorded and

Equinox, from 1984 to 1988. That is where I
produced several other bands in our studio
got the nickname “Skully.” Once that band
and we even opened up our rehearsal stage for
fell apart the engineer/keyboard player Dennis
other bands to rent for practice. And that is

Ristow and I started Seasons of the Wolf. At
the short version of my background in music.

first just the two of us composed original in-

The devil is in the details.

strumental music inspired from soundtrack
music. Established artists such as Tangerine

What makes you interested in doing music

Dream, were a big influence on us as, was the
for movies? How different is this from
soundtrack music from horror and sci-fi film-
doing music for your band, Seasons of the
makers such as Carpenter, Romero, Argento,

Wolf?

King and so many others. Still, having a full

Well ... because Dennis and I originally
heavy metal band together and putting out al-
compose a lot of soundtrack-sounding music
bums is what we really wanted — and so
that ends up being intro’s or outro sections for SOTW was formed. My younger brother,

SOTW songs, it already fits the mold. There

Wes ley Waddell, just out of high school,
is a difference, sometimes, especially if just in-joined as singer and lyricist. Together we wrote strumental music is what is required for a film.

hundreds of songs. We found a small local stu-

For SOTW it is more about “the song” and
dio (Tric Tracks) and started recording the first the presentation of the song lyrics and how it
full-length cassette tape releases from 1989 to
fits into SOTW conceptually. Of course what

1991. Fully packaged, we released them locally.

ends up happening is a lot of sections of

We set up some live shows with the full

SOTW music and lyrics fit quite naturally into

SOTW presentation. It was very apparent that
the dark sci-fi ambiance of horror and sci-fi

SOTW was not an average bar band. After a
film landscape. As for the interest part — I just couple years we found ourselves working with
love film, especially anything that makes the

[Allman Brothers Engineer] Bud Snyder co-
hair raise on your arm or makes your mind
producing our first international album. We
think “what if?”

learned a lot from that situation.

It is fun creating the background sounds

In 1995 we built our own recording studio,
that will add impact to film. Chase scenes, kill Level-D-Green, a large rehearsal stage, and
scenes, sleeping scenes, lovemaking, party
formed our own independent label, Earth
time, getting ready for battle, the actual battle, Mother Music. This allowed us to write, prac-blowing up things, crash landings and such.

tice, record, produce, design, promote, and

Every kind of scene requires a “backing sonic
have control of everything from start to finish.

feel” to boost the impact to the audience with-

I set up writer and publishing membership
out them knowing it. In film and TV —
with ASCAP and a studio partnership with
sound-beds are almost subliminal.

Discmakers, of which EMM is now a plati -

I had read once that there was no sound -
num member. And so this allowed me the lev -
track in the John Carpenter film Halloween
erage to negotiate licensing deals to re-release when it was first presented to a movie house
product on several interested European labels.

for major distribution. And they said it was

Music

143
cheesy and not scary at all. They said, “Make
filmed in pre-production and sometimes a tip
whatever changes you need and bring it back.”

sheet where the filmmaker might point out

So, John Carpenter came up with the music
what type of sonic feel they have for a partic-
theme on keyboards — added the soundtrack
ular scene. For instance, if they want some-
behind the scenes. He did not change any -
thing very eerie or something very bombastic,
thing about the film. When it was presented
or slow, fast, simple, complicated, wacky, and
the second time they said it was fantastic — it
such. It is always a good thing if the filmmaker was scary as hell. And the rest is his tory. Music has descriptive ideas to help when we are cus-makes a very big difference in the impact of
tomizing music for their film.

film. Take the film Jaws, for in stance. Some-If an independent filmmaker is looking for
times it does not require much detail or com-
music for their low-budget film, how do
plicated music. Just the right few simple notes
you recommend they contact musicians?

set to the scene can make a person jump right

Well, of course, the best way these days is
out of their seat. And that is interesting and
initial contact through Facebook or email. But
damn fun.

definitely a phone call to discuss details and

You’ve done music used in several inde-
get to know each other once you have the
pendent horror and sci-fi movies. Was this
number. It is necessary to make the music
music you had already created or was this
artist feel the “contact” to be serious and le-
music made specifically for the movies?

gitimate. Dealing in the independent low-

When we have first contact with filmmakers
budget or no-budget world, as we all know,
we send full albums of SOTW music. They
there are a people who do not follow up. Hot
use whatever sections of music that suits their
smoke blowers we call them. So, definitely if
needs. Sometimes full songs with vocals were
you are “actually” doing a film and you want
used and sometimes they ask if we can give

“actual musicians” that are really doing music,
them just a instrumental version. Sometimes
then it is always best to get that contact so-
they will use the instrumental version during
lidified and the air of interest, trust and ad-
the main theme of the soundtrack and then,
miration going. The payoff can be very good
at the end credits, use the full song with vocal in ways of cross-promotion once the project
track, if it is fitting lyrically. We have also comis fulfilled. We are all mostly doing it for the posed and recorded music specifically catered
same reasons, to create entertainment with
to a film for main theme. In that case we are
hopes of making it a career and feel fulfilled
usually provided with some footage already
at the end of the day.

The Filmmakers were asked:

What about music? Do you usually have someone compose a score or is it music that already exists?

Glenn Andreiev: Up until Every Move

Harpsichord.” The first 80 percent of The

You Make I used the music created by a friend, Deed to Hell has almost no music score, except Nicholas D. Kent, who has a great ear for film
incidental music playing on radios and televi-
music and applies his unique tastes to a film
sions in the background. The final 20 percent,
score. For my Revolutionary War thriller, Mad which takes place in Hell, has constant music.

Wolf, he said he was creating “Hitchcock on a These were previously created scores by an ex-

144

HOW TO MAKE MOVIES
cellent group called The Devil Music Ensem-
fessional composer, which constituted more
ble. For The Make-Believers I went to a website than half the film’s budget. For my next film,
that offers well-orchestrated, license-free clasone of those same producers decided to com-
sical music pieces. Each piece is about $35 and
pose the score, so he conducted a collection of
it’s worth every penny.

musicians to record the music, cutting the

John Borowski: Music is the most im-
costs of the score down drastically.

portant element in a film, second to the image.

With America the Mental we used a handful It seems like a bold statement, and I am not
of local bands that contributed some really
saying that sound effects are not important.

great music to the soundtrack. That still seems

Music creates the emotion for the characters
like a good symbiotic approach, if you’re look-
and sets the mood of the film. I work with film
ing for good free songs to help drive a film.

composers because I have been a fan of film

I’m also a multi-instrumentalist with pass-
music ever since I began listening to and col-
able recording capabilities, so for Year Zero I lecting film soundtracks when I was a teen-decided I’d try composing the music myself. I
ager.

used a 2001 Acid Music program, in which I

Keith Crocker: In the past, for the 16mm
engineered and mixed the audio tracks and
films, I tended to use classical music, mostly
rendered them into MP3 or AIFF files, ulti-
material in the public domain. For Bloody Ape mately adding them to the video edit in Final
we featured some public domain music, but

Cut Pro.

the bulk of the score was synth music supplied

Nowadays, built-in programs (like Garage
by a guy named Frank Perri. For Blitzkrieg, Band) make it easier than ever, with features
editor Steve Gocinski dug up tons of interest-
like drum/instrument loops and effects that
ing public domain music, but the main gist of
make it possible for someone with their own
the score was from K.C. Allen, a friend of
instruments, or band, to produce their own
mine who’s been playing in various under-
soundtrack for a film.

ground rock bands since the late ’60s. We

If this all seems too much, simply Googling
went with no synth. Instead, he used his

“royalty-free music” brings up a vast library
guitar, both electrically and acoustic, and ac-
of legal songs and scores with which to fill your centuated the action on the screen. Plus, he
movie. This works for sound effects as well;
gave me some great mood pieces that really set
there are a number of quality sound effects of-
the scene for some of the most dramatic parts
fered for free online at sites like freesound.org.

of the film. My dream would be to have a full

It all just takes a bit of searching and weeding band or orchestra for my next film, but the
out the bad examples.

budgets just don’t allow for such things at this Maurice Devereaux: Yes, I always
time.

worked with a music composer. My last three

Richard Cunningham: I’ve taken a few
films were composed by Martin Gauthier,
approaches to music in my films. In the first
who is terrific. Music is so important—choos-
homemade movies I made as practice in my
ing what kind and where and when to put it
mid-teens, we just blatantly lifted scores from
and when not to put it is a very creative pro -
blockbuster movies. But I was in high school
cess and can greatly affect the quality of the
and the movies were only showing in the local
film. The time I spent working with Martin
library, or there was no admission cost. I don’t on the scores of Lady, Slashers and End are think anyone cared about the copyright issue
among my happiest and most fulfilling artistic
back then, but I certainly don’t recommend
moments.

it. My first effort into making a completely

Donald Farmer: I’ve handled music both
orig inal film was at 19 with Lycian, and the of these ways. My co-producer on Demon
other producers and I decided to hire a pro-

Queen was friends with a girl singing in

Music

145
various Nashville hotel lounges and gave me
own unique score using the temp tracks as a
her demo tape. I loved the song “Angel Fire”—
general reference.

especially that it would be free — and used it

William Hopkins: To avoid any rights
under the opening credits of Demon Queen, complications, I only use music in my films
and again for a scene in Cannibal Hookers. For that is specifically created for them. With

Scream Dream I wanted a title song, so the Sleepless Nights we hired a couple of very tal-band hired for our nightclub scenes volun-
ented composers to create music for the film.

teered to write one. They ended up delivering

They supplied me with extended cues, chunks
that and two other original songs we had Me -
of music that I could cut up and drop in wher-
lissa Moore lip-sync in the movie. When the
ever I felt it was needed. The resulting score
songs were written we all went to a budget-
has a reasonably lush, romantic sound that
priced Nashville recording studio for one night
works well for the kind of gothic melodrama
so the band could record finished versions of

Sleepless Nights is.

all three tunes.

On Demon Resurrection, I felt a more minFor Deadly Memories we had a larger-than-imalist approach was called for and I had a
usual budget and applied some of it to the
hard time finding someone who could give me
film’s soundtrack. My executive producer was
what I wanted. I didn’t want the small indie
friends with Gene Sisk, the keyboard player
film we were creating to be crushed under a
for Kenny Rogers, and asked if he would be
heavy, symphonic score. It wasn’t a film that
game for composing a full movie score. Gene
needed the Hollywood sound. What I wanted
was doing a U.S. tour with Kenny at the time,
was a score comprised of ambient sounds more
but said this would give him something to do
than composed music. I wanted the music to
during downtime on the tour. We gave him a
blend in with the natural sounds of the envi-

DVD of the movie’s rough cut he could play
ronment we were shooting in. After several
on his laptop while he composed the score and
failed attempts with different composers and

Gene got to work. Before long Kenny Rogers
after a fair amount of money had been spent,
was looking over Gene’s shoulder during those

I decided to give it a try myself. I recorded
long trips on the tour bus. Now Deadly Mem-
several hours of stuff and then took the best
ories has some fairly lurid scenes, constant gore, bits and cut it together to make the final score.

torture and a screaming nude Tina Krause

I doubt anyone will walk away from Demon
being spray-painted blue. I was wondering

Resurrection humming the music, but I think how the straight-laced Rogers might react to
it’s reasonably effective and more in keeping
all this. Apparently pretty well, according to
with the mood and the style I was going for.

Gene. He reported, “Kenny says to tell ya’ll he

Steve Hudgins: We’ve gone both routes
likes your movie!”

with this. There’s a lot of royalty-free music

Jeff Forsyth: I like original compositions.

available out there and there’s also a lot of mu-I always seek out a composer.

sicians looking for any kind of exposure they

Richard W. Haines: I always hired aspir-
can get that may be willing to record some
ing composers for my movies and I’ve lucked
original music for you, often just for a credit
out in that I’ve found some talented people
in the film.

that created very innovative tracks that en-

Rolfe Kanefsky: With all of my films up
hanced the narratives. Among them were An-
to last year, I’ve always had original scores
drew Nixon, Seth Wright, Gary Shreiner and
written. I love music and think it is one of the Richard Fiocca.

most important aspects to any movie. That

After I finish editing I put in temp tracks
said, I think Dog Day Afternoon, The Birds and from other movies to indicate the type of

The China Syndrome work wonderfully with-music I want. Then, the composer creates their
out any score. However, I love Jerry Gold -

146

HOW TO MAKE MOVIES
smith and you just can’t beat a full orchestra.

the characters. It was a tricky task that turned I’ve never had enough money to hire a com-out wonderfully (pun intended). However, the
poser with an orchestra, but I have worked
score had to be composed by using a friends’

with a great composer. From 1996 through the
stock music library. Luckily, it was an amazing
present almost all of my films have been scored
library, and I knew exactly what I needed and
by Christopher Farrell, who has done amazing
how to use it. I’ve had to do this multiple
things while working with very little budgets.

times this past year because the producer de-

The great thing about Chris is that I’ve worked
cided it was cheaper to buy a library of music
in many different genres, from comedies to
than hire someone to write original scores. So
thrillers to horror to erotica, and have needed
this is the first time I’ve taken stock music
scores and songs in just about every variety of
and reinvented it for my movies. I know this
music there is. Chris has come through every
happens a lot and if you have a good ear and
single time. I met Chris through a filmmaker
really know how to use it, it can work very
friend of mine, Jay Woelfel, who is also a com-
well.

poser. In fact, he brought Chris in to help with My preference is always to have a new score
a score he was doing for me. It was a parody
written for the film. It gives the movie a voice of James Bond called Rod Steele 0014: You Only that is all-important. John Carpenter is fam -

Live Until You Die. Jay wrote the theme song ous for saying that Halloween was not effective and he and Chris collaborated on the musical
at all until he wrote the score. It makes the
score, nailing that John Barry feel brilliantly.

movie. The same could be said for thousands

It’s funny, effective and done straight enough
of films. Every film should have its own feel
to actually sound like a real Bond score. After
and every musical score should reflect that. I
that Chris has done every one of my films ex-
have said it before but if you want to temp
cept for Corpses because York had their own your “suspense/horror movie” with a great
composer and wouldn’t let me hire Chris. But,
piece of music, use Track 5 from Jerry Gold-
from Rod Steele, Chris and Jay did Misadven-smith’s Psycho II. It always, always works, and tures of an Invisible Man, Alien Files and To-watch how it elevates your film in the pro cess.

morrow by Midnight. Then Jay got busy with Brett Kelly: I usually find a composer who his own directing career and Chris continued
is interested in working on an indie or low-
working with me on The Hazing, Jacqueline budget movie. There are many of them. I have

Hyde, Pretty Cool 1 & 2, Nightmare Man, 1 in a ton of them contact me out of the blue all
the Gun and the list goes on.

the time. If the musician is registered with a

My latest film is a full-out musical called
publishing company (like ASCAP), they get

Emmanuelle in Wonderland. The problem was paid if and when your movie appears on TV.

that we had NO money for music, let alone a

It’s a gamble, as many movies don’t make it to
full score and 12 all-singing, all-dancing mu-

TV, but if they do, it’s a paycheck for a regis-
sical numbers. But I was determined to do a
tered composer. They may take the chance. I
musical. I’ve always loved them and with the
have also used stock music from various web-
success of Glee there was no better time. So I sites. It’s a great way to score a film for next called a composer friend of mine, Ron Zwang,
to nothing.

who has done many songs for me in the past.

Chris LaMartina: Using the auteur

I asked, “What songs do you have prerecorded
motif, I really enjoy scoring my own films. I’ve that I could use for free? I was sent around 24
scored four out of my five features. Since I play songs that Ron and Ron’s music partner, Rick
guitar/bass/drums/keys, I find it very liber -

Novak, had created. I then picked out my 12
ating to write to my own sensibilities as both
favorite songs and wrote the script around the
an editor and as a screenwriter. The score is
music so it would come out organically from
always okayed with my co-producer, Jimmy

Music

147

George, but we’ve had only a few disagree-
movies and how great the scores are. There are
ments about music.

a couple of great people we’ve worked with

In addition, we use some local bands for
that have done our music: Seasons of the Wolf
other soundtrack bits. Sometimes I’ll produce
and Tony Longworth, for example. Seasons
a music video in exchange for a song use, but
did an incredible score for us on The Blood-
most bands are just excited to be included in
stained Bride. Longworth has been a great the production of a horror flick and don’t re-friend and my go-to guy for music for a
quire the extra effort.

sound track. He’s exceeded every expectation

Jim Mickle: I’ve had a composer for each

I’ve had. Another guy, Russel Holsapple, who
film and both experiences were great. I find it
did the music and vocals on the song parodies
can be initially hard to make the transition to
for Reservoir Drunks, did an amazing job for working on music, because everything up to
us as well. These artists are all incredibly tal-then has been creative but concrete and mostly
ented. If you find good ones like the above
focusing on visual language. Music has its own
mentioned, let them know how much you ap-
language and abstract thought process, so
preciate them and take care of them however
working with a composer is about finding that
you can. Good, loyal artists that are a joy to
language and a shorthand for expressing
collaborate with are very difficult to find and
thoughts about the music.

are extremely valuable.

I tend to use temp music when I cut. There

Jose Prendes: Music is so important to a
are a lot of pros and cons to temp music, and
film. It is the movie’s heartbeat and you have
it’s very easy to get married to temp music
to make sure you get it right. I had my pal
when you’re watching rough cuts all day. Ul-

Eddie Castineira compose some guitar riffs for
timately I find it very helpful for finding the

Monster Man and I did the composing on my right tone for the music and it’s a good chance
little Casio keyboard for Corpses are Forever.

to try and fail and get a feel for what works.

But I think for the next one I want a seasoned

Some composers don’t mind this, but some
pro to take a crack at it. My dream would be
would rather start with a blank slate and not
to have John Carpenter compose one of my
be influenced by anything.

films, because I’m not only a fan of his films,

I’ve also used pre-existing source music in
but of his soundtracks, which are phenomenal
both films, but in the first one I overdid it and and memorable. I use music that exists if it
clung to many songs that added up in license
fits, but things are different for every movie
fees. Not the best idea for low-budget film-
and every tone.

making, but I had built a lot of scenes around

Paul Scrabo: There are several original
specific cues. In Stake Land, because it was in tracks composed for Dr. Horror, but the minia way Depression-era film, we tried to use old
movies contained within the film were an ideal
public domain songs and keep the licensed
container for stock music.

cues to a few very specific moments.

Eric Shapiro: My dear friend Bilvox,

Damon Packard: Again, budgetary con-
who’s a very talented musician, did the original straints. Unless I had a $50 million budget I
scores for Mail Order and Rule of Three. In probably would not be able to find or afford a
both cases, he brought a legitimate metabolism
composer good enough to satisfy my tastes.

to the movie that defined its essence, weight,

Unless I got darn lucky, it would be a tough
and character. I would like to go Scorsese-style and frustrating search.

at some point and use pop songs, since I think

Brad Paulson: Usually we’ll have some -
that technique cuts really deep into the view -
one do a score and then pick up some other
er’s mind, but right now it’s way too expensive.

music to throw in there as well. I love good

Learning how to develop a score with Bilvox
scores. Just look at the those old Carpenter
has been invaluable; I’ve had to generate a

148

HOW TO MAKE MOVIES
whole new language, asking for adjustments
independent labels. There really is some great
and explaining what I want.

music out there.

Anthony Straeger: For me it’s a combi-

Marc Trottier: Up until Darkness Waits, nation of both original score and music already
my buddies Sacha and Youri Pommepuy
in existence.

helped me create all the music for our projects.

I think it’s important to have an original

They’re great at coming up with fun original
score to underpin the whole film; it’s like an
stuff, and we work so well together that it’s al-audible grading, as you would do with the
most like we speak a different language all our
final look of the film. There are so many really own. You can see a bunch of behind-the-great composers out there, either fresh from
scenes stuff for Darkness Waits on YouTube, college or already established. They all tend to including the Pommepuy brothers and myself
have solid websites so you can go through the
in action.

type of work they do and the way they work.

Since I discovered www.VideoCopilot.net,

Since setting up Quid in Shrapnel Produc -

I picked up Designer Sound FX (which has
tions, I have been inundated by musicians
royalty free sound effects & audio elements), looking for opportunities.

and Pro Scores (which has orchestral music

Dan S. Elliott did the score for Call of the tracks and epic musical elements), which I use

Hunter. He really listened to the thoughts I for all my current projects.

had on music and asked for examples and

Mike Watt: Again, fortunately, I grew up
made instrument suggestions in order to get
around artistic people, so finding musicians
the texture of the music right. He maintained
was rarely a problem. For our first film, I dis-
some really interesting and clever themes and
covered that I worked with Paul McCollough,

I was totally delighted with the speed and way
who scored Tom Savini’s Night of the Living
he worked with me. So the importance of hav-

Dead remake and retained the rights to his ing the score was underlined in the fact that
score. He offered a number of pieces from that

(I believe) the original score works in total sync film, both used and unused, for The Resurrec-with the pictures — marvelous.

tion Game. When it came time to finalize the I found the music for the soundtrack by
film — ten years later — Paul’s electronic score looking for artists and bands that fit with my
was rounded out by contributions from pian -
personality and the personality of the movie.

ist Mike Shiley (who we’d gotten to know

I’m a big music fan, but not a lover of chart
through the convention circuits) and legen -
music. I hunt down new and exciting bands
dary Scooter McCrae (director of Shatter
and artists not only for personal pleasure, but

Dead), who experiments with different sounds also with a view to using their songs and ma-and harmonies to suit [a given] mood. While
terial in any of my projects. I found a won-
we picked and chose finished songs from Paul
derful selection of artists/bands from around
and Mike, Scooter filled in the gaps and com-
the world who excel in their type of music and
posed directly to the picture, which made it
was pleased to say that only one artist actually easier for him to find the “voices” for each
didn’t want to include their music in Call of scene.

the Hunter.

We have friends in bands that have con-

One of my hopes is that viewers of the
tributed music as well. Jim Steinhoff and
movie will take the time to also look at the

Hotel 9 scored Severe Injuries with hard ’80s music section of our website and check out the
guitar riffs, which suited that film. World-
music we have used and enjoy these artists for
renowned composer Mars of Deadhouse
not only what they have contributed to the

Music offered to score Demon Divas for a very movie, but [to hear] more of their material.

reasonable price. This was the first time I’d

Most of the bands are unsigned or with small
ever had to finish a picture lock for a com -

Music

149
poser, as I’d been previously used to cutting
have found it increasingly harder to find just
to music, but Mars somehow read my mind
the right music to create atmosphere in scenes,
and found equivalents to my temp music
thus, we are committed to using composers to
tracks, though I hadn’t provided them.

customize the music for our next projects. An-

Again: network! It’s easier than ever now,
other step forward for us as we continue to
with Facebook, YouTube, conventions, clubs,
improve our efforts and increase our quality.

to find anyone and anything you need. I’ve

We have found that there are just as many
found that most artists — regardless of me -
great composers as there are actors and crew
dium — want to feel like working artists, so
that are looking for showcase opportunities.

make sure you set aside something for their

Several award-winning composers from the
hard work. Shamefully, I’ve gotten entire

2011 Indie Gathering International Film Fes-
scores for a mere $50. Most artists will work
tival have expressed interest in working on our
with your budget. You can always start a Kick-
projects after meeting us and finding out how
starter campaign to raise a hundred or two for
our films are made and what our goals are. We
your starving artists and their services.

are extremely excited about the prospect of

Ritch Yarber: We have mostly used music
adding this new tool to our arsenal.

by local bands. It is great for both of us since Ivan Zuccon: It depends on the project.

we get it for free and they get the visibility and I’ve been working both with composers and
publicity of being in a movie. We always try
using pre-existing music. I personally prefer
and promote the bands that help us out by
the second choice, as long as it’s excellent-
being sure to mention them whenever we can
quality music. This allows me to put the music
in connection with the film. I usually always
in the movie while I’m editing it, without hav-
also include music from one of my favorite
ing to wait for the composer to write it and
local bands, The Lowlies. I work with one of synchronizing it while he’s watching the
the members of the band and he always writes
movie. It’s a question of time optimization —
special tunes for me to use as I request. We
this way is faster and you save money.

How Long Does It Take
to Make a Movie?

Some features I have worked on have taken
however, took much longer than the genre
as little as four months to shoot and edit while movies. At the quickest, it was nine months’

others took nearly a full year to complete. It
time. At the longest, the most recent one, The always depended upon whatever else was going

Life of Death, took two and a half years. This on in my life during that time that would in-was primarily because the first one was in-
terrupt the filmmaking process. For example,
tended for PBS—and I had to complete it first
right after I shot my first film, Vampires & before I could even approach underwriters for

Other Stereotypes, I shot and edited the anthol-funding. With the latter, it was much more of
ogy Twisted Tales, primarily because I needed a personal project and I was in no rush. Half
a break from that particular film. Then, I went
of it was shot in Michigan, the other half in
back, with more enthusiasm, and completed

New York City. I went to New York City twice
that first movie. Generally, the shooting would
a year for other video production work (I ed-
be done within a month and the post-produc-
ited the New York Fashion Week shows!) and
tion would take four or five times that long,
just piggybacked my production on this, to
as it’s simply a much more time-consuming
save on expenses.

process. This is especially true if you are doing Yet, however long it takes you to complete
everything by yourself. Add to that doing
your film make sure that you’re able to main-
post-production visual effects, or waiting for
tain your excitement and keep the momentum
a film score, and time flies by.

so that you don’t get weary of your project be-

The documentaries I directed/produced,
fore it’s done.

The Filmmakers were asked:

On average, how long does it take you to make a film? Talk about your first film and also
about one of your more recent ones.

Glenn Andreiev: Vampire’s Embrace took The Deed to Hell in the summer of 2007 and a few years. I only had the money to shoot,
showed in April 2008.

and edit a 16mm work-print in 1988. Other

John Borowski: On average it takes me
producers came in at that point and really gave
about three to four years to make one of my
it polish, but it took them nearly four years to documentary films. If I had a proper budget I
finish it, in between their paying gigs. I wrote am certain I could complete them in a year.

150

How Long Does It Take to Make a Movie?

151

Sometimes taking years pays off, as during the

I was finalizing the script to Lycian in 1999, process of making the film I am usually con-and IMDb is telling me that film wasn’t re-
tacted by people interested in assisting in the
leased until 2004, which sounds about right.

making of the film. I have been contacted by

The scale of the movie and the way that we
descendants of the serial killers H.H. Holmes,
funded it out-of-pocket made for a long pro-

Albert Fish, and Carl Panzram, who are usu -
duction period. I also moved out to California
ally interested in the film and fascinated to
in the middle of production — quickly learn -
learn their family history. My first film,
ing that you shouldn’t transplant yourself to

H.H.Holmes, took three years to create a final California unless you have either a well-cut and about another year to complete the
thought-out plan or a solid prospect for a job.

post-production and DVD authoring. I self-

Arcadium and ShE each took about year.

released H.H. Holmes on DVD before I chose Because of the shooting style of America the Facets Video as the North American DVD

Mental we shot it relatively quickly (three distributor. My third film, Carl Panzram, took months). Editing took about seven months,
about five years to create as the scope was mas-
because of computer setbacks. But still, churn-
sive: Panzram was in numerous jails and prising out a movie within a year felt good to do.

ons as well as traveling around the world.

It was over two years with Year Zero. I

Keith Crocker: Because of the fact that
started photographing test shots in October

I’m a working-class filmmaker, which means
of 2008 and, aside from some later revisions
that you balance your film work with making
before its world premiere, I had the 24-minute
enough money to cover your life expenses, you
animated film completed in the winter of
split your time between working and making

2010. That film came with some notable chal-
the film. The cast and crew are usually in the
lenges, the most daunting of which was teach-
same position. This tends to force us to shoot
ing myself how to illustrate and animate dig-
on weeknights and weekends. The first feature
itally. In fact, I considered the project overall I made, Bloody Ape, was shot in a year and an experiment, because I didn’t have much ex-three months. Because my films tend to be
perience with that end of production at all,
epic in their scope, the time frame doesn’t
and with it I was suddenly forced to confront
really do much damage to continuity. It does
the entire process. In the past, I had mostly
much more damage to filmmakers’ nerves to
acted as a writer/producer/actor until America carry on this way. I promised with Blitzkrieg the Mental, when I first took up a camera, and the shooting time would be shorter, but guess
then assisted with some of the editing — but I
what? It wasn’t. Blitzkrieg ended up taking one never learned Final Cut myself. So I had to
year and a half to make, and one of the reasons
mature as an artist quickly, as well as learn how was that we lost a month of shooting due to a
to manipulate a bunch of computer programs
personal emergency with the film’s main star.

and formats.

That, and the fact that I had to fire an actress That learning by trial and error develop -
and bring Keith Matturro in to do re-writes
ment really contributed to the animation style
and fill in now-discarded material just made
and unique look of the film, but I was forced
that film drag on. But, again, the story is told to go back to the beginning several times over
in flashback and takes place within a several-
to revise the sequences, because my skill with
year period, that really helped knock out major
these tools were still progressing as I was mak-
continuity issues. I keep promising myself that
ing the film. I was also working on a computer
the next film will be shot in a month. If budg-
that was prone to crashing (teaching me effec-
ets remain the same that will be a miracle.

tively to routinely save my project).

Richard Cunningham: Usually longer

It took me about a year to photograph all
than I assume it will in the beginning.

the actors and props used in the film, though

152

HOW TO MAKE MOVIES
that was interrupted for several months when
this strange reel of low-budget Super 8 horror

I took work as a stand-in on a television show
rushes!”

called Royal Pains, during its first season.

Lady of the Lake took 30 days to shoot, but Though the rigorous schedule slowed produc-the shoot was split 15 days in 1993, then I ran
tion of Year Zero to whatever free time I had out of money. Five years later I did another 15
during the weekends, it also afforded me a new
days and finished the film. Not recommended.

set-up: a Mac Mini and a good-sized screen

Slashers was shot in 25 days and the whole for taking on animating and editing. I spent
production from casting to end of post-pro-
the next seven months animating, consistently
duction was done in an insanely quick four
working on it anywhere from 12 to 18 hours a
months! It’s a complicated story. I had sold the day. This concentrated effort, I think, actually rights to my script to a producer, who then
helped with the storytelling, because there was
pre-sold the rights to a distribution company.

a strong theme of isolation driving Year Zero, Then the producer went bankrupt, and a
and sitting in front of the computer each day,
completion bond company came to me and
waiting hours and hours for a three-second
said I had to deliver the complete film in one
animated sequence to render, I was able to tap
month to the distributor to honor the original
into that disconnect from the outside world
contract. But no actor was cast yet, no pre-
somewhat.

production work was done, nothing. I said,

The real cost of going cheap comes in either

“Are you guys insane?” and they said, “Either
quality or time — I realized at the end of that
you do it in one month or we’ll replace you as
production.

director, as we need to deliver this film.” I re-Maurice Devereaux: If were talking
fused and they tried to find someone else, but
number of shooting days, Blood Symbol was couldn’t. So they then backed down and of-about 60 days, spread over six years to com-
fered me a four-month [extension]. As I did
plete. We started by shooting weekends, when
not want to lose the chance to do my film, I
we had money for film. Then, at one point,
accepted. They were supposed to give me a
we did four weeks full time and ran out of

$250,000 budget to do the entire film, but,
money again. Then I started editing what I
of course, two weeks into the shoot the com-
had, all the while trying to find money to
pletion bond company went bankrupt as well,
finish the shoot and the film. Of course, the
and I ended up putting back all my salary as
actors changed in appearance throughout the
producer, editor, director and writer of the
movie. Since we were shooting in Super 8mm,
film back into the production. I also put in
we had many technical difficulties. Once we
another $25,000 of my own money to finish
had shot for two days, then two weeks later
the film. Needless to say, I never made a dime
we were eagerly awaiting to see our rushes (yes, on the film, as it was caught in a legal mess.

it took that long for Super 8), but when we

It’s a miracle it was even released, as the rights watched the reel, instead of images of my
are all over the place.

shoot, it was images of Timmy’s sixth birthday

End of the Line took 21 days to shoot and party. So we go back to the lab to tell them

18 months from pre-production to finished
about the mix-up, and they say, “Here’s a new
film.

cartridge.” I say, “No, I want to get MY reel

Donald Farmer: Well, Demon Queen was back.” They said, “Sorry, nothing I can do.”

a five-day shoot. Three days with the Ten -

Since the lab handled Super 8 reels from across
nessee crew shooting in Miami and Ft. Laud-

Canada it was too complicated for them to try
erdale, one day in Nashville for the video store and find my reel, so Timmy I still have your
scenes and, finally, one in Miami shooting ad-
sixth birthday film in a box somewhere in my
ditional bits and pieces on half-inch VHS. But
closet and someone somewhere in Canada got
several of my movies have been shot on very

How Long Does It Take to Make a Movie?

153
loose schedules, usually getting together on
as I could give directions. Doing everything
weekends over a period of months. Cannibal
handheld on that picture made it go even

Hookers was shot over probably a four to five faster still — we shot the full script in three
month period this way, but probably no more
days, with one more day in New Jersey for sec-
than 20 shooting days all together. Dorm of
ond-unit interiors. With film you’re slowed
the Dead is another project shot over a period down by checking the focus, checking the
of several months. I flew to Los Angeles to do
gate, reloading the camera, et cetera, but
all the scenes with Tiffany Shepis in about
there’s none of that with High Def.

three days, but the Nashville shooting with

Jeff Forsyth: The first one took about
the rest of the cast dragged on for several week-three years, and that was two years longer than
ends.

I wanted it to be. Since I have started a family, Whenever possible, it’s obviously better to
that number has more than doubled.

shoot everything in a concentrated period, like

Richard W. Haines: Most movies take
the tight two-week shoots for Compelling Ev-
about three to five years, from writing the
idence, Vicious Kiss and Demolition. Two weeks script to the actual release date. All of my
really is pushing it when you’re shooting a
shoots are about a month long, although in
script with lots of locations and scenes like
every movie I ended up going back into pro-
those movies had — I ended up having to
duction to do pickups and additional scenes.

really rush some scenes to get everything in.

My shortest shoot was Splatter University, Deadly Run had a nicer four-week shoot, which took two weeks, although we did ad-with out the pressure of doing so many setups
ditional filming a year later to expand the run-
in one day. And No Justice was six weeks [in ning time, which was too short.

production], but it had the added compli ca -

My later productions were a lot smoother
tion of a 30-person crew. And it seems the
than my first one. The trick in filmmaking is
larger the crew, the slower everything moves!

trouble shooting. No matter how carefully you

That’s why I like to use the smallest crew pos-
plan a production, many things go wrong. It
sible, like we had on Deadly Run and The rains on the day of your exteriors, you run out

Strike. Probably never more than five crew of time on set, an actor gets sick and has to be members on those movies, but they were shot
rescheduled or you lose a location, which are
on film and we moved very quickly.

things beyond your control. During my first

The longest schedule I ever had for a film
movie I wasn’t prepared for these circum-
shoot was 14 weeks for the back-to-back Civil
stances, which made it very difficult. For ex-

War movies Blood and Honor and Battle for ample, we were given permission to shoot for

Glory. But that was a special circumstance two weeks at Mercy College, in New York. At
where we had an elderly producer who couldn’t
the last minute they limited us to one week,
handle more than seven or eight hours on set
so we had to work around the clock to get it
a day. And since he wanted to be on set ALL
done. My F/X artists, Amodio Giordano and
the time, we had ridiculously short shooting

Ralph Cordero, slept on sleeping bags in the
days, and those movies took forever to finish.

classroom so they didn’t have to return home

But we were all getting paid weekly salaries,
and lose preparation time. We were so late in
regardless of how much we accomplished, so
finishing our crew was still mopping stage
knocking off after eight hours was a treat after blood and guts from the floor while students
some of the 20-hour days I’ve done on other
arrived for their classes.

movies.

Over the years I’ve learned to compensate

The first time I used High Def was on An
for these problems and have emergency rain-

Erotic Vampire in Paris, and my two-person date locations lined up. I try to finish the wide French crew whizzed through shots as quickly
shots with extras first and save the close-ups

154

HOW TO MAKE MOVIES
for last since they can be faked in another lo-

Rolfe Kanefsky: Well, the average from
cation by painting a stage flat to replicate the the coming up with an idea, writing a script
wall color of the original location. Close-up
and then getting that script produced can take
lenses have a shallow depth of field. Only the
anywhere from a month to a lifetime. I’ve
person’s face is in focus and the background
written so many scripts, I know many of them
is blurry. That makes it easier to simulate the
will never be made, which is a shame because
background. I’ve done this on several films.

some of them are very good.

William Hopkins: Both of my films took

In terms of a movie getting made once the
a fair amount of time to complete. Because of
money is in place, I’d say usually a month or
budget problems on Sleepless Nights the pro-two of prep. I’ve been working on an average
duction had to shut down for several months
of 15 days for production and then about three
while additional funding was found. Then we
to four months of post. Selling is a whole other continued to shoot a few days a month for the
story. That can take years. But from start of
next year or so. It was a terrible way to do
pre-production to a final “answer print,” let’s
things and the film suffered as a result, but we say — in my case —five to six months total.

got it done and learned some valuable lessons.

My first professional film, There’s Nothing

On Demon Resurrection the entire shoot was Out There, was written when I was almost 18
completed in the scheduled time of 21 days.

years old and still in high school. When I was

But because I was handling all the post-pro-

19, in college, my parents decided to try to help duction work, and there was a huge amount
me produce the movie. We spent a good six
of work to be done, we didn’t end up with a
months trying to raise the money from various
finished film till over a year later. Farming out sources. Finally, my mother, who was in the
the work to others really wasn’t an option,
jewelry business, knew another woman whose
since we had no money to pay anyone. On my
husband was in the construction business and
next film I’m going to try to avoid being so
had some friends with money. They came on
ambitious with the effects work so I’ll be able
board and invested between $20,000– 30,000
to complete the film faster. I think all the work into the film. That was all the money we could
and time put into Demon Resurrection made it raise. But my father had made a promise to
a better film, but I’d rather not have my next
himself years ago that if he ever got any money
film take so long to complete. It’s hard to keep to produce a movie, he would not give it back.

everyone’s enthusiasm level up when a pro-

So, my parents made a major sacrifice and
duction drags on for years.

mortgaged their home! This is the advantage

Steve Hudgins: Writing a script and re-
of having supportive parents and being an only
writing it and revising it to the point where
child. They put up the rest of the financing
it’s ready to be shot usually takes three to six and we went into prep in the summer of 1989.

months. Of course, a lot of the re-writes and

We cast in New York City with a casting di-
revisions can be taking place while other pre-
rector named Bill Williams and found all of
production duties are being done. Once we
our actors through him, except for the lead
start shooting, we do most of our shooting on
who plays Mike, the horror buff who has seen
weekends and normally take six to eight weeks
every horror film on video and knows the rules
to wrap shooting. Post-production normally
of how to survive a horror movie. He was
takes six months or so.

played by my high school buddy Craig Peck.

Our first movie, which I look at as a train -

We had a nice three weeks of rehearsal and
ing film, took six months to shoot as things
then shot the movie in August. It was a 24-
were not as organized as they needed to be.

day shoot and, to this day, it is still the longest But you live and you learn and we run a much
production schedule I’ve ever had. The shoot-
more oiled and smooth machine now.

ing was finished in early September just before

How Long Does It Take to Make a Movie?

155
college started up again. Craig had to get back

Angeles. This was accomplished by four-
to USC, but I was able to take off the fall se-
walling the film. We actually paid and part-
mester to finish working on the film.

nered with the theaters to play the movie,

There’s Nothing Out There was shot on
spending our own money on prints and ad-

Super 16 and actually edited on a Steenbeck,
vertising. We didn’t make money, but the pos-
the old film editing system. Now, it’s pretty
itive reviews and good word-of-mouth led to
much obsolete. My father had been an editor
a sale. We sold the picture to Prism Entertain-
for 30-something years and owned a post-pro-
ment (no longer in business) and they released
duction company, Valkhn Film and Video,
it on video and laser disc (through Image En-
based on Broadway in New York. Again, this
tertainment) in the winter of 1992. We also
was very helpful, for we knew once the film
made a cable sale and the film played on
was shot it would be finished professionally.

HBO/Cinemax the following year. So, the

The problem was that because there was so lit-
first draft was written in 1987, film was shoot
tle money, a lot of people worked deferred and
in 1989 and sold and distributed in 1992. In
gave favors. So, some of our optical effects
short, it took four to six years depending on
took a long time to get completed because they
how you do the math.

had to work around other paying jobs. The

My parents said they would never produce
film was completed in 1990 and screened for
a film again ... but 15 years later we did. In
the first time about a year after production had 2005, I made Nightmare Man, which had a
ended. But that was also the time that the en-

15-day production schedule, a similar budget,
tire horror genre collapsed. Horror wasn’t sell-
and the film went through a similar exper -
ing and I went on the big roller-coaster ride
ience. This time the film was edited on the
of trying to sell the movie. At that time, the

Avid and we didn’t have to make film prints
film festivals were very different than they are

... at first. We four-walled a theater in Los An-today. You could actually submit a low-budget
geles this time and got a similar reaction. Hor-
horror/comedy and get into festivals without
ror fans seemed to dig it and we got mixed re-
knowing anyone. We premiered the film at
views, but few very positive ones. We hired a
the IFP (Independent Film Project) in New
producer’s rep to sell the film and got the same York City and it exploded, becoming the most
response from the buyers: horror was dead.

talked-about film of the festival. This got us

There was a glut on the market and nobody
a lawyer and film rep. We had some important
wanted it, despite the good reviews and the
screenings, but the studios didn’t understand
word of mouth. Very frustrating. It seemed
the movie. It was a horror film and a comedy
like nothing had changed. After a year of try -
that talked about horror films. “Too funny to
ing to sell the film, I went down to Comicon
be scary and too scary to be funny” was the
in San Diego just to get away. Walking around
response.

I noticed After Dark had a booth there. A year

However, every time we played the film,
ago, they had started a festival called “Horror-
the critics loved it and the audiences went
fest: 8 Films to Die For,” where they picked
crazy. At that point I knew that if someone
up eight horror films and released them in 500
made a film like this with a decent budget and
theaters nationwide for a week before Lions
some name actors, it would make a fortune.

Gate put them out on DVD and SyFy Chan -

My theory was proven correct in 1996 with
nel plays them on cable. For all the low-budget
the release of Wes Craven’s Scream. But that’s independent horror filmmakers out there, this
also another story.

was like a potential golden ticket. So, I went

Anyway, we did wind up getting the film
up to them and asked how they select films.

released for a week in January 1992 in New

They go to the major festivals like Sundance

York City and then midnight showings in Los
and Toronto and have a deal with Lions Gate.

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HOW TO MAKE MOVIES

But they were willing to look at my film so I
for Dolby Digital. After Dark doesn’t pay for
gave them a copy of Nightmare Man with a this. Total cost: $50,000 dollars. Ouch! I asked, copy of our press release. I told my friends

“Has anyone ever gotten into After Dark and
what I did and most of them thought I was
then turned it down because they couldn’t af-
crazy, saying After Dark is looking for big,
ford to make the print and remix the movie?”

slick films, not my little supernatural slasher

“Not that we’re aware of,” was the answer.

movie. Even Tiffany Shepis, the lead of the

Well, we did it and the film got released and
film, thought I was out of my mind. But if
it sold big-time on DVD. Unfortunately, be-
you don’t try, you can never succeed. Two
cause of the eight different films and advertis-
weeks later I got a call from After Dark. They
ing budget, even though I found out Night-
lost my film. They still had the press kit and
mare Man alone made almost $6 million, all wanted to know if I was trying to sell them a
the films were still in the red (which means,
script or what. I explained that it’s a press kit no profit for the filmmakers). That’s where
to a completed movie. They then asked me to
that MG clause comes into effect. So, a film
send them another copy, which I did. At least
that cost us now $250,000 and made six mil-
someone was following up, which is more than
lion did not make any profit and to this day
what you usually get in this business.

we have not seen a penny. This is [one of ] the

Two days later, our producer’s rep quits,
dangers of distribution. The kicker is that, last saying that horror is dead right now and we
year, After Dark started their “After Dark
should try to sell the film as a thriller, but she Originals,” where they are producing their
can’t do anything with it. Sorry. Bye. So, I call own horror films. Hmmm... I wonder where

MTI Home Video, a domestic distribution
that money came from? Welcome to Holly-
company based in Miami. They had released
wood.

a few of my previous films, like The Hazing, But it was great exposure, and my film was

Pretty Cool Too, and The Alien Files. They liked everywhere. So, again, if we do the math, we
me and they loved Tiffany Shepis. But even
shot the film in 2005 and it came out in 2007.

they turned the film down, saying that “horror

Only three years this time. A little better. Too is a tough sale right now, blah, blah, blah...”

bad we can never afford to do it again. But

I’m telling you this is a tough business. The
that hasn’t stopped me from making movies.

next day I emailed After Dark Films just to

I just don’t use my own or my parents’ money.

see if they received the new DVD copy I sent

Since Nightmare Man my films have been
them. Ten minutes later I got an email.

work for hire. Although I still write, direct,

Sara Finder [the program director] had
and care about everything I do. In fact, I’m
watched it, enjoyed it and was showing it to
very proud of one of my most recent flicks, a
other people in the company. She said she
modern film noir entitled 1 in the Gun starring would get back to me soon. I’m happy to hear

Steven Man (an actor and producer who put
it, and I go out to lunch with a friend. An
up his own money to make this one), Kather-
hour later, my cell phone rings. After Dark
ine Randolph, Steven Bauer, Robert Davi, and
loved the film and wanted it for their Horror-

James Russo. MTI Home Video released it on
fest 2007 line-up! No MG [money guarantee]

November 8, 2011, and I heard they did really
but a two-week run at 350 theaters, with a $10
well with it. Only time will tell if I ever see
million advertising budget! A minute ago it
any backend money on this one. Can’t count
looked like my film was going to sit on a shelf
on it. Word of advice: Never count on it.

unreleased, and now [it was getting] theatrical

Brett Kelly: My first movie was shot on
play. Pretty amazing. We took the deal.

weekends whenever I could afford it. It took

There were a few catches. We had to now
about a year to shoot and a few months to
make a film answer print and remix the audio
post, using rental houses to edit before the

How Long Does It Take to Make a Movie?

157
days of home-editing systems. Nowadays, I
months to film. Lately it’s taken longer,
shoot on six 13-day schedules, depending on
though, since I’ve recently acquired an XBOX
the budget. I’d love to shoot more days, but

360. Movies that were supposed to be finished
it’s hard to afford to pay crews their day rates in a month have now taken years because of
and take longer. The more days, the costlier
that damn thing. However, the older I’m get-
the movie. If money was no object and I could
ting and the harder it is to get favors and the
guarantee that actors would stick around for-
more everything is costing right now, the more
ever, I’d love to shoot at a more leisurely pace.

I’m moving to simpler battle plans for movies.

My last two movies were six-day shoots at the

The last two films I did: Suicide Poet and Para-time of this interview. The post usually takes
normal Inactivity, reflected this as well. Para-a few months.

normal only took about two weeks to film, on Chris LaMartina: It generally takes a
and off, and they were very easy days. A couple
year to finish a feature for us. Sometimes it
hours at a time. Not one day did we go over
takes longer and sometimes it’s less.

five hours. The rest of the time, we sat around

Dead Teenagers, my uber-cheap first feature, bullshitting about comic books with the male
was an anthology that took roughly two years
lead in the movie. It was a very low-stress proj-to complete, because I shot it during breaks
ect and a nice change of pace.

at college, and I was still getting used to shoot-Jose Prendes: On average, about two
ing longer narratives.

month or so. Monster Man was shot sort of off-President’s Day, my fourth feature, was shot and-on. We shot all through October, with a
in 19 days, and edited/scored in about two
few pick-up shots before and after. With
months. From script to screen, it was about

Corpses Are Forever, I shot the black-and-white nine months’ total. All the while, I was work -
sequences in a 14-day period, and then the
ing a full-time job at the mayor’s office in Bal-color portion half a year later, in about 18 days.

timore, doing video work.

I like to shoot fast and loose, keep things or-

Witch’s Brew was a 30-day schedule, and it ganic, which actors appreciate, so I prefer a
was intense. The film contains over 40 speak-
short shoot schedule. I thrive on the vicious
ing roles, a dozen locations, and over 60 prac-
chaos of filmmaking.

tical make-up effects. The process of syncing

Paul Scrabo: I did not have any deadline.

up audio and transcoding the 7D footage took

I think Dr. Horror took about two years from forever, in addition to some digital effects
concept to the first showing. That’s too long.

(magical zaps and whatnot). Adding post-pro-

I did not have a complete editing system at
duction, Witch’s Brew took about 17 months home, so I had to schedule time at outside
from screenplay to screener DVDs. It was ex-
places. I am my own editor and it’s my favorite
hausting, but it was a larger film that deserved part of the process. The manic part, the shoot-the extra attention.

ing of the film, is over, and post-production

Jim Mickle: Both of my films have taken
can be a more leisurely part.

about 18 months from script to a finished film.

Eric Shapiro: Rule of Three’ s shooting In both cases the film premiered about a year
schedule was insane. I think our longest day
after the actual shoot.

consisted of covering 11 pages of script. That’s Damon Packard: Often it takes FAR too
absurd. Five pages is far more reasonable. Mail long, months become years because weeks and

Order was 15 pages and we did it in three months go by with virtually nothing accom-days — five pages a day. Rule of Three took 12
plished. Why? What else? Paralyzed by pen-
days, with miscellaneous page counts, most of
niless pockets.

them extremely demanding.

Brad Paulson: About a year. A good four

Anthony Straeger: This question sort of
months to write, five months to edit and three
comes back to things we have said earlier. The

158

HOW TO MAKE MOVIES
length of time it takes to make a film is directly would anticipate a 13- to 26-six week post-related to the budget you have and type of film
production schedule, once again depending
you are making.

on technical requirements. Realistically, we

So how long did it take to make Call of the
would like it to complete in a six-month turn-

Hunter? From start to finish was a total of 18
around period.

months. The idea for the story began in Feb-

So, what’s the difference? Call of the Hunt -
ruary, and the script was completed by the end
er’s budget was $45,000 and Blue Green Yellow of June. During that time I put together the

Dead’ s budget is $500,000. [It’s that] simple.

essential components of the budget and began

Marc Trottier: It all depends on the type to look for interest in funding it. Thanks in
of film you’re making and if there are many
the main to John Slocombe we had the pre-
visual effects involved. It also depends on
and production money in place by the end of
whether or not you re-edit your film three

August.

times and continue to add shots over a period

Pre-production began in September, for a
of seven years ... in that case, it’ll take at least total of six weeks. This included script revi-seven years to finish.

sions, location scouting, budget refining, cast-

I’ve never purposely filmed a feature film
ing and crewing up. We had originally planned
yet, so I can’t give any numbers on that sub-
to shoot at the beginning of September, but
ject.

due to either cast or crew commitments we

On average, my short films usually take
finally went into production on Friday, Octo-
three to four weeks to make. The first couple
ber 17, 2008. We shot for 12 days, which in-
of shorts that I made took about a day to film,
cluded traveling time to a remote place called
a few days to edit on the VCR, then I’d throw

Ivybridge, in Devon, over 200 miles from
a single music track on it from a CD and copy

Lon don.

it to a VHS tape. It would be about four to

Post-production took exactly one year to
five minutes long, with no [special] effects, no complete. One of the main reasons being that
color correction and no titles. Urban Saber is the second half of the funding came in dribs
about two and a half minutes long, which we
and drabs. In addition, I was doing the editing
filmed in one night as well ... but then I spent and had to fit that around surviving.

about three weeks doing digital effects (in-

Delivery was made to RSquared, our agreed
cluding titles and color correction), one night

U.S. distributor, and was launched on No-
for video editing (not much to do) and
vember 19, 2009. The U.K. launch didn’t hap-
another week or so doing the sound and music
pen until September 2009. So, overall, it took
mix (with already-existing music). After that’s
a considerable amount of time to realize. De-
all done, I spent another few nights making
spite this, the learning curve for the whole pe-
the DVD menu with already-existing music.

riod has taught me that:

So, as technology gets better and makes
things easier, people’s expectations also be -

1. You can never rush things
come greater and it takes much more effort to

2. IF you haven’t got the finances, you cannot
keep them impressed.

complete.

Mike Watt: The Resurrection Game took For my latest project, Blue Green Yellow
two years to shoot and another eight to com-

Dead, we will have six to 12 weeks of pre-pro-plete. Demon Divas was filmed in seven days duction and a four-to-six week production
and edited in three months. Razor Days was schedule, depending on whether it is shot in
shot in 11, with the last day occurring seven

2-D or 3-D. As we intend to make this a big-
months after principal wrap and real life has
ger production, and it will not be set in
gotten in the way of any significant editing.

motion unless all the finances are in place, I

A 90-second movie took us six hours over

How Long Does It Take to Make a Movie?

159
the span of two separate days and should have
out of some really crazy footage. This was our
been edited in 45 minutes were it not for some
first wake-up call as to the value of a well-
severe technical issues due to limitations I
planned script. We were fortunate to be able
didn’t know I had.

to get notorious B-movie icon Conrad Brooks

Really, it takes as long as it takes.

to host the film. This would unexpectedly pay

Ritch Yarber: In general, once the script off in the future. Our actors doubled as the
is finalized, completion of the film takes at

“crew” in this initial effort that cost about
least a year from start to finish. Twisted Spine.

$600 to produce.

com Films is a group of working-class people

Our latest film, Murder Machine! cost a that come together to create a film as a possible little over $5,000 to produce. Cast and crew
doorway to their dream jobs of working in
totaled about 50 people. Shooting occurred
professional movies. This means that every
over a period of 26 weekends, utilizing two
project is subject to work schedules, personal
cameras, monitors, microphones, lighting
obligations, availability of locations, et cetera.

packages, special effects, wardrobe, stunts,

Coincidentally, each of our last two films took
weapons, vehicles, locations, et cetera — a
exactly 26 weekend-only shoots apiece to
stun ning comparison to our first film that fea-
complete. The rest of the time was [spent on]

tured about five guys running around with a
editing, music and all the rest.

consumer grade Hi-8 camera and no micro-

The first movie that I made, Transylvania
phone! Having evolved through a ten-year

Police: Monster Squad, took about six months film school of hard knocks, our latest venture
to create. I knew from the start that I would
went smoothly, due to our well-planned script
be working with friends and co-workers in-
and dedicated preproduction efforts. Of
stead of knowledgeable actors, so I purposely
course, our micro-budget efforts were dealt a
chose to forego a strictly scripted format and
series of setbacks after principal photography
just created a very loose outline of what was
was completed due to computers and their in-
supposed to happen in the movie. Since my
explicable tendency to crash. This added two
idea was to mimic the television show Cops, I years to the time it took to put the finishing
felt that this improvisational approach would
touches on the product as we had to wait until
work nicely and give kind of the same feel. We
we could come up with new equipment that
would start the scene and just follow whatever
could handle the job. Our luck was so bad that
happened with our one camera and see what
even an attempt to edit the film with equip-
developed. This was the first of many hard-
ment owned by the Cleveland Museum of Art
learned lessons to come. Editing this hodge-
resulted in another computer crash and an-
podge footage into an entertaining and some-
other start from scratch. Luckily, perseverance
what intelligent story was rough, to say the
pays off, and the film has not only quickly
least. I later realized that, although the show
made its budget back, but has been making

Cops was not scripted, the events depicted units way into film festivals, with great reviews.

folded naturally and told the story. Our scenes

Ivan Zuccon: It usually takes from four to depended on certain plot points to be hit to
five weeks to shoot and a couple of months for
propel the story along. With untrained im-
post-production. In the past I used to shoot
provisational actors, these plot points often
movies in three weeks, but I don’t want to do
were totally missed or took way too long to
that again. I think the right amount of time
develop, leading to boring or inane gaps. With
to spend on set is six to eight weeks, but
a lot of hard work, our first-time editor Matt
in low-budget movies this is very difficult to

Ford was able to carve a decent Cops knock off do.

160

HOW TO MAKE MOVIES

The Filmmakers were asked:

Is it easier or more difficult making movies now, as compared to your first movie?

Glenn Andreiev: When I did Vampire’s
tellers and outright liars than there ever were.

Embrace the expensive-to-rent cameras had to On top of all of this, because of how easy and
be constantly cleaned. You really needed to
accessible the equipment is, everyone is a film-
know what you were doing when threading
maker. They [all think they are] Orson Welles
film in a 16mm camera. It’s so much easier
just waiting be discovered. And what they do
now. You pay less attention to the physical me-
is flood the market with a sea of shit, which
chanics of the movie camera and more atten-
means those of us doing this for years and
tion to your film. Broadcast-quality cameras
years on end have to work so much harder and
are now easily available, as is the editing soft-be so much more creative to make sure our
ware. I edited my last four films from my
product shines heads and tails above them. For
coffee table.

instance, my attempt at being different in -

John Borowski: Being an independent
volves re-inventing Retro. With Bloody Ape, filmmaker never gets easier. It is easier in the the anti-hero is a gorilla, played by a man in
sense that the more films you make, the more
an ape suite. Ape suits made for the easiest
popular your name and work becomes. I have
monsters in the 1930s and ’40s. The film, at
been contacted by people around the world,
times, plays out like a slasher film, only with

[who are] interested in my work or willing to
the ape playing the slasher. And the plot itself provide assistance. When I was searching for
is a re-working of The Devil Bat (1941) and someone to create the fake tattoos for Carl

Phantom of the Rue Morgue (1954). Blitzkrieg, Panzram, I reached out and was contacted by while being hailed as “Nazisploitation,” is ac-many people who wanted a rate that was too
tually just a reworking of Stalag 17 (1953) with expensive for my budget. I was contacted by
elements of Mark of the Devil (1970) added to Matthew Aaron, who was a fan of my work,
it, to spice up the proceedings. The one area
and he agreed to work on the tattoos. The

I excel in is making period pieces on a dime;
added bonus for Matthew was that he fit into
no one wants to be bothered [with] ever try -

Henry Lesser’s jail-guard costume, so Mat -
ing to do this. The worst type of film you
thew was also in the film as the guard who
could make now is a slasher film or a zombie
beats up and tortures Panzram. So money is
movie — they’ve been done to death and there
not always the best motivator. Find people
is no place to take them.

that are excited about working on your films.

In fact, thinking outside the horror genre

Keith Crocker: This is one of those dou-
is really the way to go. These days documen-
ble-sided answers. Certainly the technology
taries do really well; there are plenty of outlets has become so much easier and consolidated;
for them and they are a great genre to stick
with digital video, the camera can do so many
with. Horror, in many ways, should have been
jobs [whereas] with film you need so many
buried years ago.

separate pieces of equipment. On the other

Richard Cunningham: That definitely
hand, folks just seemed so much easier going
depends on the movie and how much I’m re-
years ago — now it seems that every actor or
sponsible for on it. My last film was easily the crew person has the ego of dinosaur propor-most difficult film I’ve done [since] I was there tions; I find that the bullshit level has increased for every bit of its development.

dramatically. There are more and more story-

But, in general, it’s much easier for a film-

How Long Does It Take to Make a Movie?

161
maker now to produce a professional-grade
to people that can assist them that they would
film than it was ten years ago. The software

[otherwise] never have met.

used to make films has not only drastically im-

Richard W. Haines: Making movies is
proved, but has become more affordable and
never, ever easy. It’s like managing a military
user-friendly, as the technology has become
campaign. It’s always challenging, and since I
more mainstream. High definition is a staple
try to expand my filmmaking techniques, each
in camcorders already, offering even a beginner
production offers new problems to solve. For
filmmaker an image with quality resolution.

example, when I decided to print Space

Also, the internet now offers a vast amount

Avenger in real three-strip Technicolor in of knowledge on how to make movies and you

China, back in the ’80s, I had the Chinese lab
easily can go on YouTube to learn how to
technicians on the set giving me advice on how
properly work with complicated equipment
color was rendered in that process. Chris Con-
and software, usually from a 15-year-old know-
don was the technical advisor on Run for
it-all who has grown up with computers.

Cover, explaining to the crew how his Stereo-Maurice Devereaux: As I mentioned

Vision 3-D lenses worked. We needed a sharp
earlier, technically it is much easier today (dig-depth of field for the system, which meant a
ital cameras and computer editing and CGI
lot of light to generate higher F-stops.

effects), but now financial realities have set in We had no advisors simulating the film noir
and the cruel business side of filmmaking have
look for Unsavory Characters. Cinematog ra -
made it almost impossible for me to make a
pher Brendan Flynt and I watched old RKO
new film. As I know now that barring being a
movies to analyze the lighting design. For that
miracle “lottery winner” ( Blair Witch, Para-feature we shot part of it in black and white,
normal Activity, Open Water) you will NOT
which had its own set of issues. The stock had
make any money if you finance your own film.

a different thickness than color film, which

The various sales agents, distributors, and pro-
made the camera noisy, so we had to blimp
ducer’s reps are mostly all scumbags and will
it differently. Tom Agnello examined old
rip you off in a million ingenious ways, and

Hammer movies to try to replicate that look
you will not get paid. And, even if you’re lucky for What Really Frightens You. He developed enough to find a few good people, the amount
a method of cross fading the lighting transi-
they will pay is now so small (because of DVD
tions from normal color to the Gothic appear-
piracy, et cetera) that unless you make your
ance.

films for almost no money, you will LOSE

It’s been my experience that when you chal-
whatever money is invested.

lenge people by trying something different,

Donald Farmer: For the reasons I just
they’ll respond positively and have some fun
described, High Def cameras have made it eas-
figuring out how to create the visuals. Most
ier than ever to shoot your film. And nonlinear
crew members are used to working on low-
editing clearing beats working on a 35mm
budget movies with poor technical specs, so
flatbed system or building your edit from the
my pictures gave them an opportunity to be
head of a three-quarter or one-inch master
more creative than usual. I never believed that
tape. Everything today is easier. I really don’t budgetary limitations were an excuse for bad
see a downside to the today’s cameras and ed-
photography or sound.

iting software.

William Hopkins: With the equipment

Jeff Forsyth: Technologically it is MUCH
and software that’s available now it’s certainly easier [now]. Now you can actually stay on
easier to make a movie that is comparable in
par, quality-wise, with Hollywood. I would
image quality to studio productions. The
have to say it is easier in every aspect. Social High Definition cameras are a great advance
networking sites have opened filmmakers up
over the equipment we used on Sleepless Nights

162

HOW TO MAKE MOVIES
and Demon Resurrection. With the Standard Yes, the technology has made it easier and

Definition equipment, it was a challenge just
much more affordable. You can do a lot with
to make the image look acceptable, to make
a very limited crew and budget, but this is
it look something like film. With the cameras
what everyone expects now. I made a film
that are available now, it seems even an inex-
called Pretty Cool Too, right after Nightmare perienced user can get a startlingly good

Man was shot. In fact, we stopped post on image. But, even with Standard Definition

Night mare Man so I could shoot this teen equipment, we certainly had it easier when we
com edy in 12 days just before Christmas for
were making our films than indie filmmakers

$25,000, not including post. I told the pro-
who were working back before digital video
ducer that this was an experiment and I could
became available. I can’t imagine how difficult
not guarantee that the final result would be
it must’ve been for filmmakers on tiny budgets
any good. Well, somehow, we pulled it off,
to have had to contend with all the difficulties going only $500 over budget, got the film re-that shooting on film creates. I love the look
leased, and I’m sure someone made money off
of film and would love to be able to afford to
it. Being able to make something like that is a
shoot on it. But the productions I’ve done so
double-edged sword, because now that you’ve
far wouldn’t have been possible if we hadn’t
done it, they expect you to do it again and
been using digital video equipment.

again and for less and less money and time.

Steve Hudgins: It’s easier, as we learned But unless you pull off something like the
from a lot of the mistakes we made on the first
success of Blair Witch Project or Paranormal movie. The main thing being that we are

Activity, you aren’t going to impress anyone in much more organized in every aspect of the
the studio system. Instead of them being
process now. And, as is the case with most
amazed at what you did for pennies, they say
things in life, the more you do it, the better
it doesn’t look like a $100 million film. We
you get at it.

want directors who can make $100 million

Rolfe Kanefsky: Well, with the economy
films and the only way we know if they can is
the way it is, it’s getting more and more dif -
if they’re already made one. I was told years
ficult. You are now expected to do everything
ago that the studios would rather hire a guy
yourself, including editing and mixing your
who made a slick music video or commercial
films out of your own home. Producers are
than someone who has directed ten B-movies
trying to lower the budgets more and more.

for Roger Corman. In the old days, those di-

You really can’t do a film cheap enough. They
rectors did get into the studios and became
don’t want to pay for anything. Making any

James Cameron, Johnathan Demme, Ron
movie is a challenge, but when they want you

How ard, Joe Dante, et cetera. Today, these
to shoot it in five or six days for $25,000 total, guys wouldn’t be given the time of day because
it should be impossible. Unfortunately, it isn’t everyone’s making movies and it’s all about
because stupid people like myself will kill
the bottom line. This is the sad-but-true na-
themselves to make the film and make sure it’s
ture of the business. However, that doesn’t
good. Miracles are performed every day in this
stop some young directors from winning the
low-to-no-budget arena. I know some film-
lottery and having that lucky breakout hit. So,
makers who have made really impressive fea-
we all just keep trying because you never
ture films for $10,000 or less! You should not
know.

be able to do this. The fact that it’s happening Brett Kelly: It’s easier now, as I have a lot is why it’s very hard to make a living in this
of old tricks to fall back on. However, every
business. A year ago, I wrote and directed
single movie provides a ton of challenges. I
seven feature films just to pay my bills. It’s
have yet to make a single film that didn’t chal-
crazy.

lenge me in some way, be it dealing with peo-

How Long Does It Take to Make a Movie?

163
ple, budgets, weather, locations or any one of
lot more as well and don’t expect to get rich
a million variables.

tomorrow. We’re just doing it because we love

Chris LaMartina: Making movies is
it. And we’re much smarter about the way we
never easy, so I hate to use that word, but it’s do things now. In the old days, it was a crap-de finitely easier than it was. By the same token, shoot. But now we have a much better sense
with every project, we raise our standards, so
of what works and what doesn’t.

technically it did get more difficult (mostly be-Jose Prendes: It is always difficult to
cause we were challenging ourselves).

make movies. I hear people saying how dif -

I couldn’t have made Witch’s Brew at 19.

ficult filmmaking has become and how they

Hell, I couldn’t have made it at 23. Every fea-
wish it was like the good old days. Well, guess
ture was a learning experience. They were baby
what guys, it was always tough. I read Charlie
steps to bigger productions, each subsequent

Chaplin’s autobiography and he was com-
movie providing valuable lessons.

plaining how hard it was to make movies back

Completing a 90-minute movie is a mon-
in the silent era! And that was even when he
umental task and I give kudos to any individ-
was a known commodity! I made my first
ual who pulls it off ... no matter how bad it
movie in a bubble, so that was fairly easy, be-
may be. So many things can go wrong on a
cause I was the god of that movie. Anything
film set, so I say “bravo” to anyone with the
out of that bubble, where I have to deal with
gusto to make it to the finish line.

producers, distributors, marketing strategies,

Jim Mickle: It’s hard to say if it’s any
test screenings, script notes, et cetera, would
easier now. Since my first film we hit the eco-
be much more difficult.

nomic crisis and that’s made it a lot harder for Paul Scrabo: I know my next project will
many people to get films (or anything, for that
be easier, whatever it is, because I’d be smarter!

matter) financed. But having made two suc-

I actually outsmarted myself while shooting
cessful genre films on a budget, many more

Dr. Horror because I was, in a way, too effi-opportunities have come along, just not nec-
cient. I knew how each scene would be edited,
essarily great ones. Time will tell if the next
how many close-ups, et cetera, so I cut down
one is any easier, but in general, the process
on coverage. I just shot what I absolutely
of making movies is never, ever easy.

needed.

Damon Packard: I would say it’s easier

We previewed the film to good response,
now because of the tools. That isn’t necessarily but I could see the scenes that could benefit
a good thing. The field is FAR too over-satu-
from trimming. I graduated from “every frame
rated now. In many ways the production
is important!” to “I have a chance to make this
process is more difficult, because people’s lives a better movie.” But I could only fix so much,
are so much busier and more frantic. Getting
due to not having extra footage to re-adjust
people together on the same day, for example,
those longer scenes. I won’t make that mistake
and committed to a full shoot is extremely
again.

difficult, sometimes simply impossible. But it

Eric Shapiro: It’s much easier. It’s a
all comes down to the same thing every time.

strange art form in the sense that you can ap-

Money.

proach it in a real simple, primitive way —

Brad Paulson: It’s a little bit of both. It’s with very few angles and no camera move-more difficult because most of the favors have
ment, and get a legitimate result. Much of
run out. All the people we had hooking us up

Clint Eastwood’s work is extremely basic, and
are either making their own movies now, have
he creates a sense of beauty from the simplic -
given up and gotten real jobs, or came to their
ity. At the opposite end, you have your Scor -
senses and moved out of the madhouse that is
seses and Kubricks and Oliver Stones, where

Los Angeles. On the other hand, we know a
the demands on the visual side are incredibly

164

HOW TO MAKE MOVIES
intense. Once I got the basic, simple-coverage
little short films. Cameras just weren’t as com-
approach down, I didn’t find it very hard. It’s
mon or easy to come by as they are today. Hell,
physically hard because the days are long and

I could technically film a 1080p HD feature
you’re in nonstop conversation with people,
film on my cell phone today if I wanted to! In
but, aesthetically, it’s a very navigable form.

the future, that’ll be normal ... but, right now, I’d say writing is 1,000 times harder.

the fact that there’re apps for color correction Anthony Straeger: This is where the im-and editing available on a phone — and that
mortal line, “If I knew then, what I know
the cameras are as good as they are — is just
now!” comes into play. You can’t beat knowl-
incredible! It’s going to be really fun to see
edge or hindsight. The film game is filled with
what kind of new technology comes out, and
things you cannot know until you have been
how it will become even easier to make movies
through it. The whole process of making Call in the years to come. Cameras implanted in
of the Hunter as a first feature was a big learn -
our eyes, anyone? You’ll just walk around look-
ing curve. Previously, I have made two docu-
ing at stuff, and then come home at the end
mentary films and about 12 shorts and with
of the day and say, “movie’s finished”! No big-
every single one I have learnt something
gie.

new — that is the beauty of it all. Since com-

As I mentioned before, I began my career
pleting the movie and distribution has been
editing on a VCR. I had figured out that if I
placed, I have learnt even more about internet
paused the VCR at the point I wanted to add
marketing, video-on-demand, pre-sales, dis-
the next shot. I had to move it back 14 frames
tribution rights and have learnt loads about
before hitting the record button, to have it
the way my distributors have gone about busi-
start where I wanted it. It was ridiculous! But
ness and the way I would do it the next time

I was making movies, and that’s all that mat-
around.

tered. With digital editing today, you can cut,

I think one of the best pieces of advice that
paste and move things around with ease ... and
can be given is, step back and think. Some-
if you don’t like the way it looks, you can just times the train rolls and you can’t stop it and
change it around or modify things on the spot.

you can’t keep a tight control of it. But, some-

Back in the day, I had to instantly re-watch
how, you need time to think and give yourself
every cut that I made on the VCR to make
time to breathe.

sure it looked okay ... and if I missed some-

Is it easier? I think bigger names than myself
thing the first time or changed my mind later,
would say the answer would always be NO!

it was too late and I just had to live with it ...

New problems occur, each film is an individ -
or redo the entire thing!

ual and it has its own personal needs that will

I look at technology today and I say, “Jet-
never compare directly to something you have
sons!” Ok, so it’s more like I yell, “Jetsons!” But made previously. I find problem solving and
it’s funny how the stuff we have now will look
problems interesting. I am quite practical, but
ancient in ten or 15 years.

sometimes the whole thing can get so big you

Mike Watt: There’s no easy way to answer
just find yourself faced by a mountain.

that because every film brings with it its own

Marc Trottier: Nowadays, it’s easier than truckload of challenges, many of them hiding
ever to make a movie because technology is
in the wheel wells. To paraphrase Neil Gai -
advancing so fast ... cameras are getting better man, “You never learn how to make mov ies;
and cheaper everyday. Even young children
you only learn how to make the movie you’re
can (and do) make feature films because of the
making.” To which I’ll add, “Usually by the
equipment that’s available today. I know for a
last day of production.”

fact that if I had access to a video camera when As the “Second Wave” of independents in

I was a kid, I would’ve made all sorts of fun
the ’90s (the First Wave being the Ritters, Lin-

How Long Does It Take to Make a Movie?

165
denmuths, Bonks, Bookwalters and McCraes),
available has not increased that much, we are
we got into the business too late to take ad-
constantly looking to push our standards to a
vantage of the home-video boom and haven’t
higher level. This means the scripts, pre-pro-
yet figured out if there’s money to be made
duction, casting — everything — has to be
in Video On Demand. Making a movie is al-
tighter and more demanding. With people
ways going to boil down to writing a script,
lending their time and talents to your produc-
scroung ing the budget, casting, shooting, ed-
tion, you are obligated to do your part to make
iting, scoring and finishing. That’s what a
sure everything is in place and ready to go. We
movie consists of and what it will always con-
have managed to develop a small following for
sist of, whether you have a cast of thousands
our brand of film and we have to work hard
or a team of yourself and a couple of hand
to keep our reputation intact. In my mind,
puppets. What you do afterward is always

TwistedSpine.com Films stands for one thing,
going to be the biggest hurdle: finding the au-
quality entertainment, thus our logo: “Your
dience and all that goes with that.

premiere micro-budget film experience.” We

Ritch Yarber: It is much more difficult
pull out all the stops to make that logo mean
making movies now since the expectations of
what we say.

the production are much different than when

Ivan Zuccon: Not much has changed,
we first started. After working and learning for compared to the past. The problem is not
over a decade what it takes to make successful
making movies, but distributing them. Dis-
and entertaining micro-budgeted independ -
tribution is the real obstacle. Finding honest
ent films, you never want to go backwards. Al-
and reliable distributors is the real trouble
though the amount of money that we have
nowadays.

Publicity, Promotion and Distribution

If you self-produced a project you’ll most
tributor interested in my recent documentary.

likely have to self-publicize and promote that

He called me and told me how much he like
project. No one is going to be more enthusi-
the documentary, then asked if I ever did any-
astic than you are about your movie. Even if
thing else (obviously he didn’t read any of the
you get an eventual distributor who will get it
info I sent him). I spoke with him for over a
out to renters and retailers, you still have to
half of an hour, after which point he said he’d
obtain promotional quotes and some publicity
email me over his usual contract so I could
to get those distributors on board.

look it over. The one thing that stood out was

When I first started making the genre
his wanting “worldwide rights” and that my
movies there were dozens of print magazines,
share would be 40 percent, minus his ex -
from Samhain and The Darkside in England, penses. But there was no cap on the expenses,
to Independent Video, Draculina and Fangoria so if I gave him the movie he could continually
in the States. In the early ’90s this was the only say that the expenses were more than my share.

route you had. You would have to physically

I emailed him back, telling him my concern
snail-mail VHS tapes to reviewers, along with
about this. The next day he called back, saying
slide photos and any other printed material.

he understood my concern but that he couldn’t

Nowadays, there are a thousand genre websites
change this (he couldn’t give me an answer,
for every print magazine that ceased publi -
basically). Then, he proceeded to ask me a
cation. You can send the entire movie and
legal question about something related to his
photos to reviewers digitally, either directly or distribution business. After 15 minutes, when
on a shared download site. So, in a certain re-
he said, “Since you’re a lawyer...” I stopped
gard, it’s much more inexpensive to garner
him and said, “Uh, I think you’re confusing
publicity nowadays.

with me with someone else.” He explained

If you decide to sell and market the film
that he got me confused with someone else he
yourself, there are many avenues to do this,
spoke with the day before but that he liked
from independent film sites to megastore sites,
my film and wanted to talk to me about it.

like Amazon.com. You also have to create your

But I already talked to him about it, at length.

own website for the movie and maintain that,

So it’s not a good sign when the distributor
do all the duplication and fulfilling of orders.

can’t get his shit straight. Least to say, I’m not It can be a full-time job, and expenses can run
signing away my rights with him.

high. While you may have dozens of positive

I always recommend to filmmakers that
reviews and links to your site for ordering, this they try to license their movie out and to get
still doesn’t guarantee that you’ll sell any cop -
money up front. The terms are usually for
ies.

three to five years. You simply have to supply

Then there are distributors who will prom -
a master copy and photos so they can make
ise you the world — and they’ll want “world-
up the box artwork. However, if the distrib -
wide rights” as well. Just recently I had a dis-
utor does not pay a license fee up front, and

166

Publicity, Promotion and Distribution 167
promises residuals, this almost always means
in a hard-shell case, and drive around to local
there’s not going to be any money whatsoever.

mom-and-pop video stores to sell each copy

You see, many of these sorts of distributors
individually. It was fun meeting the store own-
work it into their contract that they can sub-
ers and interacting with them, especially with
tract their expenses for your residual percent-
a movie made right in their own back yard.

age. If you do get a contract and are not sure Kind of a slam-dunk sell! Through the local
what it says, get someone who can decipher
video stores, you could connect with inde-
it.

pendent rackjobbers in vans that would buy

So do you need to publicize and market
copies to sell to mom-and-pop stores hun -
your movie? Yes, you do. But how much work
dreds of miles away and even to other rack-
depends entirely on how your movie is going
jobbers operating in different states. So things to be distributed.

worked out quite nicely ... for a while.

One filmmaker who has a great deal of ex-

Of course, this scenario got a little more
perience in self distribution is director Tim
complicated when the mom-and-pop stores

Ritter, who is probably best known for the
went out of business or were bought out by

Truth or Dare movies.

the corporate chain stores. Gone was the in-
teraction with the local proprietor. You had to

Dare to Self-Distribute!

submit your movie to a “committee” or a

(by Tim Ritter)

“chain buyer” to see if they were interested in
picking up your flick. One of the biggest

Once your movie is completed, what do
problems was getting a buyer to actually watch you do with it next? How do you generate
your movie, with literally hundreds of movie -
money from it? Is it possible to make your
makers and distributors continually inundat -
budget back? Can a distributor help? These
ing them with titles every week. It was so easy
are the kinds of questions you should ask
to get lost in the shuffle, and many good
yourself before starting any new project. You movies never got decent distribution because
should have some kind of rough plan in mind
of this. Many times, even if your movie got
for getting your movie out to the public when
noticed by a corporate buyer, the chains would
you finish it and actually start promoting it
inexplicably pass on your project after months
while you create it. No matter what kind of of negotiating, or make crazy demands like
movie you’ve made, you’ve spent money on it
asking you to change your box art (at great ex-

(probably your own) and you’ll be looking for
pense) or edit out scenes that might be “too
a way to recoup some of that investment. You
strong” for their customers. And even if you
also want to get the project out there and have
got a deal where they finally agreed to pick up
people see it.

a few thousand copies ... the price you ended

I’ve been involved with both commercial
up getting per unit was so low that you barely
distribution and self-distribution of my own
broke even on the costs of delivering the pack-
movies for over 25 years now and it’s a con-
aged goods (not to mention shipping!).

stantly evolving challenge. To answer the big -

As videotape renting evolved into DVD
gest question right off the bat — do you need
selling in the late 1990s, there was a brief
a distributor? No, you don’t, at least not right period where if your title was with the right
away. There are many affordable things you
small distributor and part of a package deal,
can do to get your movie into the public eye
you could get into the big box retail stores simand generating revenue.

ply because there was great demand for new

It all started out pretty simply in the early
titles at low price points. Profits were pretty

1980s: make a movie, dub off Beta or VHS
slim in this era (again) and we all found out
cop ies, create some passable artwork, slap it
the hard way about corporate stores and their

168

HOW TO MAKE MOVIES
return policies. Store terms allowed them six
with the click of a button, you begin to see
months ... or a year ... to pay for product and
the single title $5 DVD bins as being way over-there was a very unfriendly clause in the agree-
priced! Hence, we’ve entered the era of 20-ment, one that read, “If the merchandise
movie DVD packs (for $5!) and quadruple
doesn’t sell, we get to return it all (without pay -
blockbuster studio packs for $3. While Hol-
ment of any sort) and you owe us shipping!”

lywood might be able to eek out a meager

Needless to say, we all went through a rough
profit by sheer volume of sales ... the indie
patch here because the small distributor (or
moviemaker and distributor just cannot com-
moviemaker) was forced to take all the risk,
pete. These days, the whole business of
not the big corporate stores that could afford
streaming is turning into a studio-dictated
it.

moneymaking machine ... with the independ-

As the 21st century rolled in, Hollywood
ents scrambling for crumbs that fall off the
started offering its hit catalog titles at lower table.

and lower price points (yep, those $3 and $5

So how does the small guy (or gal) with a

DVD movie bins) and once again ... the small,
finished movie and very little ’net and adver-
independent guys were pretty much thrown
tising money compete? Well, the first thing is,
onto the train tracks again. The average con-
you dare to do it yourself—you self-distribute.

sumer would much rather buy a slick Holly-

It’s almost like going back ... to the future.

wood production over the latest shot-on-video

This is the approach I’m taking with my latest

“trashterpiece” by someone like yours truly.

shot-on-HD movie, Deadly Dares —Truth or

As the independent moviemaker dealt with

Dare 4. You might end up signing with a dis-these blows, the proliferation of bit torrent
tributor way down the pike, but in order to
downloading added further insult to injury.

get the ball rolling and get your movie expo-

Suddenly everything you had ever released was
sure, income, and larger distribution interest,
posted on the ’net and available as an ab-
you just have to get out there with your prod-
solutely FREE download to anyone who really
uct and HUSTLE, using little fragments and
wanted it! (As I watched my catalog DVD
bits of knowledge from nearly every era of dis-sales plummet, I noticed the number of down-
tribution that I’ve just outlined.

loads on my titles listed on bit torrent sites

First, you should keep your budget as low
were sometimes 10,000 or more! That would’ve
as possible and pick a project that has an in-
translated into a heaping load of nice DVD
stant potential audience or niche market. For
sales.)

me, it was a no-brainer to pick my latest pro-

With foreign markets drying up for small
duction as the fourth movie in my fairly suc-
video projects, Netflix offered a brief respite
cessful direct-to-video Truth or Dare series.

for independent movies when they first started

There’s an audience that has seen the first three up (and continue to do so, though to a much
movies and Netflix Streaming ran the original
lesser degree). At first, they’d buy a respectable movie for three years straight when they in-amount of DVDs to rent out by mail in those
troduced their streaming services, capturing
snazzy red envelopes, and later, pay a decent
interest from thousands of new viewers. So if
fee to put your title in their streaming
you have access to a small franchise name (or
program. But the streaming model, while
can get one affordably), this can help you gain
gaining decent exposure to some smaller
some instant market recognition. I also kept
movies like my own Truth or Dare series, has
my ENTIRE budget in the under–$5,000
had one major downfall — it’s devalued ALL
range, and that may have been a little bit too
movies in the eyes of the consumer. When you
high, upon reflection.

pay $8 a month for a smorgasbord of endless

It’s still sound advice to stick to exploi ta -
movies to watch as many times as you want
tion, horror, or science-fiction–themed movies

Publicity, Promotion and Distribution

169
at this level because these are the type of projects that, if you make them right, will usually
find an audience. There are websites that heav-
ily promote independent genre projects, con-
ventions celebrating these types of movies year
round all over the U.S., and it’s easier to book your movie in independent theaters if you
have an exploitable angle accompanied by an
outlandish poster of some sort.

When you begin pre-production, this is the
time to start promoting your movie, especially
on all the FREE social websites where you in-
teract with family, friends, and acquaintances.

Have some snazzy artwork created to plaster
everywhere and start posting short video teas -
ers that spotlight storyboards, special effects, casting, and anything that might intrigue people. Be careful not to give away all of your project’s secrets, but at the same time you have to get people talking about it. This can be a fine
line to walk! As you cast the movie, post in-
terviews with some of the actors and actresses
taking on various roles. It never hurts to hire
a “scream queen” or a “cult actor” to essay a

Deadly Dares poster #1
part for a day or two. With Deadly Dares I was able to wrangle both rising scream queen Jes-motion was done with print articles in various
sica Cameron and original Jackass television trade and genre magazines — and you can still
star Mike Holman into playing important
send press materials and photos (via email) to
characters in the movie.

the remaining print magazines, but, unfortu-

While you film, start a ’net presence for
nately, most of them primarily cover studio
your movie on the free social sites. Post
fare these days.

random “behind the scenes” teasers and still

When your movie is completed (even a
photos to entice interest. The term teaser is
rough first cut), get it listed on IMDb.com
key in all this — you’re TEASING people with
and put some poster art and photos up. This
brief, informative snippets of your work-in-
costs under $50, and once you’re signed up
progress, hoping they’ll want to see more and

IMDb will also send you weekly information
that good word-of-mouth will follow. The
on film festivals going on all over the world
videos should be no more than two to three
where you can possibly show your movie. It’s
minutes in length — people clicking around
never been easier to pick and choose film fests
on the ’net have limited attention spans and
that might be good exposure for your project.

an infinite number of viewing choices. You

Critical acclaim can help, and distributors play can also release this info to the various websites close attention to the fests. You want to be
that cover independent movies and provide
careful not to break the bank here, though,
them with links to your pictures and videos.

because there are festival entrance fees in the

This can help expand the potential audience
low and high range, and you won’t always be
that will hopefully be waiting to see your
accepted.

finished movie. In the “old days,” all this pro-

While entering your movie into film fests

170

HOW TO MAKE MOVIES
and hoping a big distributor makes one of
of other similar theaters across the country.

those “offers you just can’t refuse,” you can also Then it’s simply a matter of making some in-start booking it in small, independent theaters
quiries, sending out press kits and copies of
across the U.S. For starters, just look around
the movie, and getting it booked. Of course,
locally (or in the closest big city) and you’re
not every theater will show your movie, so it’s
likely to find an indie theater or two. Most all trial and error, but definitely it’s worth pur-of them are set up to project DVD or Blu-
suing. You’ll be able to legitimately say that
ray — and the resulting quality on the silver
your project has had a limited theatrical release screen is usually quite excellent! Making
while making a few extra bucks on the side.

posters has never been easier- take the artwork

Usually the theater owners will split ticket sales you’ve been hyping on the ’net and blow it up

50/50, but you won’t get any of the snack-bar
to poster size at your local Walmart photo de-
residuals — that’s where they make their real
partment. You’ll spend under $50 for high
money!

quality one-sheet sized posters that you can

Be sure to make 8.5" ¥ 11" photo paper take (or send) to each theatrical showing.

lobby cards (pictures from the best scenes of

Hype the movie in local press and news, set
your movie featuring the title logo and cast
up midnight screenings, and start letting peo-
and crew info) and mini-posters for all the-
ple pay to see your work! Take video of the
atrical showings. These are a great way to pro-
events and post it on your websites.

mote the movie, and you can give them away

Like the mom-and-pop video stores of yes-
or sell them (with or without autographs) at
teryear, independent theater owners are more
various venues. With Deadly Dares, we did than happy to talk with you and give you lists
nine separate poster designs and half-a-dozen
lobby cards to have a variety of eye-catching
material to offer. Fans seem to really enjoy
simple novelties like this, along with T-shirts, hats, and bracelets. I’ve noticed that many
times, you’ll make more money from mer-
chandising tie-ins than off the movie itself.

This is similar to the music business, where an
artist’s latest album is usually a loss leader for concert ticket sales and merchandise.

Everything you do and offer at theatrical
showings also applies to the sci-fi and horror
convention circuit, where you can show your
movie in a large viewing room to fans. Also
invite the cast and crew to assist you in selling DVD copies and autographing all of your
merchandise at a table for the entire weekend.

The best thing about conventions is that
everyone attending is a potential customer be-
cause they are ALL diehard fans of the type of
movie that you (hopefully) made! Many
moviemakers do extremely well at these events,
and here is where you can offer “limited edi-
tion” VHS (!) copies of your movie (which are
now collected by the same sort of retro fans

Deadly Dares poster #2
who enjoy vinyl records) and “special edition”

Publicity, Promotion and Distribution

171

DVD-Rs available exclusively at these shows.

I am doing this with Deadly Dares, beginning with a polished rough cut subtitled The Un-derground Bootleg Edition (available exclusively on VHS tape with a choice of covers), which
will be followed up by a DVD-R release and
then a completely different HD cut (featuring
extra bells and whistles, like alternate takes
and all-new Virtual FX) suitable for stream -
ing, pay-per-view, and Blu-ray. Each edition
has to contain different “extras,” like bonus
video footage, trailers, alternate endings, and
interviews. It’s all about maximizing the sales
potential of your project as many different
times and ways that you can. Yes, remarketing
and repackaging like Hollywood has done so
well.

Being an avid movie soundtrack collector,

I decided to produce the music score for

Deadly Dares, featuring composer Toshi Hi-roaki’s compositions interspersed with dia -
logue cues from the movie. As a young newbie
horror fan, nothing was more exciting to me
than reading about an upcoming genre movie

Deadly Dares poster #3
like Maniac, Phantasm or Escape from New York in Fangoria magazine, then running out By this point you’ll have a variety of dif -
to purchase the vinyl soundtrack score at a
ferent trailers posted on the ’net to hype your
local record shop. Listening to that music ...

movie, and maybe even entire scenes that don’t
re-reading the articles and staring at the pic-
give away too much of your story. With
tures ... and letting my imagination soar ...

Deadly Dares, the plotline intentionally dealt were all part of the experience leading up to
with an odd assortment of crazy characters
finally seeing the movie. I thought about that posting wild video dares on the ’net, so I
part of my early fandom and decided it might
played that up by posting some of these “dares”

be fun to try recreating that excitement for
onto video sharing sites, cutting away at the
others — using today’s technologies — espe-
moment when some outrageous or violent
cially the technologies that have been tradi-
event would take place. Right at that “money
tionally causing more harm than good. So we
shot” crescendo, I inserted a title card with the uploaded the Deadly Dares soundtrack (along movie’s name in huge letters while the action
with some exclusive CD artwork) as a free bit
continued to be heard on the audio track only.

torrent download and promoted it heavily on

The idea was to entice people into wanting to
various websites. It didn’t take long for fans to see more, to seek the movie out to see what
discover this “freebie” and start enjoying the
visuals we had been forced to conceal! I tried
music. This strategy worked out extremely
to censor myself and keep things at a PG-13
well. People got something for free and were
level, but this still didn’t stop a couple of my suddenly talking about the movie, anticipating
videos from being banned from top video-
when they’d get a chance to view it or buy a
sharing sites. It wasn’t a big issue, though, be-copy.

cause I simply re-posted the clips on different

172

HOW TO MAKE MOVIES
sites and hyped the fact that they were
be promoting your movie and getting po -

BANNED elsewhere, gaining even more
tential viewers to rent or purchase it in an
viewers and additional word-of-mouth.

overcrowded marketplace. That’s why, if you

As you continue to hype your movie on the
do well over time, you’ll probably consider

‘net, a time will come when you want to sell
signing the rights over to a distributor and let-physical DVD copies to customers. These
ting them take it to the next level. That’s part days, most people buy their movies and books
of the goal of self-distribution: being able to
through Amazon.com, and you can get your
prove that you have a marketable product. But
movie listed on Amazon through Createspace
if that doesn’t happen, at least you got your

(an Amazon affiliate). Once you send them a
movie released and seen.

DVD-R master and get your artwork set up,

Amazon and Createspace are by no means
they will make copies on demand, avoiding
the only high-profile places to hawk your
that distribution nightmare of having unsold
movie on the ’net. In addition to Netflix and
product returned. They will also print out the

YouTube, there are countless new companies
insert sleeve, package everything, ship it out
with which you can negotiate deals if your
and wire you a fair portion of the sale! Yes, it’s product meets their criteria. Sometimes you
that simple — you retain all creative rights and might need an agent, but most times you
can cancel the deal at any time. Your only job
won’t. Many video-hosting sites will share rev-
will be to continue HYPING the movie up to
enue with you from advertisements that they
generate additional sales. You can also concur-
place below your movie as it streams. So if you
rently get your movie listed on Amazon’s
continually get an escalating number of view-
streaming rental section and share in those
ers, you will make back some cash. Again, it’s
proceeds each time someone pays for a view.

trial and error as you explore new cyberworld

These are things that used to require at least a opportunities.

small distributor to accomplish, but today it’s

Even though the ‘net is oversaturated with
simpler than ever to get your product out in
tons of seemingly useless information and mil-
the marketplace all by yourself. Even though
lions of video clips that are competing for
selling your movie relies entirely on modern
viewers, it still remains the best and most af-
technology and giant corporations, it’s very
fordable way to garner attention and get your
much like the old days, when you had to make
movie hyped internationally. You just have to
and sell your tapes, one at a time. The differ-
be clever, spend a lot of time gambling with
ence is now a big company is manufacturing
different ideas, and never stop thinking out
your discs and a potential global audience is of the box. Here are the rules: there are no just a click away! The real work continues to
rules.

The Filmmakers were asked:

How do you tackle the publicity of your films?

What is the best way to go about this, from your perspective?

Glenn Andreiev: The simple “local guy
bates. We hired Bernard Goetz, New York’s
makes movie” is just not news anymore. You
famous subway vigilante from the 1980s, to be
need a unique angle, something that in one
in our film Every Move You Make. Well, this sentence of explanation will get the public
got us on CNN, The View, Court TV and in going “Oh, no way!,” or maybe even cause de-the New York Daily News. Also, when you

Publicity, Promotion and Distribution 173
shoot a movie, have a stills photographer on
video business. A small art house label called
the set. The publicity outfits require good

Vanguard Video (now a big art house label),
stills.

acted as a sub distributor for The Bloody Ape.

John Borowski: Grass-roots marketing

The film’s official date of release was 1997,
is the most cost-effective method of publicity
though the film had been shot in ’93. Anyhow,
for the independent filmmaker. I recommend

Vanguard handled it until DVD started to be-
the following: Create a website for your film
come all the rage. Then the distribution rights

(and for yourself as a filmmaker). Even if it is reverted back to me. Anyhow, for Blitzkrieg, just one page, it is better to have some web
the job got even easier. I became partners in
presence than none. You can always add on to
a DVD distribution business called Wildeye
the site. Create a blog. Create an email list of Releasing. The other half is run by a fellow
people interested in your films. Basically,
named Rob Hauschild. Rob has been working
utilize every tool that you can online to pro-
in advertising just about all his life, and he remote your work for free or cheap. Send your
ally does know how to sell things. Rob does a
films to reviewers. It is free publicity. I would lot of work with publicity on the internet, he’s not recommend paying for ads as I tried this
really inventive with his artwork and copy, and
once and found that it was a waste of money.

comes from the same tradition of trying to re-

My key to being a worldwide renowned film-
invent the past, as I do. Rob went bonzo on
maker is that I pretty much have done every-
the Blitzkrieg campaign. His headline “A new thing myself. People appreciate the personal
era of Nazi terror” can’t be beat, also his deci-touch and human contact. Sparzanza, a Swed -
sion to forgo using painted artwork for the
ish heavy metal band, contacted me and asked

DVD cover and instead use the image of a
to use Tony Jay’s audio from Albert Fish in one nude, booted and machine-gun–wielding
of their songs. I approved, since they would

Tat yana Kot makes this film a popular sell to
mention my name and the film in their CD
this day. He did the same thing for the DVD
booklet. It is this type of cross-promotion that release of Bloody Ape with “400 Pounds of helps independents help each other.

Fury Hungry for Female Flesh.” Honestly, you

Keith Crocker: Back in the old days, I did can’t beat it. He also re-cut the original Bloody everything through mail order. I’d take ads in

Ape trailer, added some different sound effects, the horror magazines, specifically target an au-et cetera, and we had a brand new sales gim-
dience who was into what I was selling, and
mick for an old film. He made up posters to
that’s how I handled sales pre-internet. Giving
be signed and given away at our New York
review copies to the mag you were taking the
premiere. He even made up lobby card sets to
ad in always generated publicity, and you just
be given out as door prizes. I came up with
hoped you got some glowing reviews. The ads
the idea of giving out a vomit bag during the
were lots of fun to make in those days; every-

New York showings, old-school gimmicks like
thing was done by hand, cut and paste — they
this go over like gangbusters.

sort of resembled the old Paragon Video boxes,

Richard Cunningham: When I was
with additional blood and gore added by col-
younger, I would either call up or go to local
ored-pen ink! Those were the good old days.

newspapers in person, and talk about my film

I was very lucky, because after inventing a dis-
to an editor or reporter for either the arts and tribution arm called Cinefear Video, I not only entertainment or the local section. It worked
sold my product but I was also able to sell
more times than not, and if it didn’t result in

16mm films that were quite rare and had been
a cover story it was always a generous article
transferred to VHS tape by either myself or
featuring film stills, and it was promotion that one of my projectionist friends. Hence, I was
was reaching a wide area of subscribers.

able to supplement a living as a mail-order

With Year Zero I started publicity much

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HOW TO MAKE MOVIES
earlier in the production stage. I still had work celebrity victim. I also adapted the film into a to do on the final edit when I released the first webcomic and posted it online for free, to
two trailers online. Having little clout in the
draw further attention to the film with online
social media environment, which I was just
comic book fans.

entering into, I suspected that the earlier I

In the promotion world right now there’s
began getting the word out, the more antici-
something of a gold rush going on with social
pation I can build up for it. Because Year Zero media. A lot of independent filmmakers that
is a zombie apocalypse film, the genre gave me
had to rely on festivals or press, or expensive
the opportunity to present it to a very large
theatrical showings for exposure, now have the
and enthusiastic crowd. I had a clear idea of
capability themselves of both promoting and
my target audience, so I sent press kits to var-
selling their films on the internet, through ei-
ious horror/zombie fan sites. Those websites
ther a movie’s official website or via a number
helped to generate the initial buzz surrounding
of VOD services available that can print
my short, posting the trailers on their websites DVDs on demand or download a digital ver-and backing the movie with positive com-
sion to the consumer.

ments.

The venture in social media is not an easy

These same websites helped Year Zero gain one. It can quickly turn into time-consuming,
exposure when it premiered at Tribeca. The
continuous contributions to gain notice in a
festival itself helped Year Zero with publicity, highly competitive fast-paced medium, but it
getting me articles and interviews in local New
may be one of the best options available for

York City news. In general, I’ve found larger
an unknown filmmaker to target a specific au-
film festivals have a press consultant on staff, dience.

who is there to either present you with advice

Maurice Devereaux: If you manage to
or actual press coverage. However, if you’re
get into a big festival this will help a lot. Con-not in the feature category, you can generally
tact various film websites that talk about sim-
assume there will be less of a push with your
ilar movies. Have a website and trailer for the
film, especially in larger festivals. Smaller film film online.

festivals may feature you more, but they also

Donald Farmer: When your new film is
don’t attract the same level of press. It’s always completed, you’ve got two choices to promote
best to be pro-active with publicity so you’re
it. Hire a publicist or do it yourself. And since not lost in the shuffle, also because you might
most of us don’t have the budget to hire a well-
not get many good opportunities for it.

oiled publicity firm, it’s pretty essential for

For Year Zero and a multimedia book called filmmakers to know a few basics about self-Dead Land, that I’m also developing, each has promotion. If I’ve got a new horror movie I
its own Facebook and Twitter accounts. For
want the world to know about, first I’ll email

Year Zero, I’ve experimented some [by] using a press release to the major horror websites,
these outlets. With Twitter, aside from posting
then do the same to the main genre magazines.

information, reviews and articles of the film,

I’ll usually upload the trailer or clips to You
trailers and clips, I created a side character of Tube, then include a link in my press releases.

the Year Zero story; the fictional character It’s also good to alert some of the online genre tweeted about surviving daily in a post-apoc-radio shows and offer a couple of your actors
alyptic zombie-ridden New York City, pre-
as guests.

sented in the same general tone as the film.

But don’t be shy about approaching main-

On Facebook I started a weekly competition
stream magazines and newspapers. When I
for which I was drawing a zombified celebrity,
was doing Cannibal Hookers, I got a nice arti -
and whoever was the first to guess the identity
cle in L.A. Weekly, then Variety ran a half-page correctly, could assign the following week’s
with my Canadian distributor, where he

Publicity, Promotion and Distribution 175
talked almost exclusively about my movie.

DVD distributor that specialized in low-bud-

Chainsaw Cheerleaders got mentioned on both get fare. As I understand it, they had standing

Playboy.com and in the New York Post, plus I arrangements with big rental chains like
plugged it on a VH1 reality show I did (with

Blockbuster, who would buy pretty much
a viewership of two million plus). But my best
whatever product they put out, so there was
publicity coup was for Dorm of the Dead.

little incentive to do any advertising of the film Jackey Hall was starring and told me her friend
to the general public. It was only advertised

Andrea was a regular on The Howard Stern
in trade publications to rental chains and re-

Show, where she was known as “Miss Howard tailers. The trailer and key art they created

Stern.” Jackey promised that giving Andrea
were slick enough but weren’t enough, appar-
even a small part in Dorm of the Dead would ently, to make the DVD a particularly strong
guarantee major coverage on the Stern show, renter or seller. Still, sales and rentals were
and she was right. After we wrapped Andrea’s
good enough for the distributor to make back
scenes, a Stern producer contacted me to re-their expenses and make a small profit. The
quest video clips for Howard to show on his
producers of the film might’ve considered

TV show. Then he invited Andrea to his New
spending some money advertising the DVD

York studio and basically plugged my movie
while it was still available in stores, but I doubt for a solid hour. Howard even gave me a quote
that would have had much effect on sales or
we plastered over the DVD box and the
rentals, so it probably would’ve been a case of
movie’s trailer. His audience perfectly dove-
throwing good money after bad. In the end I
tailed with mine, so I’d call that a match made
think there’s probably a very limited market
in P.R. heaven.

for low-budget films like Sleepless Nights, and Jeff Forsyth: The only publicity I have
the original distributor probably made as
used so far has been internet based. For the
much from the film as could be made. No ad-
newer projects I’m researching the idea of viral ditional amount of advertising would’ve
campaigns. I’m still learning about all the pos-
helped much.

sibilities there are out there for getting your

By the time we completed Demon Resurrec-
project seen. Although I have been at this
tion, the DVD business had changed consid-

“part-time” for years, there is still so much to erably. Blockbuster and other rental and retail
learn.

chains were on the verge of bankruptcy and

Richard W. Haines: That’s a difficult
were closing stores and buying less and less
question to answer now since I’m still ex -
new product. In addition, file sharing and
ploring new methods to promote my movies.

piracy online had increased, further diminish-

Internet exploitation is still relatively new and ing the DVD market, especially for low-bud-everyone is examining the best method of
get entries like ours. So, while the internet
reaching consumers.

gives us a greater ability to do inexpensive ad-

In the past I hired publicists to help. They
vertising for our film, the chances of making
placed ads in Variety and other trade maga-any great amount of money from DVD sales
zines, but that might not be the most effective
has diminished greatly.

way today, considering how the markets have

So, what is the best way to publicize an
changed. Publicists were useful for theatrical
indie film like ours? It seems these days you
bookings, but many filmmakers are bypassing
need a website and a Facebook page and
that now and releasing their pictures on DVD
maybe a Twitter account just to be in the
and internet downloads directly without the-
game. But what will actually work to sell your
atrical exhibition.

DVD or streaming video? I’m not sure yet.

William Hopkins: Sleepless Nights was I’m going to keep working on that and I’ll let
originally released on home video by a small
you know when I find out.

176

HOW TO MAKE MOVIES

Steve Hudgins: It’s great to have a pub-
our midnight run. Guess what? Not one
licist or someone handling those duties for
showed up. So, we had a private screening for
you, which is definitely the way to go if you
about five critics. Kevin Thomas of the L.A.

can do that. However, for a lot of filmmakers,

Times gave my film a rave review, calling the that is not an option, so you have to publicize
film “fast, funny, and a fine calling card for
yourself the best way you can. It’s very wise to Hollywood.” The following Monday, the
get a website that you can refer people to or,
phone never stopped ringing. Every studio
at the very least, a social network page, like
wanted to see the film RIGHT NOW. They

Facebook. A combination of the two is even
wanted us to send prints over to them. This is
better. That’s a good starting point.

what one great review in the Times meant back Rolfe Kanefsky: Well, here’s where a lot
then. Of course, they didn’t end up picking
has changed since I started making films in
up the film or grabbing me as a director be-

1989. Back with my first film, the web was
cause they were confused by the combination
barely around. Everything cost money. To
of comedy and horror and there were no stars
open a film in New York, you had to do radio
in the movie. However, the word was out and
advertising and newspaper ads. They cost lots
eventually we did get the film released. When
of money. Television spots were out of the
it hit video and cable, we sent out hundreds
question because of the cost. We would hold
of postcards, letting people know. It took a lot screenings for critics and hoped they show up,
of work back then to do something like this
enjoy the film and write a good review. Festi-
and we weren’t a huge success.

vals were easier to get into back then and you

Cut to 2006; Nightmare Man is ready to
could get some places like Variety or Hollywood screen. First, we set up a Hollywood screening

Reporter to review the film there. All of this for some friends and reviewers of horror web-was to create enough buzz to find distribution
sites and magazines to see if they would help
and sell your movie. Today, all of this is still spread the word. Without distribution, they
possibly but much harder. The advantage now
wouldn’t. So, we went to Fangoria’s Weekend
is the internet. Between Twitter and Facebook
of Horrors and took a booth and had a panel.

and Myspace and personal websites, links to

We also screened the film that weekend. The
genre sites, et cetera, you can spread the word
response was great and a writer for Jane Mag-a lot easier. You still need to send out screeners azine was doing an article on Tiffany Shepis.

and hopefully show your film on the big

He saw the film and had a blast, giving us a
screen, but with digital and Blu-ray screening
great review in his article on Tiffany in Jane.

rooms available that’s a lot more affordable as

Good start, so my parents and I decided to try
well. I’ll give you a “that-was-then, this-is-
the four-walling thing again. We contacted
now” approach. With There’s Nothing Out
the theater chain that had released There’s

There, we blew the film up from Super 16 to Nothing Out There way back when and got 35mm and held a cast and crew screening. We
them to book it for a week in August. Again,
then submitted the film to many festivals, both
they helped us screen a digital copy for critics.

domestic and abroad. This led to following

Again, we got a very good review in the L.A.

the film around and collecting reviews, hiring

Times. “A for effort in B grade Man” the heada PR rep to organize critic and agent screen-
line declared. This time the phone didn’t ring
ings. This was good and costly but didn’t get
off the hook. Great reviews don’t impress the
enough attention, so we decided to open the
studios anymore because everyone is a critic
film in New York and Los Angles ourselves
now, thanks to the internet. They want to see
with the theater chains. We held an advance
box-office gross. In the middle of summer,
screening in Santa Monica and invited dozens
with out much advertising, it didn’t make
of studio people and agents before we began
much money. We did take out a small ad in

Publicity, Promotion and Distribution 177
some papers, did a ticket giveaways on the net,
screeners. This is very easy to do nowadays.

started a web page for the film, but there is so Buy 100 blank DVDs and burn away. And
much competition out there now it’s hard to
then there are tons of ways to advertise on the
stand out. Not that you shouldn’t try. Use the
net. Clips, links, banners—hit all your friends

’net and every resource you have. Send out
and all their friends. This is now common
hundreds of protected screeners that read, “For
practice. Have frame grabs or stills ready to

Screening Purposes only,” so people can’t steal
send out to genre sites. The cooler pictures
it. They will anyway, but protect yourself as
you have to accompany your articles and press
best you can. Adam Green did a tremendous
releases, the better coverage you’ll get. And
job with this for Hatchet. He started the Hatchet even though it will cost you money, submit to
army and it paid off in a successful career. Eli as many festivals that target who you think

Roth is also a master of self-promotion.

your film will appeal to. Have press kits ready

Anyway, with all of the great reviews, week-
to go with the screeners. Withoutabox is a fast
long theatrical run, producer’s rep, great art-
and easy way to submit to literally thousands
work and trailer designed by the Ant Farm,
of festivals. Make sure you have some adver-
one of the biggest ad companies in Hollywood,
tising money available, because this is going
it still didn’t do much for us for Nightmare to cost you. Just submitting to 15–20 festival

Man. We had a great poster, cool trailer, good will run you $1 or two thousand dollars. Try
reviews and still could not sell the film until I to have a good trailer. Don’t do it yourself.

stumbled upon After Dark at Comicon. So, Hire a professional. It has to be slick and grab it’s tricky but you must pursue every avenue
peoples’ attention, just like the poster. If you you can think of. You never know what path
don’t grab their interest, they’ll never even
might work. You have to stick with it and
watch your film. The festival game has become
never give up. Remember, nobody cares as
a real scam, but you still have to do it.

much about your film as the filmmaker ... and

Publicizing and marketing is a long, tire-
it helps to have a little luck.

some process. There are companies that can

But getting back to the question. Once you
help, but if you have little money you have to
have a finished film, make sure it is finished
do it yourself and be prepared for at least a
before you show it to any potential buyers! It
year’s worth of hard work. You never know
needs to look and sound great, because if you
what will pay off, so try everything. You have
do get anyone important to watch it, they will
to be aggressive, determined and stay in peo-
only watch it once. Everyone says they know
ple’s faces to make your film stand out from
how to judge a rough cut, but they don’t! Fin-
all the others.

ish your film properly and don’t rush it. You

Brett Kelly: I always send out a press reonly get one shot at impressing the powers that
lease when I start production to drum up some
be.

early buzz. Usually I don’t spend a lot of time

Then come in with a campaign. You need
publicizing a film if it’s signed for distribution.

good artwork (maybe the most important

I leave that to the marketing people. Locally,
thing if you don’t have any name actors in your

I usually try to get a theatrical screening of
film). You also need a trailer to put up on
some sort and send releases to local press so

YouTube and on the website for your movie
that I can have some press clippings to send

(get your domain name before you even make
along with my screeners that I send to po -
the film so nobody steals it out from under
tential distributors.

you). Have an electronic press kit ready with

Chris LaMartina: A strong “high con-
behind the scenes, interviews, bloopers... All
cept” story is necessary to mounting a success-
of this will be good for your eventual DVD/
ful publicity campaign. I’m sorry to tell you,

Blu-ray release. Make lots and lots of DVD
but your existential rants on love in the mod -

178

HOW TO MAKE MOVIES

Producer Jimmy George (left) and writer-director Chris LaMartina stand outside of the Charles Theatre in Baltimore for the Witch’s Brew world premiere. Photograph by Charles Zimmerman.

ern world will not sell as many tickets as a
distribution options before you drop hun dreds
splatter flick about a killer Easter Bunny.

of bucks on mailing out press kits. Miramax

Once a film is completed, we send out
is not going to license your $300 Camcorder
screen ers to various websites that review horror epic, but a smaller horror distributor just
films. Over the years, we’ve compiled a nice
might. Do your research. Ask around with
database of reviewers/sites that are friendly to other DIY filmmakers. It will save you a lot
micro-budget flicks, and we send those folks
of money and time.

screener discs first.

Jim Mickle: Publicists can be miracles for These reviews will start the buzz going and
low-budget films without big stars. For Mul-
will often lead to more coverage on third-party
berry Street we hired a publicist for the Tribeca sites. After some decent press, we compile the

Film Festival and they really helped to capi-
nicest reviews into a list of sound bite–style
talize on press opportunities, setting up press
blurbs and, then, throw them into a press kit
screenings, scheduling interviews and playing
of movie facts, a synopsis, and a flashy-DVD
up the recent rat outbreaks in downtown
box. These packages are sent to distributors

Manhattan at the time, which coincided with
who have the potential to release the film com-
our little rat creature movie. That made a big
mercially. We sell to distributors so we can
difference for getting interest in the film and
focus on our next project. Speaking personally,
was the beginning of a wave of grass-roots af-

I feel that we are the storytellers, not the sales-fection for the movie that built and ultimately
people.

led to a distribution deal.

However, it’s important to fine-tune your

On Stake Land the distributor hired a pub-

Publicity, Promotion and Distribution 179
licist during the shoot and kept awareness on
this. I was so relieved (and worn-out) when
the project even before we started shooting.

Dr. Horror was completed that I neglected to By the time the film was released there was a
publicize the film as much as I should have.

lot of press for it already.

Eric Shapiro: The best way is to try to ac-If you’re going to be at a festival that has
cess good festivals that have built-in press
any size or influence, it definitely helps to hire awareness. Once you get into one of those,
a publicist to help get buzz for the film. It can you can find out what publications are cov -
get lost in the crowd very easily.

ering it and make sure they’re aware of your

Damon Packard: You’re lucky to get any film. If you don’t find yourself in that kind of publicity. Some are better at making that hap-environment, it’s all about directly contacting
pen than others. I’ve always said, “Control the
as many websites as possible and other publi-
circles of reality and you control the world.”

cations that are interested in your subject mat-

It has nothing to do with how “good” or “bad”

ter, then sending out review copies, offering
something is, or “talent.” It’s all subject to in-to do interviews, pooling the results onto
terpretation. You can influence those things

IMDb and your own website, and trying to
on the masses.

generate a sense of “chatter” so your work is

Brad Paulson: I think the best way to go
relevant and on many people’s radars.

about it is to have someone do publicity for

Anthony Straeger: Tackling the pub lic -
you. This is something we’ve been doing a lot
ity side of the film was also a learning curve for of lately. If you do this you look far less low
me, especially as I realized very early on that
budget than someone who no one has heard

Call of the Hunter wasn’t “genre specific” and of that is trying to get their movie out there.

didn’t fit easily into a box or category. It wasn’t There’s just too many movies floating around
a slasher, exploitation flick, zombie, vampire,
right now. My usual plan of attack is to hit up
ghost, or a comedy. What it was a well- written
all my favorite websites, send them a screener,
story with good characters. It was a bit of hor-
build up some good reviews, then send that
ror, suspense and humor all rolled into one.

to distributors.

One mistake I made in getting the film out

Jose Prendes: If you want your movie to
there was that feeling I needed to prove I was
succeed, then you have to make sure that
working hard on the film for my private/friend

EVERYONE knows about it. How do you do
investors. So I jumped pretty quickly into get-
that? Well, you start pumping out info about
ting a distributor. What they made me do was
it from the minute you get started. Casting
put together important things like a press pack
news, teaser posters, production diaries, what-
that included production notes, cast and crew
ever! Get the word out and start building buzz
details, production stills, et cetera. This proved before you even have a product. Social net-really useful when I started looking at trying
working is one thing, but you have to go out
to get the film into festivals. These days you
and make a big splash, or your film will dis-
are tied with the festival circuit because it is appear on the video store shelves (if you are
mainly run through Withoutabox in associa-
lucky enough to be distributed). I know from
tion with IMBd and Amazon. That being the
experience, and if I had to do it all over again, case you need to have all the information to

I would milk the shit out of my movies. You
hand in order to promote and publicize in fes-
have to be Barnum & Bailey if you want to be tivals. One problem of jumping into a distri-Spielberg. Just look at Lloyd Kaufman. He
bution deal is that it restricts you from getting may not be Spielberg, but people know him
into certain festivals. Getting a distributor for and his films.

any film is really easy — getting a really good

Paul Scrabo: Publicity must be one of the distribution deal is very hard.

items in your budget, and it’s easy to forget

One more point about festivals is to set

180

HOW TO MAKE MOVIES
some money aside. Festivals are now big busi-
at ing a website is always a good idea as well.

ness and with companies like Withoutabox

Make sure that there’s a trailer available for
running it, it’s $50 dollars an entry — that’s
peo ple to watch. I never entered Darkness
not acceptance. It doesn’t take a mathemati -

Waits into any festivals, but you can check out cian to work out the figures.

the website www.DarknessWaits.com and

The best way to go about publicizing your
watch the trailer on YouTube.

film is not to rush to get it out there. That will Another example of “get your stuff out
not help you or the movie. You need to pro-
there,” is my short film Resolute. After I made duce a whole list of things, such as a press pack it, it sat on the shelf for four years until I de-for festivals. The website has to be good and
cided to submit it to its first film festival,
you need help making it a site that will sell
where it was publicly acclaimed and nomi -
your product, not just show it. I think Call of nated best film at the Actra Montreal Short
the Hunter has a good website, but it is not a Film Festival. It was so well received that they very good monetizing site and would do the
changed the festival’s judging rules for the fol-next movie very differently. You have to have
lowing year, to make sure that there could be
good stills and a great synopsis. You need to
no manipulation for audience voting from
look at your social media, i.e., Facebook and
other participating filmmakers. Moral of the

Twitter, and you need everyone involved in the
story: It’s fine to make things for fun ... but
movie to be enthusiastic about promoting it.

make sure people get to see it.

Also, look for publications that may be

Mike Watt: The best way to achieve pub-
sympathetic to your type of movie so that you
licity with your film is to hire a full-time pub-can send them a copy of your film for a review.

licist who will spend every waking moment

You can get some good reviews when promot-
booking reviews, interviews, magazine, trade
ing your film. If you have money then maybe
and internet coverage. Since we’re forced to
a few chosen adverts in the right place will also live in reality, that has never been an option.

help. Every member of your cast should con-

I have spent some time as a publicist over
tact their local home radio station and get an
the years and I know just what a Herculean
interview. One of the best audiences you can
task it is to sell anything in this economy, so
get to is a radio audience. It might be people
the odds are really against you and your movie
at home, stuck in their car or in the work
from the start. I can usually stack the reviewer place, but millions of people are engaged with
deck in my favor at the beginning, but after
the radio. The internet is over flooded.

that, it’s really the word-of-mouth machine

To reiterate, handling the publicity takes
that will get your movie seen. The level play -
time and thought. You need to get into festi-
ing field for independents consists of the hor -
vals, you need to get reviews, you need to get
ror convention market and your own website.

people to comment on your product. I have

Amazon has made it easier to list your movie
attempted to get entry into as many festivals
on their service and you can even provide a
as possible and have now renegotiated our dis-

VOD version if you want, but unless people
tribution of the film in order to try and put
know it’s there, Amazon won’t do you terribly
the post-production knowledge I have gained
much good. Retail stores always treated inde-
over the last year or so into action. I think it pendent films like bags of flaming dogshit on
is better to sell territories individually rather their porch, and today, with fewer retail stores than that lovely phrase: worldwide rights in
in existence, that prejudice has gotten worse,
all media — hands tied.

not better.

Marc Trottier: I think a good way to get

And Netflix? Once a bastion for indie
publicity is to get your film into festivals,
movies, it has virtually turned its back on the
which will in turn promote your movie. Cre -
micro-budget cinema, thanks to years of over

Publicity, Promotion and Distribution 181
saturation from small distributors, pressure

Ritch Yarber: Unfortunately, micro-bud-
from the Hollywood studios to release only
get filmmaking does not lend itself to leaving
their product at certain times, and, of course,
much money for publicity once the film is
the illiterate rat bastard publicly educated
complete. I think that it is important to ex -
mouth-breathers who pride themselves on
plore every option to get the word out about
only posting the most negative hyperbole they
your film. Taking the finished product di rectly can. Follow a couple of Netflix or IMDb “custo your target audience is the approach I use.

tomer reviewers” some time — you’ll find a

Conventions, film festivals, the internet, social dozen that have listed every movie they’ve ever
networking, word-of-mouth, begging, or any-
seen as “the worst movie I’ve ever seen.” Netflix, thing else you can come up with, is a viable
the company, doesn’t usually pay much atten-
method for getting publicity. The main idea
tion to those reviews, but their shareholders
is to get the movie seen by the people that it
do. So, once again, screw the indie rabble.

was made to entertain. If the product is good,

Even the IMDb has made it more difficult
eventually things will take wing by themselves
to get your film listed, requiring major cover-
and the whole effort gets a lot easier. Trying
age from websites or film festivals first. The
to shove a bad product down this same chute
star chamber judges at Wikipedia are even
will be a whole different story ... rejection will harder to circumnavigate. So, in the world of
be quick and brick walls will be found. Suc-
self-promotion, you have to be creative. Judg-
cessful publicity is made much easier by hav -
ing from those I know whose movies have
ing a great product to promote.

done fairly well, their marketing campaign

With firsthand knowledge of how hard it is
seems to rely heavily on YouTube clips and
for independent films to get screening op -

24/7 Facebook posting. Magazine ads don’t
portunities and publicity, TwistedSpine.com
seem to do anything anymore (I once traded

Films has twice held The TwistedSpine.com
a couple thousand words of journalism for a

Micro Film Fest, a film festival dedicated to
full-page ad for The Resurrection Game in one independent films made for $10,000 or less.

of the major genre mags and netted a grand

Selected films from around the world were
total of zero sales).

screened at our two-day festivals, and no ad-

Film festival awards will help a movie in the
missions fees were charged to view these films.

long run; even those festivals run in someone’s

The idea was to get asses in the seats to view
basement, because very few people bother to
some great independent films. The festivals
check a festival’s credentials. The problem is
were a great success and we hope to present
that the bigger ones charge entry fees that can
another event in the near future.

border on outrageous (I want to get my movie

Ivan Zuccon: Promoting your film is
into your fest! I’m not applying to Harvard!)

vital. The truth is that you should always in-
and often you’re going to pay for a rejection
clude the cost of publicity and promotion in
due to a fest-runner’s best friend vomiting a
a movie’s budget. In independent cinema you
movie the weekend before and taking an avail-
often have no money for promotion, so you
able spot. But if they’re free, or within your
use new media to spread the news about the
budget, enter your movie into as many festi -
movie. I learned by experience that one of the
vals as possible. Get it to play everywhere. Be-
best ways to launch a film is to work with ac-
cause here is where the internet is on your side.

tors who have a strong fan base. Working with

Even the snarkiest blogger at least lists the Tiffany Shepis and Debbie Rochon helped
movies playing at this fest or that. The more
promote the movie a lot, not to mention the
people that see your movie listed, the more
fact that they both are incredibly talented ac-
potential sales you have before you.

tresses.

182

HOW TO MAKE MOVIES

The Filmmakers were asked:

How have you handled distribution? What are some of the horror stories you’ve encountered? To your knowledge, has anyone made money from streaming yet?

Glenn Andreiev: Vampire’s Embrace got have learned this from my own personal hor-video distribution, but it was a nightmare
rific experience of dealing with a worldwide
quest. Most distributors wanted me to go back
sales rep. No matter what happens, you must
and shoot extra nude scenes, so we filmed
have an advance because sometimes the ad-
these soft-core scenes that really didn’t fit into vance is all you will ever receive. Streaming is the film. The nude stand-ins looked nothing
such a new method of distribution that every-
like the original actors. I heard of one person
one is trying to figure out how to transition.

who made money from online distribution.

The good part is there is no up-front money

I’ve become friendly with the man behind
being spent on replicating and shipping

YouTube’s highly popular Annoying Orange se-DVDs, since a master dub (usually Digibeta)

ries. It’s a series of simple, funny, and clever is the only thing needed for digitization of
short one to two-minute-long videos of a
your film for streaming. Get your film stream-
screechy-voiced orange who picks on other
ing on the internet; there are many sites that
fruits and vegetables in the kitchen. Okay, they can stream your film for a nominal monthly
are not feature films, but the little shorts — to fee, and you receive the residuals from view-me — qualify as films, and he’s been quite suc-
ers.

cessful with them.

Keith Crocker: Okay, I pretty much an-

John Borowski: Be very, very cautious
swered most of this question in the previous
when working with sales reps and distributors.

question’s answer. As far as the horrors of dis-

I was sent many contracts when making my
tribution goes, it’s always the same, the con -
first film. I asked for changes to one of the concept of the middleman who is not needed. In
tracts from a distributor and they refused,
other words, though Wildeye Releasing is a
telling me that I was “asking for too many
distributor of DVD titles, we need a third
changes.” The problem was that the changes
company, in this case, MVD (Music Video
would benefit me and not the distributor. Just

Distributors) in order for our titles to be
because you are a filmmaker, do not expect
carried in stores like FYE (For Your Entertain-
respect from distributors, because you will not
ment), J&R Music World, et cetera. I had
receive it. They are in business as well and they found this out years ago. I was trying to peddle want the best deal for themselves, which is un-one of my many titles that I sell through Cine-
derstandable. But if the contract is not accept-
fear to Tower Records. The guy at Tower kept
able to you or seems fishy, move on. Ask other
asking me, “Who’s the distributor?” I kept say-
filmmakers if they have done business with the
ing “I’m the distributor,” but he didn’t want
distributor. The distribution waters are filled
to hear that. He wanted to hear names like
with many sharks. Foreign is very difficult, as

Baker & Taylor and Koch Media. Unless you
there is no way for you to check on the accu-
have a catalog with a hundred titles in it, they racy of their reporting. Many times the sharks
don’t want to hear from you. I found out the
feed on first-time filmmakers and promise
hard way that the only way to make money in
them the world, but once the contract is
this business is to have bulk. At Wildeye, we
signed, then you never hear from them again
are starting anew; we don’t have a hundred ti-
and you never receive a penny from them. I
tles to offer, hence the reason we need a sub-

Publicity, Promotion and Distribution 183
distributor, such as MVD. Luckily, they are a
together to various distributors and just cross
good, honest company, but like anything, too
loop the amounts to all the films they have the
many hands spoil the soup. It seems, at times,
rights to (and are allotted expenses for to pro-
like there is no money to be made in this busi-
mote, etc.), so they always have nothing to
ness. The real money was in theatrical distri-
pay out. It’s legal robbery. So, let’s say a disbution and the early days of video and cable.

tributor really wants your film and is willing

DVD became sell through very, very quickly;
to spend $25,000 for it. The sales agent will
it had none of the shelf life like VHS did.

throw in the deal four other films for next to

Streaming online is utter nonsense, fucking
nothing, but then will divide the amounts
pennies; you have to be kidding me with that.

between each film, always ensuring that they

Then add that all the fans have become social -
will each be under their recoverable expenses
ist and want all entertainment for free. With
amount. That way, films that would not have
the deluge of illegal downloading, making
sold anything will sell the total amount of the
money in this business went from bad to
recoverable expenses — but nothing more. So
worse. Abandon hope all ye who enter here!

they pocket all the money and the filmmakers

Richard Cunningham: I’ve never actu-
get nothing.

ally handled distribution. In fact, for a long

Most indie filmmakers are not business
time I was shooting myself in the foot by pro-
savvy and all the ones I’ve met, have ALL been
ducing films out-of-pocket, with great passion
screwed ... all of them. Here’s another anec-
and sacrifice, and then failing miserably to ef-
dote: I had also tried to get my film Lady of fectively promote the film and enter it into fes-the Lake on Pay-TV in Canada. I sent a tape tivals.

to the biggest Pay-TV channel but they re -

I do think though that online streaming is
fused it (“not good enough,” they said). Then
the way of the future for distribution of low-

I met and signed a deal with a distribution
budget independent films. There are already
company, who, in exchange for 15 percent,
several sites that offer filmmakers distribution promised me they would get it sold to Pay-and advertising services at a fee. The music

TV. Since I had already been refused, I thought
industry was assimilated into the internet, so

I had nothing to lose. Well, lo and behold,

I can’t see any reason people won’t be purchas-
three weeks later the distributor sold the film
ing the majority of their movies online in an-
for $75,000 to the same Pay-TV channel I had
other five years.

initially contacted and it played in heavy ro-

Maurice Devereaux: For Blood Symbol I tations for over two years (over 90 times,
was so happy to have someone pay to help
which is strange for a film that “wasn’t good
finish the film that I gave all my rights away
enough” before), but the distributor never paid

(even if I spent about $27,000 of my own
my share (85 percent) and went bankrupt. I
money). They then sold it to a U.S. company
never got a dime.

for peanuts. Lady of the Lake cost me $125,000.

Why did the Pay-TV channel take my film

I sold the U.S. rights for $10,000. But then I,
from the other guy and not me directly? Well,
unfortunately, signed with a sales agent to
the distributor probably packaged it with
handle foreign sales — they then sold it to a
other films he had that the station wanted.

dozen countries for $39,900, coincidently, just

And who knows, maybe he had a “relation -
under the amount they were allotted for ex-
ship” built over the years of brown envelope
penses, which was $40,000. So, in the 12 years

“kick backs.” Who knows? All I know is that
they have had the rights to the film, I made
my film played for two years on TV and I

$0. Later I found out this a very standard prac-
didn’t make a dime.

tice by devious sales agents and their crafty ac-So, because of all these middlemen ripping
counting. They basically sell a bunch of films
me off, I decided in 2007 to rent a booth at

184

HOW TO MAKE MOVIES
the AFM (American Film Market in L.A.) for

Canada the company released a 4:3 completely

End of the Line with a filmmaker friend to sell censored edition that not only cut out all the
our films directly to foreign buyers. It was
gore, but replaced the many gores shots in the
pricey ($10,000), but still a better option than opening credits with spoilers on how each
dealing with sales agents who would rob us
character would die later in the film — which
blind again (my filmmaker friend had similar
is a live show! It was an absolute insult. And,
nightmare stories with his films). At the AFM
to be even more ridiculous, the jump to a scene
we both made a few sales, but, unfortunately,
menu was kept from the U.S. edition and fea-
the market prices have dropped too much for
tured little clips with the all the CENSORED
international sales for this to be cost-effective GORE! As well as the “Making of ” that fea-now. Sales agents handle a lot of films and
tured the gore NOT in the actual film, too.

have not invested in the films themselves, so

The reason is that they did not want to pay to
they can still coast for a while. But for us indie have the film rated in each province (the film
producer/directors, the game has gotten a lot
was unrated in the U.S.) so they asked the U.S.

harder. Also, for my U.S. DVD deal, a huge
company to deliver an R-rated copy (which

U.S. video rental chain had requested 6,000
then gives an auto rating equivalent in Can -

DVDs for a rent-sharing deal. It was risky, but
ada), so the U.S. distributor took out all the
they were a huge, well-known, respectable
gore shots to be sure to get an automatic R
company, and this could really be a profitable

(and not have to resubmit and pay more than
deal. So, instead of paying the regular $5 a
once).

copy (yes that’s how much goes back per copy

I contacted the Canadian distributor and
the distributor, minus his percentage, and the
pleaded with them to not release this butch -
cost of shipping and fabrication, which leaves
ered version. I even offered to PAY to have the
about $1.83 per DVD coming back to the pro-
film re-rated in each province. They told me
ducer), we could make much more. But, of
to fuck off! They had the rights and I could
course, they went bankrupt as well owing us
not do anything. I was so ashamed I actually
a LOT of money. Also for End of the Line I replaced all the copies at my local video store
finally managed to sell the film directly to Pay-

(at my own cost) with the U.S. uncensored

TV, this time for $90,000. They paid one-
version.

third on signature and the rest was supposed

There’s not any amount that you could
to be given in installments six months later.

make a living from, from internet streaming.

They also went bankrupt and defaulted on the

The internet is still in its infancy as a money
rest of the money.

generator for filmmakers. Right now, it has

But in the strange workings of Corporate
hurt filmmakers more then benefited them.

America (and Canada) they reopened for busi-

Donald Farmer: The hard part in distri-
ness, under the same name, weeks later (with
bution is getting deals which pay the same
just a change of ownership for legal mumbo
rates as in the “video boom” days of the ’80s.

jumbo). Once again, the little guy gets shafted.

Back then it wasn’t uncommon for producers

Having been on the bad end of many business
to grab six home video figure deals for a 16mm
frauds, I am a big Michael Moore fan! There
or 35mm feature. These days you have to be
is real need to change laws in both Canada and
more inventive with distribution, and more

America to prevent white-collar criminals
producers seem to be getting into self-distri-
from continuously raping the workingman in
bution. Should you give your movie to a com-
every field (not just the movie business).

pany that won’t cover your budget but gets

On a different note, for my film Slashers, you in stores nationwide? Or would you rather
the U.S. release was a great DVD, uncensored
sell fewer copies through self-distribution but

16:9 (widescreen) enhanced edition, but for
actually make some money?

Publicity, Promotion and Distribution 185

Three popular routes for self-distribution
play the “expense game.” While the profit split
these days are: (1) place full-page ads in mag-
may sound reasonable on the surface, they
azines like Fangoria, Rue Morgue or Horror deduct their marketing expenses off the top.

Hound; (2) purchase booths at the major hor-That’s where it gets dicey because many exag-
ror conventions; and (3) make online sales
gerate their expenses to the point where it
available through the Amazon store, eBay et
seems as if it exceeds revenue. If that was the
cetera. Duplication is dirt-cheap, so lots of
case they would be out of business.

producers are opting to go this way and main-

In the past I’ve seen all kinds of question -
tain more control. Besides, turning your movie
able expenses in the statements they sent me.

over to a distributor can have plenty of pitfalls.

One gimmick in the past was for the distrib-

They reserve the right to change your title, like utor to place an ad for five pictures they were
when MTI Video retitled my film Fighting
representing in Variety, which is very ex pen -

Chance as The Strike or E.I. Video retitled sive. Rather than pro-rate that cost between

Vampire of Notre Dame to the embarrassing the five films, they write off the entire ad ex-An Erotic Vampire in Paris. And with Block-pense against each movie. In other words,
buster, Hollywood Video and others closing
they’re recouping more than they’ve spent.

shop, there’s fewer and fewer stores that will

There were ways around this. The best op-
even stock low-budget titles. Now Redbox
tion was to get an advance in excess of your
seems to be taking over, but everything may
budget, which enables you to recoup your
be completely online in a few more years.

negative cost and show a profit. That’s the

Jeff Forsyth: I have not handled distri-
most difficult type of deal to secure, especially bution myself, although I would like to learn.

today. Another method was to cap distribution

I’ve heard several horror stories of filmmakers
expenses to limit the off-the-top deductions.

receiving checks for about $14 several years

A third was to give the distributor a higher
later for a distributed project. I haven’t delved percentage that included their marketing costs.

into the streaming issue yet myself, and I need

It’s better to receive 25 percent of a deal than to research it. Eventually I would like to get

50 percent after expenses, which may not gen-
to the point where, when I make a low-budget
erate any revenue to the filmmaker if those
genre film, I sell it outright. That way I know
costs are padded. Other worries are when your
what I have and I can divorce myself from the
movie is packaged with lesser titles. In that
way it is handled after.

event you’ll only get a quarter of a four-picture Richard W. Haines: As any director will
deal, even though your film was worth more
tell you, distribution is the most difficult part individually. It’s advisable to separate domestic of the filmmaking process. Over the years cin-and foreign markets so you have two ways of
ema has been classified as a producer’s medium
generating income from separate distributors
and a director’s medium, but the reality is that or sales agents.

it’s a distributor’s business. They decide when, I’ve negotiated all kinds of deals with my
or if, your movie will be available to the pub -
seven features. I’ve gotten advances that put
lic, under what terms and who receives profits.

me in the black and profited on deals where

I guess it’s better to discuss “collected rev-
expenses were capped or recouped from the
enue” rather than distribution itself. Collected distributor’s share. Other times I wasn’t as
revenue refers to the money a filmmaker ac-
lucky. I sold Run for Cover to a Pakistan dis-tually receives as opposed to what the picture
tributor, but his check bounced. Every once
grosses in theaters or how many DVD units
in a while an indie movie becomes a “sleeper
were sold. That all depends on what kind of
hit,” but the odds are against that type of
deal you’ve negotiated.

wind fall, so it’s wise to work out one of the

I will say that, in general, many distributors
options I mentioned.

186

HOW TO MAKE MOVIES

Some filmmakers are using the DIY option,
difficult to find some of their other clients and which means “do it yourself.” It’s very difficult get the lowdown on their experiences with
but not impossible to distribute your own
them. As far as streaming goes, it’s in its in-
movies. I’ve done it on and off in the past, de-
fancy right now. Yes, I know people who have
pending on the production. For example, I
made money from streaming. I don’t know
booked Space Avenger myself by calling up anyone who has made a whole ton off of it yet,
every cinema I could get a contact number on
but some have done pretty well with it. Every-
until one chain agreed to play a seven-theater
one is still trying to figure that particular
run in the Washington, D.C., area. It’s a non-
medium out.

stop hustle, but if you don’t believe in your

Rolfe Kanefsky: Well, distribution is the product no one else will.

subject that very few people talk about. Every-

In terms of advice I would tell aspiring film-
one discusses how hard it is to make the
makers to keep a reserve fund for an enter-
movie, but once it’s finished, selling it can be tainment attorney in case you need legal as-twice as hard. Like I said, I’ve gone as far as
sistance to collect on a deal.

putting my films into theaters myself, but

William Hopkins: As I mentioned, my
since I don’t own my own distribution com-
first film, Sleepless Nights, was originally re-pany, I have had to sell my film to others to
leased through a small DVD distributor. That
get them into stores and on cable. I have often
arrangement ended some time ago and a recut,
gone to the AFM (American Film Market) in
remastered version of the film is now being

Santa Monica, California. This used to be a
distributed through Amazon.com on DVD
great place for independent filmmakers and
and video on demand.

companies to find distribution for their films,

Demon Resurrection is being distributed on both domestically and internationally. It now

DVD by the producer and is available on
occurs once a year, usually the first week in

Amazon.com and a number of other web re-

November. When you’re selling a film, there
tailers. The film can also be streamed on the
are many avenues to get it released. In the
official web page and on its Facebook page.

U.S., you have DVD, VOD, cable, television

Whether or not streaming will ever come
sales, and, now, internet streaming. Then you
to represent any significant revenue source for
have the same for all the foreign markets. This
small films like mine remains to be seen. But,
could be a lot of territories and money. You
for now, it’s really the only way to go. Nobody
can try to do it yourself, but buyers buy from
seems to be making a great deal of money with
people and companies they know. That’s why
product like this in any format right now. But
you need a foreign sales agent to get your film
we’re going to keep trying different approaches
out to them. Domestically, you hire a pro-
and we’re hoping to have a breakthrough even-
ducer’s rep or try to do it yourself.

tually.

A lot of companies want worldwide rights

Steve Hudgins: We do self-distribution
to your film. In the old days, a company
and keep any agreements we make with dis-
would give you money to handle your film.

tributors, sales agents, et cetera, on a strict

Those days are mostly gone. It is very hard to
non-exclusive-rights level. If you’re not signing get any kind of advance now when it comes
your rights away, you don’t have as much to
to a rep. Because of that, you want to try to
worry about. But, still, you have to be careful
keep the domestic and international deals sep-
when dealing with distributors or sales agents.

arate, so if you’re not happy with your sales

Some of them are shady and won’t pay you
person, the whole film isn’t locked up with one
after they’ve sold your movies. You definitely
company. Now, it’s easier to go with one com-
should research their reputation before you
pany and let them handle the world, but if
decide to deal with them or not. It’s not
they don’t come through, you might see your

Publicity, Promotion and Distribution 187
film sitting on a shelf (meaning unreleased)

the original Emmanuelle back in 1973. It made for years and years. So now, I’ll give you an
a fortune and established his name as a top
honest rundown of who has handled/distrib-
producer/seller of well-produced, high-class
uted my films and how happy/unhappy I am
erotica. I have made a bunch of movies for
about the results. The following is the stuff
him in this genre since 1996. In the past he
nobody talks about in this business, but I be-
pre-sold his films even before he produced
lieve knowledge is power, so here goes:

them. Those days are mostly gone, but he has

There’s Nothing Out There was sold to Prism a lot of foreign territories that still pay nicely Entertainment in 1992. They paid $75,000
for his product. So, internationally, these films just for domestic video. We then had a rep get
are covered. The problem has been in the do-
the film to HBO, who also bought the film. I
mestic market. Alain has a sales rep named
can’t remember how much they paid. I’m

David Gil, who has a good relationship with
guessing $50,000. Internationally, it was first

HBO and has bought many of his films to
handled by a company called Trident Releas -
them. The current going price for HBO/Cin-
ing (now gone). They did very few sales, but
emax and their VOD channels for a late-night
had the film for five years. When we got it
erotic flick is $75,000 and they usually have a
back, I gave the film to Alain Siritzky for a
two-year window to exploit the film as much
year and he actually sold to some important
as they want. So, it’s a flat buyout deal. He does territories, like Japan. We made some money
not see any more money unless they renew the
from that, maybe $25,000. After Prism went
deal after the allotted window. How ever, they
out of business and we got the rights back, we
do not take video/DVD/Blu-ray.

sold it domestically to Image for it’s tenth an-

In the past, Alain had deals with Roger
niversary on DVD. I was very happy with the

Corman, who released many of Siritzky’s films

DVD, but the money was very little. Seven
on DVD, like the Emmanuelle in Space series, years later, we got the rights back again, and

Justine, Rod Steele and Misadventures of the In-through a filmmaker friend/connection, Ramzi
visible Man. But then Roger folded his video Abed, got Troma Entertainment to pick it up.

label and gave all of Alain’s films back ,so Sir-Troma had actually wanted the film when we
itzky currently has all domestic DVD/Blu-ray
first made it. They can get your film out there, rights to about 80 feature-length films. Hav -
but don’t expect to see any money. However,
ing all domestic rights to this many films could for it’s 20th anniversary, I thought Troma was
mean a lot of money, but Alain doesn’t trust
a perfect fit, and we did a great two-disc
many of the companies. He’s tried to release
special edition on DVD, in 2011, with the
some of the titles years ago with Image Enter-
hope of one day going to Blu-ray. So far, we
tainment and he didn’t make any money.

have not seen any money from this release, but

Peach Video (an adult label) picked up a few
it’s out there and its cult reputation continues of “Emmanuelle’s Private Collection.” I believe
to grow.

they paid a little and grabbed the title Em-

My Family Treasure — a family film — was manuelle vs. Dracula.

given to Arrow Entertainment, a company

The funny thing was that, whenever Alain
based out of New York. I don’t think the pro-
gave or sold one of his films outright to a dis-
ducers saw much money from them. I believe
tribution company, the title did very well. But

Arrow is out of business now.

when Alain had a piece of the title, the movie

Rod Steele 0014: Now, this is a case where was always in the red and never made any
the producer is also his own foreign sales
money for him. This is a common practice in
agent, which is very smart. Alain Siritzky has

Hollywood [known as] “keeping two sets of
been doing this for years and he does very, very books.” Of course, I’ve never had any back-well, selling mostly erotic films. He produced
end to these films, so it doesn’t matter to me.

188

HOW TO MAKE MOVIES

Anyway, after doing a few of these sexy late-
be a crime if this film wasn’t seen. So, I proved night comedies for Alain, I convinced him to
that the film was good and it was the sales
produce a dark comedy thriller entitled To-
company that just didn’t know how to sell it.

morrow by Midnight. With this project he had I got Tomorrow into a few more festivals where foreign partners, so when it was finished, his
it even won [for] Best Feature!

French partner got the film to Capitol Enter-

Meanwhile, the lawsuit ended with both
tainment, a British company run by three
producers winning ten dollars from each
women. They loved the film and were given
other, since they sued and counter-sued. At
all worldwide rights (remember my warning
that point, I tried to get Alain Siritzky to take about giving one company all rights). Well, to
the film back from Capitol so at least we could
put it nicely, they dropped the ball. I went to
try to release the film in the States. Well, Capi-the Cannes Film Festival the year they pre-
tol said they would give the film back, but they miered the film at the market (which happens
had spent $40,000 on marketing costs, and,
alongside of the festival), and it was a mess.

since the film sold so poorly, they wanted Alain They got busier with higher profile movies and
to pay the difference and cover their expenses.

pretty much walked away from the film.

He refused, saying that we can’t keep throwing

When I went to their offices and asked about
good money after bad. So, my film was dead
my movie, the people working there weren’t
in the water, being handled by a company who
even aware they were handling it. Without
didn’t want it anymore but wouldn’t give it
going into all of the unfortunate details, a big back without being paid for failing to do their
lawsuit resulted, with the producers suing each
job.

other over the movie. It got ugly, and the real

Frustrated, I refused to give up. I started
crime is, Tomorrow by Midnight is a good film.

going online and Googled the movie every

In fact, it is still the film I am most proud of.

now and then to see if there were any reviews,

Anyway, when a company can’t sell a film, they
foreign sales, et cetera. One day, I stumbled
naturally blame the film. It’s never their fault.

upon a review in German for a film called

So, this wonderful independent film star -

After Midnight. Looking at the names, I real-ring Carol Kane, Alexis Arquette, and featur-
ized that it was Tomorrow by Midnight, retitled ing Jorge Garcia (years before Lost made him for Germany. I had the review translated. It
a star), sat on a shelf in distribution hell. Capi-was a rave and I asked Alain if he ever heard
tol claimed that the film didn’t work, so no-
of After Midnight. He hadn’t. I told him that body was buying and they stopped selling.

it was Tomorrow by Midnight. He was happy That’s when I stepped in and started sub-to hear that. I then asked him (remembering
mitting the film myself to festivals. I got it into the paperwork because of the lawsuit), “Isn’t
a few, including “MethodFest,” a festival that there a minimum guarantee for selling Ger-used to be in Pasadena, California, that sup-
many?”

ported “outstanding acting in independent

Let me explain this. When you give a com-
films.” Some important critics reviewed films
pany rights to sell your film, you can put some
in this festival, but we got in late. So, I per-
clauses in the contract to protect yourself. The sonally sent a screener to Kevin Thomas of the
major international markets are Japan, Ger-

L.A. Times, since he was such a supporter of many, England, France, maybe Italy and
my first film, There’s Nothing Out There. He Spain. With these markets, Alain had a clause
wrote back and said he couldn’t promise he
based on the going rate for sales at the time
would review it, but he’d try his best. His plate was “X” amount of dollars. Let’s say $75,000
was full. A week or so later he called me per-
for Germany. (This was back in 2000, so
sonally. He had watched the film, loved it, and
prices have changed.) If the sales company had
gave it a rave review. In fact, he said it would an offer for Germany that was below $75,000,

Publicity, Promotion and Distribution 189
they would have to get permission from the

I had made two 35mm features that were
producer before they could sell the film. This
both good and both unreleased because the
is a good clause to have so your sales agent just producer didn’t know how to sell a non-erotic
doesn’t give your movie away in a package deal
movie. And if the films don’t come out, they
for a couple thousand dollars. So, that’s basi-
don’t really exist. I didn’t know what to do.

cally how it works.

Luckily, I finally got Pretty Cool released in the Back to the story. I reminded Alain about

States on DVD through MTI Home Video
the minimum and asked him to find out what
and that came about because of my next film.

Capitol had sold Germany for. He did, and

The Hazing: I wrote and directed this film guess what? It was way below the minimum
for a different first-time producer, Tom Seid-
guarantee — which means they breached their
man. He raised the money through his father
contract, selling the film for less money with-
and some wealthy friends. It had a small but
out getting permission. And that means Alain
healthy budget of $750,000. It also marked
could sue. So, they quickly gave us back the
my return to horror/comedy. But before we
film to avoid a lawsuit and waved their “ex-
even shot this film, Tom hired a producer’s rep
penses.” And there you go. All that work that
company called Lantern Lane to handle the

I had to do to salvage my film and I don’t even
film domestically. When the film was finished,
have a back-end deal, so I’ll never see money,
we had a screening and then they sent out a
whether the film is released or not. But every
lot of DVDs. This is now 2003. The film was
film is your baby and until it sees the light of well received, but the offers were low. Block-distribution, it’s hard to walk away.

buster wanted the film, but was only offering

So, Alain Sirizky now owns free and clear
something like $25,000, so Lantern Lane sold
all domestic rights to Tomorrow by Midnight
the film to MTI for no advance, but MTI is
and has still not made a deal to release the film one of the few fairly honest companies out
because he doesn’t want anyone else making
there. MTI sold the film to Blockbuster for a
money off this movie if he hasn’t. One day I
lot more money and Tom Seidman did get
still hope the film is released here. It has never some of his cost back. With foreign there were
been on cable, VOD, DVD, Blu-ray, and, per-
a few companies that wanted the film. Main-
sonally speaking, it’s my best movie.

line Releasing made the highest offer of

Well, after that “great” experience, I made

$75,000, and they took the film to sell over-
a teen comedy called Pretty Cool, also pro -
seas. They didn’t do a good job on this title,
duced by Alain. This was a good commercial
which they changed to Dead Scared because comedy in the American Pie and Porky’s tradi-people in Europe don’t know what “hazing”

tion. Alain, not wanting to be in the same boat
means.

with Tomorrow by Midnight, decided to hedge But MTI did do well and, because of this
his bets. He would produce Pretty Cool, but I relationship, when they asked me if I had any
also had to shoot a more erotic version for for-
other films I said yes, and convinced Alain to
eign markets called Emmanuelle Pie. I did, and sell them Pretty Cool. So, even though it took he sold that version in Europe immediately.

five years, Pretty Cool saw the light of day in He didn’t even want to finish Pretty Cool, so America in its proper R-rated form.

my father stepped in and deferred all the post-

After The Hazing, I was hired by York En-production costs to edit and mix the movie.

tertainment to write and direct a zombie com-

Domestically, we screened the film a few times
edy, called Corpses. Again, this was a producin Los Angeles, didn’t find any takers and the
tion company that also sells their own product.

film sat on the shelf, unreleased for five years.

Despite endless problems and the worst expe-

This is when I went through a bit of a depres-
rience I ever had making a movie, it turned
sion.

out to be one of their better films. But Tanya

190

HOW TO MAKE MOVIES

York, the head of the company, had no idea
was only for domestic and was a good advance.

what to do with the film. Just after we made

They paid $100,000, which at the time was
it, a film called Shaun of the Dead came out very good for a no-name sexy horror film. We
through Universal. I loved that film and with-
took the deal especially excited that Warner
out knowing it had been trying to make some-

Bros. would be releasing it. Internationally, we thing like that with Corpses. Anyway, after the gave it to a company called Shoreline. They
film was finished and York was trying to sell
did not give any advance and didn’t do very
the film at the AFM, I went into their booth
well with sales, either. We never saw another
to see how things were going. She was very
dime from Polychrome; eventually, they went
unhappy. She couldn’t sell a zombie comedy.

out of business with multiple lawsuits, having

There was no market for it. I brought up
to declare Chapter 11. Again, there are a lot of Shaun of the Dead, which was currently a crooks in this business. Now, Shoreline didn’t
smash-hit in theaters. She had never heard of
do a great job for us, but that’s not to say that it. This is a good example of having the wrong
they can’t do a good job for others. It has a lot person selling your movie.

to do with timing and luck. I know some peo-

This brings up another issue worth dis-
ple who have had good experiences with com-
cussing. Try to find the right salesperson for
panies and others that have had very bad
your movie. Sometimes the best sales company
exper iences with the same company. Unfortu -
is not the best for your film. When The Blair nately, ALL of the companies I’ve worked with

Witch Project screened at Sundance, most of for foreign sales have been bad experiences
the buyers passed on it. They didn’t under -
thus far.

stand it, which is good because, if New Line

Next came Nightmare Man. You know what
had picked up the film, it might have sat un-
happened domestically so I won’t go into that
released for years, been thrown out on DVD
again. For foreign we tried American World
with no fanfare and The Blair Witch Project

Pictures, run by Mark Lester. He had handled
would not have become what it became. Same
my friend Jay Woelfel’s film Ghost Lake and goes with Warner Bros., who owned the rights
they had done a good job with it. Decent do-
to Slumdog Millionaire but didn’t like the film.

mestic sales through Think Entertainment

They were about to go straight to video with

(not in business anymore) and good foreign
it before the producers stepped in, showed it
sales. They created a wonderful poster for the
around town and got Fox Searchlight to take
movie. So, based on his experience, we gave
it, where it ended up making over 100 million

Mark Lester a shot. They put together a ter-
dollars and winning the Academy Award for
rible poster and a bad trailer, which was really Best Picture.

a crime because The Ant Farm had done a

So, be careful who you get into bed with.

great poster and trailer for us that they refused Make sure the people selling your film are re-to use. Unfortunately, this is standard for most ally excited about it and give it their all. It
companies. They will always do their own
doesn’t guarantee good things will happen, but
campaign, if for no other reason than to charge
you’re going to be with this company for
you the $40–70,000 for expenses. But the
awhile, so you want to be on the same page.

worst part was with such bad artwork and bad

Well, after Corpses, I was frustrated with bad trailer, you know the film won’t sell well ...

producers and decided to start producing my-
and it didn’t. So, once again claiming horror
self with a friend, Gabriella Hall. We made
movies weren’t selling well, American World

Jacqueline Hyde together. Gabriella found a sold [to] a few territories and, to this day, we producer’s rep who got the film to a company
only received about $20,000 for Japan and one
called Polychrome Entertainment, who had
or two other territories.

an output deal with Warner Home Video. It

Pretty Cool Too came next. Now, this is an

Publicity, Promotion and Distribution 191
interesting story. As I had said, Pretty Cool had tional salesperson, but maybe they will still
sat unreleased for close to five years. I then got surprise us. Here’s hoping.

MTI to take it. The movie had shipped 10–

And that leads to Emmanuelle in Paris and 15,000 units. Not great. However, a year later,
a new Rod Steele adventure called Today Is Yes-MTI told Alain (the producer) that the stores
terday Tomorrow. Both produced by Alain Sir-that got it were doing great with the title and
itzky again, these are R-rated comedies. One
nobody knew why. It had become a modest
is a musical fairy tale with nudity. I’m calling hit on video and it was all word-of-mouth.

it “Naked Glee meets Disney on Acid ... For

Pretty Cool was a cute throwback to the ’80s Children of all ages ... Over 18.” The other is
with a good attractive cast, some funny slap-
my follow-up after 15 years (!) to Rod Steele,
stick, nice nudity, and a surprisingly whole-

[the first in] my James Bond parody franchise.

some romance. I was very proud of the film

Siritzky is letting us run with Wonderland, and from day one and very upset when it never
we’ve been submitting it to film festivals. It
came out. Finally, the audience I made it for
premiered at the Queens World Film Festival
got to see it and they liked it. Upon hearing
in New York in March of 2012. As of this writ-
this, Alain suggested we make a sequel and lit-
ing, distribution is up in the air for both these erally a month after we had that meeting with
films right now but I’m hopeful.

MTI, we were shooting Pretty Cool Too! Alain So, there you go. All the companies that I’ve
made his own foreign deals like before and
dealt with for the last 20-something years. It
gave domestic rights to MTI again. This one
never gets any easier, but if you work really
got into more stores and I think did pretty
hard you can probably get your film out one
well. At one point, MTI said they would be
way or another.

interested in a Pretty Cool 3, but Alain had not As for the second part of the question, I
made enough from either film to make it
have not had much experience with “stream-
worth his while. However, I have written the
ing.” My only internet experience was with a
script and would love to make it someday.

short film I made, called Mood Boobs. It was Anyone interested?

an 18-minute short starring Tiffany Shepis and

So, then came 1 in the Gun, which was orig-Shaina Fewell. We shot it in 2005, just before
inally called One in the Good. Once again, Nightmare Man, and sold the film online. We MTI took domestic rights and changed the
did not stream, but instead shipped DVDs. It
title from “One” to “1,” because it comes up
took a while, but we made a little money from
first in lists on VOD. Smart marketing ploy
it. The problem is that once the film is out
there. Numbers come before letters, so 1 is
there in any form, people will illegally down-
number 1. As of this writing, I hear the film is load it, putting it on sites for free. I’ve spent a doing great, having been bought by Redbox
lot of time trying to get my movies taken

(27,500 units) and Blockbuster (10,000 unit
down. Mood Boobs was doing really well with or so). I think the producer (who isn’t me this
orders at $23 apiece until it started getting pi-time) will make their money back and do
rated. Then the sales just stopped. This is the
pretty well. Unfortunately, international once
risk of streaming, and people are still trying
again has stalled. This time, we went with
to figure out how to put an end to this. Cur-

Artists View Entertainment, a company who
rently, I don’t think there’s a good solution, so we heard great things about and has worked
you have to be careful.

with MTI on a lot of films. But, for reasons

Brett Kelly: I’ve been very lucky and am
still unknown to us, they have not been able
sort of an oddball in the biz, in that all of my to sell the film abroad, which they were very
features, except one (a teen comedy), have
confident they would have been able to. We
been distributed internationally as of the time
are currently looking for a different interna-
of this interview. I’ve been fortunate in that I

192

HOW TO MAKE MOVIES
outlet for exploitation content. I agree with
the comparison, generally. I do believe stream-
ing and VOD will figure themselves out ... but
as for now, we can just tell stories for as cheaply as possible and hope they return their investments.

We’ve gotten burned plenty of times by
shady companies. I’ve read dozens of incon-
sistent royalty statements where it’s painfully
obvious a distributor was making money when

I wasn’t. These aren’t big bucks, but when you
make a flick for a couple thousand dollars ...

you think you should easily make that back.

Book of Lore, my second feature, got held hostage for two years by a distributor who was
using it as part of a package deal with a dozen
other titles. Empty promises were made. Lies
flew fast and furious. Finally, we hired a lawyer and got the rights back. It was a fairly easy
task, because of all the breaches of contract
that the original distributor wreaked upon our
deal.

We eventually signed the film over to the

Brett Kelly with the publicity poster for his newest film, My Fair Zombie.

awesome gang at Pop Cinema, who consis-
tently prove to me that they are the most hon-
send screeners to potential companies, and
est game in town. The only bummer was that
someone contacts me to say that they want to

Book of Lore came out YEARS after being release the film.

complete. This is all too common for indies.

I’ve got a friend who paid a supposed sales

Distribution takes forever, and, in a climate
agent to rep his film. He gave them $2,000 up
where camera formats go out of date in six
front and they did the minimal amount of leg-
months, your movie has to be released as soon
work possible. Sales agents get paid from the
as possible so it looks fresh.

sale of your movie and should not need money

I’ve had plenty of comrades take the self-
up front. In the end, his film got signed to a
distribution route. It’s admirable, but very
tiny company and he hasn’t got a prayer of see-
difficult. You have complete creative control,
ing a return on his 2k.

but there are many downsides as well. You

Chris LaMartina: Distribution sucks. It’s have to put in long hours and be willing to
always sucked, but it’s been especially bad spend real money on promotion (magazine
lately. Digital downloads and streaming are
ads, web banners, horror film conventions).

not there yet. DVD sales are over saturated in

I’ve considered it many times, but at the end
content and dwindling in revenue. Even the
of the day, I’d rather be making movies and
shittiest no-budget flicks are popping up on
not selling them. Once you become your own
torrent sites and there’s not much any of us
distributor, you find most of your time will
can do about it.

be spent marketing an old title instead of pro-

Recently, a friend compared the time we live
ducing a new one.

in now to the time between the drive-in days

Jim Mickle: For Mulberry Street we hired and the VHS boom, where there was no real
a producer’s rep who helped navigate the fes-

Publicity, Promotion and Distribution 193
tival/distributor/market stage of the film and
these assholes to hide money. I mean, look at
they wound up getting a sale with Lionsgate.

how Peter Jackson had to sue New Line Cin-

Lionsgate partnered with After Dark Films to
ema over Lord of the Rings because they release the film through the Horrorfest 8 Films
claimed they didn’t make any money. Some
to Die For label.

people, unfortunately, have absolutely no

On Stake Land, the company that financed shame over taking all the profits over some -
the film is also a distributor, so they held onto one’s hard work and not paying back the artists
the rights and released it themselves, part -
that brought them that great wealth in the first nering with IFC for a limited theatrical replace.

lease.

As far as whether anyone’s made money

It can a very stressful looking for distribu-
through streaming, I haven’t run into that yet.

tion, and a lot of people can get involved. It’s I don’t usually run into people with money.

hard to know what the right decisions are.

This would be a nice thing to change.

Producer’s reps can make a difference, but if

Jose Prendes: When I had Monster Man
the film doesn’t work, they can’t do anything
out there, people were telling me that you
to get people interested. In the case of Mul -
never make money with your first movie. It’s
berry Street, most distributors passed on the true. I made some, but I didn’t recoup my
film after the SXSW premiere, but then, after
budget, which was barely anything anyway.

a lot of great reviews and buzz came out of

With Corpses Are Forever, my second film several European festivals and the hometown
shot on 35mm and with an all-star cast of hor-
crowd got to enjoy it at Tribeca, a deal finally ror’s best and brightest, I was hoping to make
happened.

some money, but I ended up making less ...

I’ve heard of sales reps ripping people off or
even though it got a wider release than Monster charging very high fees for doing very little

Man. One company wanted to take on Corpses work. But I’ve heard of people with amazing
for free and said they had a ton of places to
films who never get distribution, because the
sell it to, but when I asked for details, they got filmmakers decide to do everyone themselves
pissed at me for enquiring and I hung up on
and don’t trust a sales rep. I’ve had good ex-
them. Another time, I got a voicemail from
periences so far, but it’s up to each film to find Lionsgate, concerning Corpses. I excitedly the best way to get distributed.

called them back, only to find out that the guy

Damon Packard: Virtually everyone I
had forgotten he had already watched it and
know has had trouble getting a fair distri -
passed on it. That was the most disheartening
bution deal if they get ANY kind of distribu-
phone call of my career. Distribution is tricky, tion. And, as far as money for streaming, I
but if you just want to get your movie out and
don’t know. Unless you are Netflix I don’t see
don’t expect big bucks, it is actually fairly easy how, but I suppose there are others. Every -
to land.

thing is so easily and readily available for free I’m not sure about the streaming side of

I don’t see how — but I imagine people are
things, so I can’t comment on that.

doing it.

Paul Scrabo: Our movie is self-dis trib -

Brad Paulson: We’ve been corn-holed
uted through Scrabo.com and Amazon. I
royally through distribution. The BloodStained never considered even showing it to a distrib-Bride got out to quite a few of the big chains utor. For my DVD cover art, I hired a friend
and had several thousand copies floating
who is a professional artist.

around. This doesn’t even include the deals

Eric Shapiro: We were fortunate to have
the distributor made with foreign territories.

a good distributor, Big Screen Entertainment

And, sadly, after all this, we’ve only made a

Group, license Rule of Three. They released it couple hundred dollars. It’s just too easy for
on DVD and got Netflix to license it, and it’s

194

HOW TO MAKE MOVIES
being seen daily at a level that we once only
your strategy from the moment you have the
dreamed of. It’s heartening to know that many
final draft of your script, which includes:

people out there are interested in watching a

1. How are you pitching the script?

strange film with unknown talent. The horror

2. What genre is your target market?

stories are rampant. The worst one I’ve heard

3. Financing. You have to calculate and re-
applies to my pal Hal Masonberg, who di-
calculate what you have and will spend so
rected a film called The Plague (2006), which that you get value for your money and that
was seized from him in post-production and
every cent ends up on the screen.

recut in its entirety before release. That expe-

4. Take your product and aim it in the right
rience pulverized him; he had no control, and
direction of the market and festival circuit
has never, to my knowledge, even watched the
in order to stand the best chance you can
final cut.

at getting not only distribution, but max-

In answer to the last question: yes, there is
imizing the number of people that can and
serious revenue in streaming.

will see it. You will make or break your film

Anthony Straeger: How have I handled
on how you handle the distribution.

distribution? Well, in the beginning, very
badly. As I mentioned, I jumped into signing

As far as streaming is concerned, and as to
a distribution deal far too quickly.

whether anyone has made any real money out

In the United States there are a million and
of it, I seriously doubt it. I seem to pick up a one distributors with a roster of films on their few bucks here and there. The documentary
books as long as your arm. They will make

I streamed has made about a hundred and fifty
you pay for everything they do and then take
dollars in two years. I certainly won’t get off

50 percent of the rest. You end up with very
the bread line with that!

little, whilst they at least make something on

Marc Trottier: I’ve only ever attempted
your movie.

to get distribution for one title, which was

I have not handled the distribution of Call

Darkness Waits. I ended up letting www.

of the Hunter at all right. I have to take blame Scream Kings.com distribute my film, because
for rushing into the process because I thought

I had lengthy conversations with them and I
that gave us kudos — wrong. Patience is a vir -
felt that I could trust them.

tue, something I lack at times. But if you have

I don’t know anyone who has made money
spent so much time on your script and then
streaming yet ... but I’d like to give it a try
production and the problems of post-produc-
when it becomes available to me. YouTube
tion to come out with a product YOU think
now does rentals (but only currently available
is great, then why the hell would you give
in the U.S.), so as soon as Canadian film -
away your rights? My advice is to submit to
makers can take advantage of this feature, I’ll
festivals, especially the important ones where
be sure to give it a try. I’d also like to look into you have a chance of negotiating a better dis-using iTunes, if possible.

tribution deal. You have to find the right target Even if I get Darkness Waits available for audience for your movie, and that involves pa-digital downloading for $1 or $2, I think I’d
tience.

be happy. Hell, if the only way for people to

There is, of course, an exception to this, and
see my movie was to give it to them for free, I
that is when a distributor offers to partly fund think I’d do it at this point. Sometimes you
your movie in exchange for their territorial
do things for money ... and sometimes you
rights. Generally, this will be about 20 per -
work so hard on something that money be-
cent, and you will have had to secure the other
comes unimportant. What’s the point of mak-

80 percent before they will consider.

ing something if nobody gets to see it?

What I have learnt is that you need to plan

I think the days of walking into a store and

Publicity, Promotion and Distribution 195
renting a movie are coming to an end. All the
still largely at the mercy of the consumer.

Blockbusters in Canada are closing, in part

Since indies have a lower overhead, it’s not un-
because of a shift to digital downloads. Cur-
heard-of to break even or even turn a modest
rently, Netflix is kicking video store’s asses,
profit just selling DVDs from websites or at
and I think that’s the way of the future.

conventions. It may take longer, but an indie

Mike Watt: Again, we’ve been lucky
has less to lose.

enough to have avoided horror stories, thanks

And, no, I know of no one who has made
to many friends in the business. I know too
any money off of streaming or VOD. In fact,
many people who had to sue (if they could)

many of the companies who have approached
distributors to get their royalties and/or rights us for our content wanted us to pay up front
back. Or filmmakers whose film was picked
for conversion, or “set up” fees, or whatever,
up and stuck on a shelf. Or they were screwed
in return for a 50/50 split after expenses (their out of any profit, even when the movie made
expenses, not ours, even though it would seem
an ultra-rare fortune.

that we’re covering all costs). I’m sure there are The majority of distributors we’ve dealt
legitimate outfits out there, but whenever I
with were ones with whom we already had
see, “Get your content to stream on Comcast,”

personal or professional relationships. Often

I file it with all the email for penis enlarge-
our biggest complaint has been lack of adver-
ments and Nigerian money laundering.

tising, particularly when an arm of the com-

Ritch Yarber: We are currently testing the pany will take out a full-page ad on something
waters to gain distribution for our last two fea-that (in our opinion) is garbage, while our
tures, The Deep Dark Woods: No Witnesses and (amazing and commercial) movie is left be -

Murder Machine! Interestingly enough, al-hind or relegated to a slug-line.

though TwistedSpine.com Films was formed

It’s nearly impossible to get an independ-
to develop and showcase the talents of people
ently made movie into retail stores any more,
hoping to gain entry into the world of profes-
and with Redbox and Netflix continually
sional filmmaking, we have never had the
throttled by the mainstream studios, forcing
salesman-type person in our group. We would
them to limit or even eliminate the number
take our finished films around to screenings,
of indies they pick up. Because of this, we
conventions and film festivals for our intended
came to the conclusion that we cannot get into
audiences, and eventually make the film’s
stores, without anyone’s help. We’ve recently
budget back through in-person and internet
taken to paying for our own run of a DVD
sales. Then, we’d re-invest the money into our

(which often means paying for authoring and
next movie, totally ignoring and neglecting
design as well) and then making an agreement
the distribution process. Our lone film cur-
with a pro distributor to wholesale the units
rently with a distribution deal is Transylvania for us. This has been a beneficial arrangement

Police: Monster Squad, our first film. This came for both parties. They don’t have to pay for
about as I happened to meet Steve Kaplan, the
any of the manufacturing and we don’t have
head of Alpha Home Entertainment, at a hor-
to beat down doors to [sell] the product. Mar-
ror convention. During our conversation he
keting is usually split down the middle and
found out that I had a film that featured Con-
the wholesaler takes a much, much smaller bite
rad Brooks. He was looking for a product to
than a distributor who had to handle the prod-
pair with another Conrad Brooks’s film. He
uct from start to finish.

watched the film and quickly acquired the

The internet has leveled the playing field
rights from me. Bada boom!! We have our first
very little, because everyone relies on word-of-movie in distribution! Money comes in on
mouth. While the studios can afford to dom-
a regular basis! Hey [I thought to myself ], I
inate a top website with advertising, they’re
like this! This was about nine years after the

196

HOW TO MAKE MOVIES
film was completed. It was just sitting on the
for the film — the tales run the gamut, none
shelf.

good. The control and returns that marketing

We are getting great interest from distribu-
your product yourself gives is well worth the
tors for our last two feature films. The prob -
effort. Why not? Nobody knows your film like
lem is that the companies want to obtain all
you do. Exploit this knowledge and enjoy the
of the rights to the films and pay nothing up
profits.

front. All of our potential earnings are pro-

There are so many options for your film on-
jected at 20 percent of future sales after this, line. Streaming, pay per view, et cetera. More
that and other things are paid for. When we
ideas are coming down the pike everyday, but,
sell our own movies we make 100 percent of
so far, to my knowledge, filmmakers are not
the profit. It just takes more effort on our part making any noticeable profit from these ven-to get the product in front of the buying pub-
ues. However, I do believe that the internet
lic. Thanks to some sage advice from a veteran
will eventually prove itself as a valuable tool
independent filmmaker, we are marketing the
for independent filmmakers, as more and more
films ourselves and keeping all of the profits
people turn there for their entertainment re-
from our work. Both films have already made
sources.

back their production costs and are doing

Ivan Zuccon: I don’t deal with distri -
nicely for us. Unless a distribution company
bution personally. I sell movie rights and leave comes to us with a deal that knocks our socks
it all up to the distributor. If you’re lucky,
off, we will continue with this style of mar-
everything works. But never choose a distrib-
keting our films. We are also developing a new
utor thoughtlessly: if you do, not only will you grass-roots marketing strategy that we hope
not see a single penny, but your movie may
will soon prove itself to be an innovative way
never come out and you won’t be able to do
for independent films to get a form of distri-
anything about it because you’ll have already
bution that will enable the filmmaker to keep
sold the rights.

most of the profits from their works.

The world of distribution is changing;

I have heard a few horror stories from fellow
streaming is taking the place of home video.

filmmakers concerning their experiences with

This is the future, and the future is now. I’m
distribution companies, particularly ones that
sure big studios are already making money
deal in acquiring small-budget films. Charging
with movie streaming; it’s going to be hard
for duplication and packaging costs, dishonest
for small, independent productions to enter
revenue reporting, lack of any real marketing
the business without being absorbed.

Being an Independent Filmmaker

I’ve worked professionally in the film/video
on a project I had to love that project. I wasn’t business longer than I’ve been making my own
out to “make a quick buck” (as if that’s even
movies (by several years). During that time I
possible with micro-budget films...). I made
have met hundreds of people who say they
enough money working at a production house
were writing a script or trying to get funding
in New York City. What I was going to do was
for their movie. Years would go by and they’d
make something that was specific to me,
be in stasis. “Why aren’t you making your
whether it be a vampire movie influenced by
movie?” I’d ask. The answers varied
from, “Oh, I’m trying to get the
money” to “Oh, my wife just had
her first baby.” Or, better yet, “If I
can’t get the money I need then it’s
not worth doing.” Well, only about

4 percent of these people actually
made a feature-length movie in 20
years.

The main reason I am an inde-
pendent writer/ director/producer is
that I have a low-bullshit tolerance.

I’ve always wanted to make movies,
no matter what. My first movie,

Vampires & Other Stereotypes, had
the biggest bud get and probably the
best production value, but when
that wasn’t realistic for the next one

I made due with what I had avail-
able. Only $2,000 to make an
apoc alyptic werewolf movie? Sure,
why not? It was fun and adventur-
ous finding creative ways to get
these projects completed and dis-
tributed. Fortunately, it worked so
well for so any years.

While a movie is always made for
an audience, I envisioned that au-

Producer/director Kevin Lindenmuth (left) and Tom Sul-dience to be a fan just like me. If I
livan, effects artist of The Evil Dead, who was interviewed was going to spend months or years
for the documentary The Life of Death (2011).

197

198

HOW TO MAKE MOVIES
a childhood of watching the original Dark
my style translated to a different genre, which

Shadows ( Addicted to Murder 1–3) or a docu-I thought was interesting.

mentary about death (me dealing with the im-

How do I want to be remembered? On one
pending death of my maternal grandmother).

hand it doesn’t matter to me if the films exist

I was always going to do the best job I could
in some future time. Some people get hung
on it, considering the circumstances and bud -
up on this; they are downright paranoid that
get in which it was made. I like all of my films if their film vanishes a hundred years from
and there’s not anything I would change in
now that all semblance of them will vanish as
any of them. They are what they are.

well. Who cares? They’ll already be dead and

Years ago, when I first started making doc-
probably not care at that point. But if someone
umentaries, a moviemaker friend who had
does remember me, the filmmaker, I hope they only seen my horror movies said that he could
recount that I was serious about the whole in-
recognize that I had made it. It had the same
dependent thing, that I did not tread lightly
pacing and the same types of shots. Basically,
in the matter.

The Filmmakers were asked:

How would you best describe your work?

How do you want it to be remembered?

Glenn Andreiev: That I made genre films
different effect on just about every type of

(thrillers, horror films) differently.

member that constitutes my audience. You ei-

John Borowski: Someone once called my
ther love them or hate them. A real polarizing
films “holistic works of art,” and I feel that is effect is achieved by my films, dividing audi-the best description. My films are true crime
ences every time.

docudramas based on serial killers from the

Richard Cunningham: Wide-ranging,
early 20th century. They are created with
maybe; I’ve tried to diversify the genre and
meticulous research and precise filming and
style of my films and scripts. Engaging stories
editing, to create a film that will have the au-
and characters. I guess I’d like to be remem-
dience holding their breath from the first
bered as a prolific artist, one who’s contributed frame to the last. My intention is to make
to and in some way innovated storytelling in
timeless films that can be watched hundreds
an age when books and films and video games
of years from now and still be as powerful as
are all forming closer and more symbiotic re-
when they were initially released.

lationships. But I also like to think that my

Keith Crocker: I come from a family of
real contribution to film is still ahead of me. I whom many members have worked in the so-have a lot of material yet to produce before I
cial work field. I view my films as an extension can hope to reach that lofty of a goal. It’s a
of that same type of work. My films are ther-
continual process of learning and improving,
apeutic, almost like a real good enema. They
sharpening skills and gaining new perspectives.

clean you out, unscrew your head, set it

Maurice Devereaux: What I aimed for
straight and screw it back on for you. My films
was to make entertaining horror films with
are designed to help people. They are steeped
strong female lead characters (something I al-
deeply in justice, activism, morality, and yet
ways found lacking in mainstream films), but
they are also very critical of society, have lots the only film I’ve made that I can truly recom -
of dark humor in them and each film has a
mend is End of the Line. For all its low-budget

Being an Independent Filmmaker

199
weaknesses, I do believe it’s still smarter, scar -

Richard W. Haines: I think my “life im-
ier and more original then 90 percent of all
itates art” trilogy represents my best work so

Hollywood horror films made in the last 20
far. Each film is about a writer whose real-life years. Blood Symbol and Lady of the Lake aren’t experiences influence his work. The trilogy
worth anyone’s time. There are some good
began with Space Avenger, which chronicled scenes in both, but overall they are very ama-the adventures of a comic-book artist whose
teurish. Slashers is pretty funny, but only Z-fictional alien terrorists turn out to be real.

movie aficionados, who can forgive all its low

The picture featured real three-strip Techni-
budget flaws, will get a kick out of it.

color from China, which is where we made

I want to be remembered as someone who
the release prints. The vibrant primary colors
tried and gave 100 percent of all he had to his
simulated the look of a cartoon panel. I do-
films and accomplished miracles with no
nated a print to George Eastman House ar -
money. And I hope one day some hotshot in
chives as an example of the process and kept

Hol lywood will look at Slashers and End of the two copies for myself as a reference. The next

Line and see that, with proper budgets, stars film in the series was Unsavory Characters. A and marketing, these could be successful films
pulp-fiction writer picks up a femme fatale at
and PAY ME for the remake rights (I’m too
a bar, and she seduces him into murder. He
jaded to believe I would be offered the chance
uses his ordeal to finish the novel he’s com-
to direct them myself ).

pleting. I shot the scenes from the book in

Donald Farmer: How do I want to be
black and white, simulating the look of ’40s
remembered? I tend to agree with Woody
film noir mysteries. My last movie, What

Allen when he said, “I don’t want to achieve

Really Frightens You? , is about a monster-fan -
im mortality through my work. I want to
zine author who asks the title question to a
achieve it through not dying.”

group of New Yorkers. After the article is pub-

I’m probably more satisfied with my written
lished, their primal fears come true. We used
work, the issues of The Splatter Times and my a bizarre lighting design for the hallucination
magazine articles, than with any movies I’ve
scenes and expanded the sound field from
made. With writing I’m not so handicapped
front channels to the surround tracks, giving
by a low or nonexistent budget. More money
audiences a visual and audio cue that some-
wouldn’t have made The Splatter Times any thing gory is about to happen.

better or worse. But a bigger budget would

I also think my technicolor movies book is
definitely have helped my movies, so I’ll al -
a useful history of the process for film buffs
most always be dissatisfied when I watch them.

interested in color cinematography.

I wish all of my 16mm movies were 35mm. I

William Hopkins: My films are meant
wish all my two-week shooting schedules had
to be escapist entertainment. On the budgets
been tripled. I wish I could have had bigger
we’re working with, we can’t hope to produce
names, better effects — pretty much better
product as slick as the stuff the major studios
everything.

put out. But every once in awhile I’ll hear from Jeff Forsyth: I really do not know how I
someone who has watched one of my films
would describe my work. My style is not fully
and they’ll tell me how much they enjoyed es-
developed. I have several genres I would like
caping into the odd little world we were able
to explore. It’s hard to pin something like that to create. That makes it all worthwhile for me.

down. I would like to be remembered by

It would be nice to be able to make money
friends and family, mostly, but as a filmmaker
on the films we’ve made so far, if only to be

I would like to be remembered as someone
able to make more films in the future. But, if
with passion and as someone who never gave
in the years ahead, my films are looked back
up.

on as enjoyable, reasonably intelligent escapist

200

HOW TO MAKE MOVIES
fare that didn’t walk in lockstep with every-
it, even if it’s a invisible mark. That’s impresthing else being put out at the time, I’d be
sive.

happy.

I hope my films are fun to watch. Some-

Steve Hudgins: I’d like the films to be re-times scary, sometimes exciting, sometimes
membered for original horror, told in fresh
funny. I like to work in multiple genres and
and interesting ways. I’d like to be remem -
then twist them up. I always put a little quirky bered as one of the top horror/thriller film-feel to my movies and have surprised many of
makers out there, offering something new to
my producers with the final results. I think a
the genre!

good film should keep you guessing a bit. You

Rolfe Kanefsky: Well, right from the be-
should not be able to predict the ending five
ginning I’ve always used “A Rolfe Kanefsky
minutes into the film, or, at least, it should

Flick.” I did this because I think the whole “A
surprise you in how it gets there. I’ve always

Film By...” or “A Picture” ... is a little egotistic.

said a good movie should be designed like a

It takes a lot of people to make a movie and
good mystery. The ending should be one
even though the director is the one who
where you don’t really see it coming, but,
usually gets the credit if it’s good or the blame when it happens, it all makes sense and you
if it’s bad, I never liked that possessive title.

can go back and see how all the pieces fit to-

But I was told way back when that if a director
gether.

does not take that title it means that he/she is As for how I want my films remembered, I
not proud of the film or something went
think I’d be happy if they were just remem-
wrong. Well, I was and still am very proud of
bered. I’m delighted that There’s Nothing Out most of my films, so I decided to use “Flick.”

There has stood the test of time. The film is Spike Lee had already coined the phase “A
over 20 years old and on, the last release from

Spike Lee Joint” so when I made There’s Noth-Troma, received probably the best reviews I’ve
ing Out There in the late ’80s, I decided to use ever gotten. People like this movie and con-

“Flick” and have used it ever since.

tinue to like this movie despite the whole

And I think the word “flick” is a good one

“Scream” debate. It holds up. If all my films to describe my films. In my opinion, a flick is
held up this well, I’d be very happy. I hope
a fun, somewhat lighthearted movie that you
some of my films that were dismissed would
can sit back and enjoy. It’s not trying to change be re-examined again, because I think people
the world, but is something you can have fun
tend to overlook movies that have sexual con-
watching. I have always been most comfort -
tent. They immediately write them off as “sex
able with comedy, and you’ll find a sense of
films,” and I’ve tried very hard to reinvent the humor in everything I do. I can’t help it, and
genre a little bit. I have never made a movie
what’s the matter with lightening the mood
that didn’t have my mark on it. Since I’ve writ-
every now and then? But, being a filmmaker
ten everything I’ve directed, each film and
who also likes to challenge myself, I constantly every character is a part of me in one way or
work in different genres since I love all movies.

another. My movies are personal, and each one

So, I’ve dabbled in horror, suspense, thrillers, does have something to say about the human
film noir, musicals, dark comedies, and, at
condition. I’ve gotten knocked for this in the
times, drama. I love directors like Alfred
past. In college I learned that all films say

Hitch cock, who focused mostly on thrillers,
something, whether you want them to or not.

but I also respect the hell out of directors like So, I decided then, “Well, if people are going

Rich ard Attenborough. I mean, who would
to put meanings into my film, I might as well
ever guess the same man who directed Gandhi
put them in myself.” I try not to hit people
also directed A Chorus Line and Magic? A good over the head with the messages, but they are
director can do any genre and put his mark on
there if you look for them. I’m proud of that,

Being an Independent Filmmaker

201
but in the long run I just hope that people find Jim Mickle: I make dark genre films with
my films entertaining and a good way to spend
a heart and an emphasis on character. I like to

90 minutes.

think I’m helping to elevate the horror genre

Brett Kelly: Jeez, I don’t know. I prefer above what most people expect from it.

the title “genre filmmaker” to “B-movie

Damon Packard: I don’t feel my best
maker.” I guess history will be the judge. Ha-
work has ever been realized because I’ve never
haha. I like to make films about fantastic (in
had the money to realize it.

the classical sense of the word) subjects: mon-

Brad Paulson: I make entertaining micro-
sters, aliens, robots, creatures, et cetera. I’d like cinema that transcends budget. I want to be
them to be remembered as fun. I’m not trying
remembered as someone who was always try -
to enlighten the world with a message. I just
ing to do something different and never lost
want to make people smile.

the edge of what it felt like to not only exist

Chris LaMartina: Generally, we produce
on the fringes but also to make movies on the
horror-comedies. There have been variations
fringes. I don’t want to be a work-for-hire guy
in tone, here and there. Some more atmos-
who just makes standard shit you forget about
pheric or darker than others. My recent fea-
a week after you watch it. I really want to make tures have been more “high concept” (highly
something people can get behind. I would re-
marketable content ... able to be pitched in a
ally love to make a living at mak ing movies
single sentence). I’m a huge fan of ensemble
someday. Until then I’ll be known as that
films and my work reflects that. I enjoy craft -
weird but really nice kid in school who made
ing a sense of community through mingling
movies that showcased the unique. I’d like to
story lines and characters. Coming out of a
get people away from the CW crowd and all
premiere screening and overhearing audience
those people with horrible taste watching Twi-members discuss their favorite character is ex-
light and reality shows and make them realize tremely rewarding.

there are other people on this planet who are

I’m drawn to inject humor in my films be-
far more interesting than these douchey-look-
cause I see horror flicks as basic escapism. Even ing Fabios who dominate TV and movies
when I am alluding to real-world anxiety in a
now adays and, dammit, they deserve a look.

narrative, I try not to bum out the audience—

I’d really like to be the guy who spreads that
the world is depressing enough. I’d prefer not
joy of that which is different to the main -
to rent a movie and mope around for 90 min-
stream. I’d also like to be known as one of the
utes. I want to meet some characters I believe
nicest guys in indie cinema. There are way too
are decent folks and see them excel against the
many assholes making movies out there.

horrible odds on screen.

Jose Prendes: Oliver Stone said, “When

For a long time (and still, I guess) the most
you look at a movie, you look at the director’s
important thing for me was just to get a film
thought process.” This is very true, and you
distributed. I wanted to make sure that one
can quickly tell a shitty director from one who
day a young horror geek could stumble upon
gave a shit. I consider my films to be an inter-
one of my flicks in a thrift store or bargain
pretation of the world through my eyes. I want
bin. That’s what matters to me: having an au-
the audience to see the story through my eyes,
dience find my films through self-discovery,
and that’s why I love to operate the camera —
just like when I sought out crazy low-budget
because I can frame it the way I want to frame
horror flicks in my youth. It’s a legacy of sub-
it and shoot it the way I want the audience to
versive culture that I’m honored to be an even
see it and experience it.

remote footnote in. If I die tomorrow, at least

My first two films were formative, they were
those stories will be around forever. Telling
a learning process, and I don’t think I’ve ac-
stories keeps me going.

tually hit upon any of my major themes, so I

202

HOW TO MAKE MOVIES
genre — which is something of a mystery-
thriller — and you stay for the characters, who
are stranger and deeper than you might have
expected. I approached Mail Order the same way. It’s adapted from a Jack Ketchum story,
which means realistic psychology is part of the
package, and instead of focusing on the gore
and sadism, I tried to focus on what the char-
acters’ minds were like. I don’t care if I’m re-
membered or not; I frankly just want to work
actively in this medium while I’m here!

Writer/director Jose Prendes

Anthony Straeger: I would best describe
my work as something that I would not nec-
can’t describe my work based on my previous
essarily choose. That sounds odd, I know.

cinema. I will say that the themes of alienation What I love most in film, as a consumer, is
and vengeance runs through most of my
not exactly what I produce as a filmmaker! As
screenplays, so I see a real gritty viciousness in a punter, I love out-and-out gore and action,
my material and the way I interpret the world
and anything that moves at a rapid pace. I
that will become more evident in my later
have a low-attention span and need to see
films (of which I hope there will be many).

things coming at me at a rate of knots.

In the end, I guess I just want to be remem-

What I produce tends to be psychological
bered as one of the guys who really had fun
thriller-based work. I like to describe my work
with the medium. Everyone wants to be the
as tight, lean and to the point. I hate having
next big thing, and I want that too, I’m not
something over explained to me or drawn out.

going to lie. I’m too driven to say, “I want a

So I hope that, when people look at my work
backseat to the big show.” I want to make it

[they never say], “That was a waste of two
big. We all do. But I don’t want to do it alone.

hours of my life.” What I want them to say is,

I want to be remembered as a good man who

“Wow, that passed quickly!”

made movies like no one else and really

I’m not sure that “professional” is a word
brought something different to the world of
that would be expected here. But I like to con-
cinema. It’s a pretentious answer, but, then
duct myself in a way that makes people want
again, how the hell do you answer that ques-
to work with me again. Everyone who worked
tion any other way?

under extreme pressure on Call of the Hunter Paul Scrabo: Since my only full-length
said the following: “I had a great time and you
feature so far has been Dr. Horror’s Erotic
made hard work a joy.” That works for me.

House of Idiots and it’s been described by a re-I would like to be remembered as someone
viewer as “the first family-friendly erotic hor -
who cares about what he’s doing, but not at
ror movie,” I’ll have to be satisfied with that!

the expense of the people involved. I’d like to

Truthfully, I’m really not ready to be re-
be remembered as a man that did what he said
membered yet, let alone any movies I’ve done!

he would do.

Eric Shapiro: To date, my thing has been

Marc Trottier: Even though I’m a huge
taking well-known pop genres and placing
fan of the horror genre, I’ve tackled different
psychologically complex characters into them.

genres and I think my work is very diverse.

With Rule of Three, that was Rhoda Jordan’s I still have a couple of feature film ideas that achievement; she wrote a series of six-dimen-I’d like to make. I believe one of them is a great sional characters. The behavior in that film is
idea, which has some very graphic content
very resonant. So the idea is, you come for the
with an amazing twist, that would be huge.

Being an Independent Filmmaker

203

But this film would require a lot of visual ef-
of our first loves. Splatter Movie takes as much fects, and I think it would cost a lot of money
from Performance as it does any slasher movie.

to make. I almost feel like I’d need to make an

I also drew from what I thought Inland Empire impressive lower-budget movie to convince
was about before I’d seen it (and did a decent
investors to fund this film. But I would love
job pre-ripping off David Lynch, considering
to get my idea from paper to movie screen and

I’d only caught it from beginning to end about
see people’s reactions to it.

three months ago). Razor Days started off as a As long as I’m making movies that I like to

“Chainsaw Massacre” entry but became vis -
make, and people are entertained, then I can’t
ually and thematically transformed by Bad -
ask for anything else.

lands and Persona. Hell, The Resurrection Game Mike Watt: “What kind of films do you
is more L.A. Confidential than it is Dawn of make?” is actually the toughest question I’m
the Dead. Horror is always the blanket we wrap asked. The short answer is usually the best —
around the stories we want to tell.

“horror”—but I don’t think that tells the whole

I hope that if we manage to leave any foot-
story of what our body of work is about. With -
prints at all that we’re remembered for making
out getting (more) pretentious, we tend to
off beat, intelligent and largely original movies make hybrid movies, (blank)/horror movies,
that give you something to talk about at the
where the horror is just the jumping-off point
end. I would not want our stuff to be consid-
for the story we want to tell. Resurrection Game ered “disposable,” by any means. Regardless,
we refer to as a “zombie-noir”; Severe Injuries you can tell we always gave a shit about what
was a horror-comedy that I feel lovingly beats
we were making and that we were having fun
up on the slasher genre; A Feast of Flesh was playing with expectations.

intended to be an unabashed sell-out movie

Ritch Yarber: I describe my work as en-
about, as Amy wanted, “lesbian vampires in a
tertainment with a touch of quirkiness. I want
brothel,” but it became something very differ-
my works to be remembered as purely fun en-
ent with no clear-cut heroes or villains. Splat -
tertainment that took the audience to a com-
ter Movie is probably our weirdest film, be -
fortable place for a few hours and that featured cause it explores how horror movies are made
characters and stories that are reflected on
and why, and keeps drifting in and out of re-
fondly long after the initial viewing is over.

ality. It’s been referred to as “near-brilliant”

Ivan Zuccon: I don’t want to be remem-
and “not as smart as it thinks it is”— both of
bered; I want my films to be. My work as a
which I’m satisfied with. Demon Divas is an director is in the service of the movie. My pre-almost-pure ’80s horror-comedy, but we still
sumption is to be an author. I always try to
sneak in some satire. Razor Days is more a psy-impose my point of view, and, in the end, my
chological thriller than a horror film, but it
point of view becomes the movie itself. It’s like has horrific elements.

being a son to parents — the child is the only

Again, we rarely draw from actual horror
thing that matters. The parents’ life, interests films as inspiration, though that genre is one
and needs take second place.

The Filmmakers were asked:

What is your favorite film that you have made and why—
and what is your least favorite and why?

Glenn Andreiev: Let’s end this one on a
the worst, the tie is between Vampire’s Embrace positive note. I’ll name the worst ones first. For and Silver Night. Both were unpleasant pro-

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HOW TO MAKE MOVIES
ductions. The first — looking back on it — was
desire to dig out and watch my own films. We
a very character-driven script. It was my first
are always aware of the mistakes we made and
film and I wasn’t quite yet an “actor’s director,”

would love to repair them, but that is some-
but more of a mechanical filmmaker. It was
thing I would never do, as my mistakes speak
like giving an avant-garde filmmaker a soap
volumes for me, as well as my triumphs. So it
opera episode to direct. I think that if I did
all makes for a nice little road map to me.

Vampire’s Embrace now, it would be so much Richard Cunningham: My favorite
better. Also, it was my first feature, so I was a would have to be Year Zero, because I was so nervous kid shooting that one. On the second
intimately attached to every aspect of the film,

“worst” film, Silver Night, there was serious and probably also because it’s the most recent.

hostility on the set. Both films got distribu -

They’re all a little hard to watch for me after
tion, and I watched the distributed copies of
a while, but I think that’s a sign of progress,
both films just once, and that’s going to be it!

that my early work is no longer on par with

My favorite is Sharp & Sudden. It’s a comic my current standards, and though I’m less
paranoid nightmare that I think was nailed
con fident in my older material, those are the
just right. The leads were so pleasant and were
pro jects that helped train me for my next film.

inventing funny stuff all throughout the film.

Maurice Devereaux: My favorite film is

The cast, crew (including my co-producer
my short, PMS Survival Tips (on YouTube), Vernon Gravdal, who whipped up the greatest,
because it is perfect for what it wanted to be
wildest no-budget stuff on the film), the lo-

(and only cost me $1,000).

cation owners and the police, who let us use

End of the Line is my favorite feature and two police cars, were all so nice, they were all the closest I have gotten to making a “real”

like out of a nursery rhyme!

movie that is watchable. My least favorite is

John Borowski: Albert Fish is probably Blood Symbol, as it is the worst, but I have to my favor ite, even though there is a shot or two say that all of them are my children and I still I would have liked to re-shoot. Carl Panz ram love them, warts and all.

is probably my least favorite because his story

Donald Farmer: I suppose the one movie
is on such a large scale, yet my budget was mi-
of mine I’m most satisfied with is An Erotic nuscule in comparison. I wish I could have

Vampire in Paris because it came out the shot reenactments, such as when he killed the
closest to my original conception and has the
six Afri cans and fed them to crocodiles, but
production value of all those Paris locations.

that scene alone would have equaled my entire

Plus, Misty Mundae is at her best, so I’m
budget for the film!

happy with that one. In most of my other

Keith Crocker: I love both my features,
movies there are always individual scenes I

Bloody Ape and Blitzkrieg! , because they are like, such as the first sorority house scene in
both very different films. Bloody Ape is very Cannibal Hookers, Mal Arnold’s chainsaw
crude and very Punk in its attitude (and Punk
death in Vampire Cop, Melissa Moore’s demon is a word I hate to use, as I never had an ap-transformation in Scream Dream, and Tiffany preciation for Punk music or culture). But

Shepis’s zombie attack in Dorm of the Dead.

Bloody Ape is just that, Punk! Blitzkrieg! is But my goal is always to make a movie that
much more me stretching cinematic muscle,
works for me, from beginning to end. Ulti-
taking my time and trying to combine some
mately, I’m the audience I want to please. My fantastic imagery, interwoven with important
least favorite would be my kiddie movie, Space dialog. Both films are loaded with production

Kid. That was strictly a job for hire and I had mistakes, which, in the same breath, makes
zero personal interest in making it. Fred Olen
me dislike them. They are fun to watch for a

Ray and Jim Wynorski have both made suc-
retrospective showing, but honestly, I have no
cessful kiddie movies, but it’s not for me.

Being an Independent Filmmaker

205

Dave Meyers, Tatyana Kot and photographer Jim Knusch get ready to shoot the infamous castration scene in Blitzkrieg: Escape from Stalag 69.

Jeff Forsyth: The films I’ve worked on
tioned, I think my “life imitates art” trilogy
are kind of like my children. I love them all
are my favorite movies. My least favorite
differently. I think that Children of the Sky is would be The Class of Nuke ’Em High, which much more adult script. Much more serious.

was a work for hire that I didn’t have creative

And C.A.I.N. is a bit more “fun.” So in some control over. My original screenplay was much
ways I like Children of the Sky a little better, better than the altered version used during the
despite the limitations of the technical equip-
shoot. For example, at the climax the mutant
ment I had.

fetus shouted “Mommy” before allowing the

Richard W. Haines: As I previously men-
teenaged couple to escape and blowing up the

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HOW TO MAKE MOVIES
school. The creature was their offspring, which

My least favorite is the first movie we did,
gave the story a Freudian twist. It was cut out
which was called The 3rd Floor. Again, I look by the producers, making it a campy monster
at it as a training film. The production values
on-the-loose picture. The movie has a cult fol-
are very rough, but the amount I learned doing
lowing, but it’s not the film I wanted to make.

that movie was invaluable.

If you compare my subsequent feature, Space

Rolfe Kanefsky: Well, I have to say my

Avenger, you can see the difference in film-favorite is Tomorrow by Midnight, the film that making styles. The experience inspired me to
still to this day hasn’t been released in America.

create my own company, New Wave Film Dis-

Isn’t that always the case? It’s my most personal tribution, Inc., after its release.

film, it’s about four college students who take

William Hopkins: Having only made
a video store hostage for the night. I’ve de-
two films so far, that’s an easy question to an-
scribed it as Clerks meets Dog Day Afternoon swer. While I have a certain fondness for Sleep-or Breakfast Club with guns. It was the only less Nights, it clearly has many faults that will film that I had enough time and money to do
prevent it from ever being embraced by a wide
it properly and the final result is almost exactly audience. Even in its newly refurbished ver-the way I imagined it, so it’s closest to my orig-sion, it’s rather talky and slow, has some weak
inal vision. It was well planned, and well exe-
performances and a generally cheap look and
cuted, with a fine cast, a good DP and the
feel. It has its strengths as well — the story is proper support. That’s what makes what hap-solid and the film has a certain creepy atmos-
pened to the film all the more tragic. It was
phere, but it’s only ever likely to appeal to
also, in many ways, the most challenging. To-fairly small audience.

morrow by Midnight and 1 in the Gun are my Demon Resurrection, on the other hand, is a most serious features that still have humor but
pretty solid piece of work, I think. We were
also a lot of drama. Comedy comes easy for
able to tell a pretty involving, exciting story
me, but to have six people sitting in a room
on a budget that was actually quite a bit
and just talking for almost ten minutes about
smaller than the budget we had on Sleepless
the world and their lives without the use of

Nights. The film touches all the exploitation fancy camera moves or even any music and
film bases, with plenty of sex and gore, and
still hold the audience’s attention is an accom-
still manages to present a story that’s intelli-
plishment I’m very proud of. It was a tight
gent, well structured and satisfying overall. So script and the cast supplied great perform -

Demon Resurrection would certainly be my fa-ances. TBM should have been the film that vorite of the two films I’ve made so far, though opened some doors in Hollywood and put me

I hoping to top them both with my next film.

on the map but, because of bad timing and

Steve Hudgins: Hell Is Full is probably really bad selling, or non-selling as the case
my favorite movie we’ve done. The zombie
may be, that didn’t happen. But if anyone
genre was in dire need of something different
wants to come over to my apartment in North
and I think we accomplished that with a very

Hollywood and watch it, I’d be more than
original screenplay. Maniac on the Loose is right happy to show it to you. It may not be my
up there as well. It was the first movie we did
most commercial film. That’s probably The
under the Big Biting Pig Productions banner

Hazing, but Tomorrow by Midnight is my fa-and definitely the one with the most twists and
vorite.

turns! It will always be one of my favorites. I

My least favorite films are probably the ones
expect our next movie, Spirit Stalkers, to be a I took my name off of, but I guess that’s a
great one. Anyone who enjoys shows like
given. So, if I disqualify those, I have to go

Ghost Hunters or Ghost Adventures is going to with Corpses as both writer and director, and love Spirit Stalkers!

as just the writer, Blonde and Blonder, because

Being an Independent Filmmaker

207
these two are the furthest removed from my
the picture. If the writer and the director are
original vision. Corpses was a nightmare expe-not Canadian, the film does not qualify for
rience from beginning to end, with lack of
the tax break, and this film was all about the
money, a very bad producer, and a real lack of
tax break. I met Bob Clark on the last day of
professional crew members. The only saving
shooting. He was a very nice man and a per-
grace was the cast and meeting a talented script sonal idol of mine. His Black Christmas is a supervisor, Esther Goodstein, who ended up
true groundbreaking slasher film and inspired
becoming a good friend and my producer of
many moments of my own in The Hazing and choice over the next couple of years. The film

Nightmare Man. Porky’s is one of the great was sabotaged from day one and never recov-teen-sex comedies of all time, and my Pretty ered. I’m amazed the final result resembles a

Cool and Pretty Cool Too! owe a hell of a lot to movie at all.

it. And, of course, A Christmas Story is one the Blonde and Blonder was a script I wrote ten most beloved holiday films of all time. So,
years before it was produced. I had hoped to
what is his reward for a career of 40+ years of
the direct it, but once it became Canadian
making amazing movies? He and his son are
content and since I’m not Canadian, I was out
killed during post-production on Blonde in a of the picture. It was a funny script, destroyed car accident, at which point the producers re-by terrible rewrites, two actresses who were
move his name from the film, giving him a
either too old or too uninterested to be in it,
slight “dedication” at the end so they can get
and another bunch of horrible producers who
their tax break. As they say, the show must go
really shouldn’t be in the business. I’ve said
on ... especially if the problem goes away by

Blonde and Blonder suffered from too many dying! Lesson to be learned: money rules the
crooks in the kitchen. It is not worth watch -
film business. Friendships and loyalty can’t be
ing. Corpses, with the right amount of alco hol counted on. Sad, but true.

and the knowledge that it’s a “zomedy,” is al-

Brett Kelly: I think my two favorites (as most fun. Blonde and Blonder is not, and, of of this writing) are Kingdom of the Vampire
course, this is the most-seen movie of my ca-
and Hell at My Heels. They convey my sense reer. I just want to say one thing for the rec -
of humor and they also look exactly the way I
ord. I was able to keep my name on the film
envisioned them. At the moment, my least fa-
despite the producers’ best efforts to remove
vorite is Attack of the Giant Leeches. I had a lot it because I was not Canadian and they need
of crew [members] drop out at the last minute
enough Canadians on the project to qualify
and rather than put the project off till I could for a tax break. Unfortunately, the real director find replacements, I shot it myself. I felt pres-of the film was not that lucky. His name was
sured and rushed due to the lack of crew and
re moved and replaced by the producer, who
the changing of the seasons. No fault of the
was Canadian and who took the director
writer, crew or actors, I just think I dropped
credit. The true director of Blonde and Blonder the ball and should have waited. My total crew
was Bob Clark, director of such classic Cana-
was three people, if memory serves. It was also
dian movies, such as the original Black Christa mistake to do a remake — I should have used
mas, Porky’s, A Christmas Story, and many oth-the source as inspiration and come up with
ers.

my own story.

You see, Bob Clark had been living in Bev-

Chris LaMartina: Book of Lore is the erly Hills for a number of years, so they
most personal, but it still has a million soph-
claimed that his residency expired, so he di-
omoric mistakes in it. It holds a special place
rected the film with the producer’s name on
in my heart, but I can’t call it my favorite. In-the slate as he tried to prove that he did still stead, it’s a tie between President’s Day and have residency so he could keep his name on

Witch’s Brew. I love the characters and direc -

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HOW TO MAKE MOVIES
tion in Witch’s Brew, but also love the political much harder on and wanted to pull my hair
in-jokes and tone of President’s Day. It’s like out over.

picking a favorite kid ... you can’t do it.

Jose Prendes: The Monster Man is my fa-On the flip side, my least favorite is Grave vorite, by far. It may not be the slickest or

Mistakes, because we basically shot it to stay most expensive, but I had the best time, and
busy. We’d wrapped up Book of Lore and didn’t the best memories, making that movie. I spent
have a producible feature script waiting. So,

$11,000 on that movie and it was worth every
we began shooting shorts, with the goal of
penny, even if I didn’t make my money back.

finishing an anthology. It was a good learning

The main reason was that I got to work with
experience (writing shorter stories for effec-
all of my friends. Everyone pitched in with
tiveness), but in the end, I felt like I didn’t put music, to camera work, to acting, to stunt
in the extra effort. Not necessarily a rush job, doubles, to carrying crafty, and everything in
but it seemed like we weren’t challenging our-
between. Plus, I got to work with the hilarious
selves enough. If the film you’re making seems

Conrad Brooks and Denice Duff, who I had
too easy, you might be in trouble.

been a fan of since her Subspecies days, which Jim Mickle: That’s like asking who your
made the experience very surreal. I look back
favorite child is! I cringe at my student films, on this movie and I smile. I wish every movie
but I love them, for all their warts and for what experience could be like this. Everything

I learned from them.

pretty much went off without a hitch and I

Damon Packard: I have a lot of problems
got to share the experience with my pals.

with Reflections of Evil, because it was the one Corpses Are Forever would be my least fa-and only time I had the money to make a fea-
vorite. Now, I love it for what it is. But this
ture. It makes me cringe now for various rea-

$200,000 35mm project not only made me
sons. I’m glad I made it, but there were some
broke for a few years, but it severely winded
bad editorial decisions and I should have
me. I was dealing with a big crew and big cast
spread the money out and made two films. But

(Debbie Rochon, Brinke Stevens, Richard

I had no interest in plunging into another film

Lynch, Felissa Rose, and others), and I was not
after completing Reflections, it took a couple only the writer/director, but the main star and
of years.

the only producer on it. I was so burnt out by

Brad Paulson: To date, The Bloodstained the end of this movie that I almost gave up

Bride is my favorite because I love the script filmmaking and didn’t even want to watch an-on that movie and think that all the actors,
other movie again in my life!

with the exception of myself, did a stellar job.

But when you have a passion, a need for

It’s just a great all-around micro-version of a
something, it calls to you, and that’s when I

Hollywood movie with an edgy indie sensi-
was sure that making movies was what I had
bility they’d never be able to bring to it. There to do, and not what I wanted to do. Also
are flaws with that movie, of course, but I
budget and time [limitations] killed me, and
think overall it’s a very solid piece. My least

I wish I could have spent at least a few more
favorite is Paranormal Inactivity, not because days adding some more oomph to the picture,

I think it’s a bad movie, not by any means.

and fixing some very obvious mistakes that no

I’m actually very happy with it, and our actors
one on set brought to my attention. But it was
were amazing. But it was so easy I don’t feel
a learning experience and I am grateful for
like I earned it. Blood, sweat and tears weren’t that.

poured into that movie and that makes me feel

Paul Scrabo: Certainly a love/hate rela-
like I don’t have as much of a personal con-
tionship with Dr. Horror’s Erotic House of Idi -
nection with it. However, I feel like it’s better ots. I was ignorant of all the capabilities of the in many ways than the movies I’ve worked
camera for the first few days and the result is

Being an Independent Filmmaker

209
some footage that could have been better look-
opment someone came onboard and did
ing. At least the film was shot pretty much in
something surprising. It was incredibly hard
sequence, so you can actually see the visual
work for all involved and was completely re-
quality improve as it progresses!

warding for everyone concerned. Everyone had

If I had held off production till the next
a great time making it. In conclusion, the
year, there would have been a wider range of
product itself shows that we made good of
affordable HD cameras to use, but the timing
every cent we had, and that can be seen on
is never perfect—you just have to start making
screen. It also gave some new industry people,
your film. A few years later, Mike Thomas,
like Chris Reading and Sally Alcott, a good
without whose participation Dr. Horror could baptism into the business.

not have even been made, passed away. And

My least-favorite film I have made is a doc-

Debbie, Trent and Nate have gone on to
umentary called A Day in the Life of Felix. It’s greater accomplishments and it would have
not a bad documentary and has been well re-
been tougher to get if we waited. And Zacher-
ceived, but it deals with a subject I find dis-
ley is not as spry as he used to be. It’s a miracle; turbing and, as such, felt uncomfortable with.

you’ve captured time, and it was one of the

I could not have an opinion because it was im-
greatest experiences of my life.

portant to stay neutral and let the audience

Eric Shapiro: I have to punt on the ques-
decide what is afoot and how they feel about
tion, since my body of work is so tiny. For
it. It deals with a very rare muscle disease and some reason, though, I generally come away
the problems of integrating a child into normal
proud of my work. That doesn’t mean I think
society. It might sound like I am being shallow
it’s perfect, but that I do my best to capture
here, especially as it was and is a subject that an emotion, and if it’s in the final piece, I’ll should be discussed; it’s just not something I
always feel a strong connection to it. I can’t go would have preferred to do.

back and watch my work that comfortably, so

I can’t really qualify my shorts as favorites

I understand artists who are hard on them-
or not. They are the backbone of your educa-
selves, but, in general, I love my stuff.

tion in filmmaking and, as such, each one has

Anthony Straeger: This is a short an -
merits, one way or another. The main thing
swer, as I haven’t made a thousand and one
is, at the end of each one I could step back and films and I don’t consider my documentary
ask, “What did I get out of doing that and
work in the same way as I do my movie mak-
what did I learn”?

ing. The choice is limited. But, for the sake

Marc Trottier: Wow, you know, I’m going
of the question, I will group all of the work I
to have to give the same answer for both ...

have done.

and that would be Darkness Waits.

I have made just one feature-length film

It was my least-favorite movie to make be-
and that is Call of the Hunter. I am proud of cause I’ve never been so stressed by something
what we achieved in the making of this film.

in my entire life. We had a lot of trouble with

I’ve gained a huge amount of experience on so
our microphones and with the audio during
many levels. But the main thing is, I really be-
filming. We had renovations and changes
lieve it is a great low-budget British independ-
going on at different locations that needed
ent movie. I believe we have told a very inter-
to be shot from different angles to hide these
esting story in a very fascinating way. It will
changes. We had a dirty lens that almost
remain a favorite of mine, no matter what I
ruined a scene. Also, during post-production,
do in the future, because I didn’t go into it
everything that could go wrong did go wrong.

blind. But, despite all of my knowledge, I

I had a corrupt file that resulted in losing
learnt so much. At every level we had a new
about 15 minutes of edited footage. I had to
challenge and at every moment in the devel-
re-edit the entire film and redo almost all of

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HOW TO MAKE MOVIES
the music when I decided to put the two short
fect in every way. At the casting call, we in-
films together. I had someone try to scam me,
formed the auditioning actors of our goal and
which left me wondering if I was going to lose
what our expectations would be of them. We
half of the film (which, luckily, I didn’t ... or I got great actors who were firmly committed
would be writing this from prison right now
to helping us reach our goal. We started shoot-
if I had). I had technical difficulties when trying the first scene at daybreak inside a car and ing to get the color correction done at a pro-ended with the sun going down on the final
fessional studio. And, finally, I had my hard
scene, just as planned. It was a long, tiresome, drive stop working, with no possibility of re-crazy day, but, we went home with a deep sat-
covery, which contained everything (with no
isfaction and a knowledge that, from that
backup). For about a year after completion,
point on, we were going to be a filmmaking
whenever I would discuss the movie I would
force to be noticed. We could set goals and
get this uncontrollable facial tick with one of
make them happen. Looking back, certainly
my eyes! I’m having heart palpitations right
things could’ve been improved with more
now just by writing these words.

time, but this was the maturity point for our

Ok, I’m all right now.

group. Our next two films went on to win

Surprisingly, after all that ... Darkness Waits awards at film festivals and help establish our
was also my favorite film that I made, because
reputation for quality films on a micro-bud -

I have so many fun memories from the entire
get, all because of the confidence we got from
process. I had so many laughs and good times
successfully producing The Deep Dark Woods
during filming, and so much fun during sound
on our terms.

recording and music mixing with my buddies.

My least-favorite film that I have produced

It was such a long adventure that took up so
is a short, The Tricky Treat. Not because it is much of my life that I have nostalgic memories
bad, but because it represents, in my mind,
all the time about moments that I’d love to re-
the one failure of TwistedSpine.com Films.

live again.

The Tricky Treat was supposed to be one story Mike Watt: That’s a tougher question
in a projected anthology movie that our group
because there are elements of all of them that
decided to produce around the theme of Hal-

I’m immensely proud of, but only see the flaws
loween. I am not a fan of doing short films,
on the whole. I can sit through Severe Injuries but the group convinced me that an anthology
more easily than the others, because it’s shorter film would be fun to do. Reluctantly, I agreed
and tighter, with most of the cheesiness [being]

to participate, and wrote and directed the
the intended goal. Plus, I like that we have two short. Other members of our group were
very likable psychopaths as main characters.

going to write and produce their tales to add

But I don’t think I have a most or least favorite.

to the film. They never were developed or

Who is your favorite child? It’s not really a fair filmed. The anthology idea was scrapped and
question, because every one is an aspect of who
the short that I produced quickly gathered
we are as people and as a creative family.

dust on the shelf. Recently, I was able to shoot Ritch Yarber: My favorite film that I have some additional footage and retrofit the short
made is The Deep Dark Woods. The reason is, to fit the theme of another local filmmaker’s
we approached the project with a crazy goal,
movie, Welcome to Cretinville: Legend of the making a feature-length movie in one day. I

Melonheads, produced by Brian Lawlor of
wrote the script featuring the character of The

Laugh-at-the-Law Productions. The short

Ranger, a psychotic park ranger who killed
looks great in this film and I am glad that it is to protect the “Law of the Woods.” I cast
getting used, but it still reminds me of the time Michael Perzel, a fellow TwistedSpine.com
when I let the ball get dropped. I am not a fan
member, as the lead, which proved to be per-
of that.

Being an Independent Filmmaker

211

Mike Trivisonno (left, actor), Ritch Yarber (writer/director), and Michael Perzel (producer) at The 2011 Indie Gathering International Film Festival, during which Murder Machine! won for Best Thriller and People’s Choice.

Ivan Zuccon: I am very proud of all my

(2001). It’s true that you learn from your mis-
films since 2003, from The Shunned House on.

takes and, for this reason, it is a very important My favorite is always the last one, of course,
film for me. I had to make it in order to make
so it’s Wrath of the Crows, because it’s the fresh-the mistakes I would have never repeated in
est in my memory and the richest in recent
the future. It’s visually powerful, sometimes
events. Making a movie is like taking a wild
visionary, and has interesting insights, but the ride. A strong bond is created among the peo-plot is muddled and often stumbles. It’s all my
ple involved and when the shooting ends it’s
fault, but I had to make all these errors in
very hard to go back to your everyday life. It’s order to understand what direction to take in
like getting jet lag — you feel dizzy and empty
making movies. The films that followed are
for a while after the end of the shooting.

very consistent and I can say I’m proud of all

The film I like the least is Unknown Beyond
of them.

Working on Other People’s

Independent Films

If you’re not ready to take the plunge into
about filmmaking and needed me to do every-
making your own movie and want to gain ex-
thing from writing the screenplay to coordi-
perience, a way to do this is working on other
nating the production to casting the actors
people’s films as a crew person. I think the best and, ultimately, directing the movie. After we
way to gain experience, such as with shooting
worked out the details and what I was getting
and lighting, is to work as a production assis-
paid, I was on board.

tant on some professional video or film pro-

To put it mildly, this project went horribly
ductions, where there’s an actual budget and
awry and made me perfectly happy to just
you have a specific role to fill. In this way, you work on my own projects from now on. These
gain technical knowledge and know what it’s
are examples of what NOT to do on an inde-
like to work on a professional production. I
pendent film:

recommend you start with a “real” production
company that works in the “real world.” This

Dudley Does It
can be anything from television to com mer -
cials to corporate videos. The skills you learn

In 2010, nearly a decade after I directed my
are basic and will be applied to your own pro-
last genre feature, it looked as if I had landed ductions.

a Michigan producer. I had been producing/

Another way is to work on someone else’s
directing/shooting documentaries that were
independent feature. However, keep in mind
later broadcast on PBS, but I was itching to
that these particular filmmakers may offer ab-
do a narrative fiction feature. What this would
solutely nothing in terms of the actual film-
be exactly I didn’t know. This potential pro-
making. You may be more knowledgeable in
ducer said he had lists of great ideas and
many regards. You may end up working with
wanted to develop one of these into a script.

idiots who will offer only frustration.

This was Dudley, the Producer.

Last year I was having the itch to work on

This, of course, began with an email, which
a new horror feature. When I was contacted

I automatically take with a grain of salt. If I
by someone, with money for a budget and
had a nickel for every would-be producer who
who wanted to produce a monster movie, I
wanted to hire me to direct their movie I’d be
was interested, to say the least, and it would
set for life. This turned into a phone conver-
be a novelty not having to worry about com -
sation that escalated into a meeting about a
ing up with the financing. Working on movies
week later. He even paid for lunch, which con-
was something this guy always wanted to do
stitutes a big spender in Michigan. He had
but had gotten sidetracked with his real-estate
found out about me through some how-to in-
business. He had a story/outline for a script,
ternet videos I was paid to do some years be-
and lots of enthusiasm. He knew nothing
fore. Again, it was one of those things I did

212

Working on Other People’s Independent Films 213
for money, though I did put in all my two
kills for revenge. It took me two days to read
cents’ worth about making independent low-
through the stereotypical, basic story, but it
budget movies. And Dudley had purchased
was something I could do and change it
my first two books. So he seemed serious
around enough to make interesting. The main
about the endeavor.

reason I was interested is that he planned on

He explained to me how he’d written comic
releasing a comic book around the same time,
books in the ’80s, then got sidetracked with
which would be written and drawn by Vince
jobs and ended up in real estate. A big point

Locke, who had done the Deadworld series and was made that he wrote a story that was fea-was the artist on A History of Violence. We’d tured in the very same comic book as the very
both be basing our scripts on the same source
first “Crow” story and that he knew Jim
material — this 20-page outline, though it

O’Barr, the creator of that character. As soon
would be up to us what we did with it. I
as he told me this he whipped out the very
thought that was a great idea. Most important,
same issue and handed it to me to read. Really?

it would be something different.

I went through it in about ten minutes and

I also asked if he had access to video equip-
did my best to hide my true reaction. It was
ment, as he wanted to shoot this in high defi-
awful and derivative. I guess the point is that
nition. I did not have a HD camera. His an-
he always wanted to make movies and didn’t
swer: “Oh, I’m going to buy a camera and
want to wait any longer. It was a mid-life cri-
lights.” In fact, what he said he was going to
sis — only he wasn’t going for the affair — he
do was then rent it out as a “camera package”

was going for the film. The most surpris ing
to film students and make his money back on
thing, though, was when he told me how old
it quickly.

he was — only three years older than me, and

“Have you ever rented anything out

I thought he was in his late fifties. Then he
before?” I asked.

added that he had three children in the past

“No, but you just do it.”

ten years, and that explained the rapid aging.

It was a bit more complicated than that, I

The one thing that convinced me to do this
knew, as I had worked at video-rental places
is that he was sincere. He really wanted to
when I was right out of college. A bit more
make an independent movie. This was his
com plicated ... but one thing at a time. I wanted dream. I understood that. It’s what I had al-to do his movie before I ran his rental empire.

ways wanted to do when I was a kid — grow

Anyway, if he was buying the equipment, that
up and make movies, though it’s debatable if
was $10,000 of the budget right there.

I ever actually grew up. He also seemed to take

What Dudley needed from me was a de-
in what I was talking about — and if he had
tailed budget breakdown and what I would
watched all those how-to videos and read the
charge. So I went with the amount he told me
books he knew this wasn’t going to be a “Hol-
he had and worked backwards from that,
lywood Production.” Well, you know what
working in my fee for my work naturally. This
they say about “assume”...

was six months’ work, full-time. Because it

I got through the basics — what he thought
was such a low budget, I was the writer, di-
his budget was, and how, exactly, he wanted
rector, shooter and editor. It’s not that I nec-
me involved. This was $50,000, and with me
essarily wanted to do everything, it’s just that as the scriptwriter/director. He also wanted to

I knew I could. And the number-one rule of
shoot it by the end of the year, which was six
making a low-budget movie is to have as few
months away, so this would be quick. He had
crew people as possible working on it, in order
written down a 20-page outline of a horror
to get it done. The first movie I had done,
tale entitled “The Pharmacy” (terrible title!),

Vampires & Other Stereotypes, had over 30 peo-which was about a golem-like creature that
ple working on it and it really slowed things

214

HOW TO MAKE MOVIES
down and took about a month longer than I

The building was cavernous and barren,
thought it would to shoot. It turned out about
and it would take a lot of props to make it use-
half as well as I wanted it to be. Five years later ful for our purposes. I mentioned this.

I did Addicted to Murder, with just me and a

“Oh,” he waved, “we can just put a green
sound-person, and that went right on sched -
screen up and CGI all of the props in.”

ule. That turned out almost exactly as I envi-

I tried to explain that was probably more
sioned it.

work than actually getting the physical props.

Dudley agreed to everything I said and as-

“No, they do it all the time in Hollywood
sured me that my getting paid would not be
movies. I met a guy in Detroit who works for
an issue. I wanted him to sign a detailed con-
an ad agency and I saw his reel. He’ll be great
tract, which listed everything we had dis -
to do all this.”

cussed, and he said he had to show it to his

“Did you talk to him about this and find
lawyer. In the meantime he paid me the de-
out what his rate is?”

posit for the script — and within two months

“Oh, no, but I have his reel. I’m sure he’ll

I had the entire thing completed, exactly when
work on it, though.”

I said I would. There were certain things he

Oh, here we go...

was hung up on, like having the main female

I knew that if someone was working at a
character dress like a school girl (it was some
commercial agency they were getting paid real
fetish he had that I’m not even going to go on
rates, which was far above our budget. I didn’t
about here...) and another scene in which it
even bring this up to Dudley, since this was
looks like a guy eats another guy’s eyeball. I
outside his experience. I had to remind myself
didn’t see the relevance of that to the scene,
that this was going to be Filmmaking 101 for
but I put it back in. These were little things,
this “producer” and I’d have to treat it as such little hang ups. No problem.

if I wanted this project to work out. Besides,

The script was finished within two months

I was too busy scouting the location. Later, I
and he paid me on time. Then, I asked about
would have to go through my list of special-
that agreement.

effects people who were willing to work on

“Oh, I’m having my lawyer look at that,”

“budget” films.

he said. “He’s busy.”

When we finally heard back from Dave, the

Okay. Dudley wanted to go on to the next
owner of the loft, and went up to the fourth
step, which was scouting locations and finding
floor, I saw that he was doing a great impres-
a make-up person. The city of Detroit would
sion of an effeminate homeless man. I think
be the backdrop against which the story took
he had just awakened. His loft was huge and
place. He said he’d met someone at some De-
ramshackle, and I wasn’t quite sure what he
troit filmmakers’ meeting, who had a loft
did, though there was a studio green screen on
space in a building downtown, which he
one side of it, and a lot of backdrops and
thought could be used for the majority of the
props. He explained, in a faint lisp, that he did locations which took place around an old
a show (with producers and directors) that was
warehouse. I went with him since I needed to
on local cable. “Independent filmmaker” and
see this in order to plan further. What should

“movies” came up quite a bit, but I never
have been an hour drive took two, as Dudley’s
heard of him. When we went out for lunch,

GPS was not working. Once we got to the
because Dudley slyly whispered to me that
building he could not remember the guy’s loft

“once they agree to go to lunch with you,
number or even the floor. Another hour went
you’ve got them to work on your project.” I
by, with Dudley calling on his cell phone every
just think the guy was hungry since it looked
ten minutes. While we were “waiting,” we
as if he hadn’t eaten in days. We were also
wandered around the place.

joined by a woman artist who shared his loft,

Working on Other People’s Independent Films 215
this bald chick in a denim outfit. She was a
wanted to redecorate the street to look like a
local artist who kept on name-dropping other
street in Detroit. It could be done, but that
artists I’ve never heard of. And she had noth -
would be a lot of trouble. “I can get all my
ing at all to do with the movie we were mak-
friends as extras,” he assured me. “And I can
ing, as far as I could tell. The lunch went on
charge them to be in the movie.” I didn’t say
for two hours and nothing was accomplished.

anything because I didn’t want to encourage

Dudley didn’t bring up the fact that we were
what would be a mess. In the back of my mind
interested in shooting there, and, as producer,

I thought this was something else I had to add
this was his job. On the hour-long drive back
to my workload.

to the suburbs I asked him about this.

Around the same time Dudley said he may

“Yes, we’re definitely going to shoot some
have found a make-up person, a guy named
of the movie there.”

Hills, and wanted me to meet with him. The

“Do you need me to send you a location re-
meeting was at this odd restaurant that was a
lease so you can schedule all of this?”

combination bar and family center. One half

“That’s a good idea.”

was the “adult” section, and the rest consisted

“You should probably do it soon.”

of games, pool tables and pinball machines.

Twenty minutes later, he asked, “Do you

Dudley explained that this was his favorite
think Dave and that woman are an item?”

place and that he frequently brought his family

Was he really that clueless? “I think they are
here. This time of day is was empty. Of
both gay,” I said.

course, I was the first one there and waited a

His eyes widened in surprise. “What makes
half hour for my producer to show up, un-
you think that?”

fashionably late. We sat at the booth and

“I lived in New York and worked with the
waited ten minutes before I asked where the
fashion industry. I knew a lot of gay people. I
make-up guy was.

can tell.”

“Oh, I have to call him. He lives close by,

“No, I think they’re a couple.”

so he said to call him when we got here.”

I let him think that, since the alternative

Fantastic. The meeting was already an hour
was clearly too upsetting for him.

behind schedule.

After this “meeting,” during which nothing

Surprisingly, when he did show up, he
was accomplished, I was anxious to get home.

seemed to know his business and had an im-

But Dudley informed me that he had to take
pressive portfolio. The thing I liked the best
some photos of some buildings in the area.

is that he has a grasp of the low budget — he

What was this? I wanted to know.

was accustomed to making something out of

“I’m helping a friend of mine with locations
nothing, which is exactly what we needed.

for a movie he’s working on and told him I’d

Later that night Dudley asked what I thought,
take some photos of some rundown build -
and I said he’d work out. He shrugged. “I need
ings,” he explained.

to see his work,” meaning he had to see it in

Well, there was a plethora of ruins in down-
person. So another meeting was scheduled at
town Detroit, for sure. “Who is this guy?” I
the guy’s apartment, where we could see some
asked, already semi-knowing the answer.

of his props. This confirmed what I already

“It’s Jim O’Barr, the guy who created The
knew — that the guy could more than do the

Crow.”

job—and we left after 20 minutes, since I told

Of course it was. I think this guy was the

Dudley I had an appointment I couldn’t get
only minor celebrity Dudley knew.

out of. I just didn’t want to waste any more

In the following weeks, I went on a few
time.

more “scouts.” One was in his home town,

Dudley was excited and wanted to shoot a
about 40 minutes from where I lived. He
trailer for the movie.

216

HOW TO MAKE MOVIES

“But we haven’t even shot the movie yet,” I
make-up guy donned the outfit. We shot sev-
said. “It’s sort of backwards to make a trailer
eral takes before Dudley showed up and a half-
for something that doesn’t exist.” Actually, I
hour went by as he ooed and ahed over the
thought this would jinx things. Every time I’ve
monster. “We can use this scene in the movie!”

seen a pre-trailer, the movie never actualized.

he exclaimed. This wasn’t even the finished

Worse, it was the sign of an amateur film-
monster and this “scene” wasn’t even in the
maker. It was something I did not want to do.

script. Hopefully he’d forget this grand idea.

“We can use it to get investors,” Dudley ex-

Dudley wanted to shoot the monster killing
plained.

someone and I reminded him that we didn’t

Hmmmm. He had already told me that he
have another person in order to do this. I asked had the entire budget for the movie set aside.

if he wanted to get all bloody. He was taken

Why would he need investors? “I thought we
aback: “These are good clothes!” he said de-
were all set with the budget?” I said.

fensively. That answered that.

“If we get more money, we can do more,”

We did five more takes, although I already
was his reply. “And I can use the trailer for
had what I needed to put together the video.

promotion at the convention next weekend.”

I had to go.

“What convention?” I said, somewhat

“Send the video to me as soon as you get
alarmed.

back,” Dudley said.

“I rented a table at Detroit Comic Fair. I’m

“Don’t you want it edited?”

having flyers printed up and I want to show a

“Yes, you are going to edit a trailer.”

scene from the movie.” (Perhaps he should

Although I had already told him how long
have mentioned this to me.)

this would take, I repeated, yet again, “This

“Well, this is going to take away some time
is going to take me a few hours and then an-
from pre-production, at least ten hours.”

other hour or so to load up to the internet. So

“That’s fine, that’s fine. This is more im-
probably around 10 P.M. tonight.”

portant,” he smiled, not having a clue.

“You can’t do it sooner?”

So by the end of the week it was arranged

Maybe I could have, an hour, if he hadn’t
that I’d go to the make-up guy’s apartment,
been an hour late... “That’s the soonest,” I
he’d have the mockup of the film’s monster
stated. And that was quick. Everything was
ready to go and we’d shoot a sort of generic
done on schedule.

scene. We shot in the garage of a friend of his, With that over, this was now preproduction
since we needed a dark space. I must say that
time. The script was broken down into scenes,
the mask and hand prosthetics he made were
locations and special effects needed and, of
better than I thought they’d be. The creature
course, the most important thing of all — the
was basically a golem, made from a human
actors. While the planning was happening I
corpse combined with automotive parts (Hey,
put ads for actors on a few Michigan actors
we were shooting near the Motor City). The
sites and also on Backstage, which is the way
scene would be the monster walking in from
to do it. The one thing I couldn’t do yet was
a foggy/smoky darkness, looking at the cam -
schedule the actual shoot of the movie until
era, raising its hooked hand and walking by.

we had locations. Dudley told me, “I’ll take

All of one minute.

care of it — don’t worry about it.”

It took about an hour to set everything up.

Okay.

Of course, Dudley was nowhere to be seen.

There was a whole slew of places he talked

The make-up guy was concerned, but I told
about shooting. I told him he’d have to get
him that he was always at least a half-hour late, them to sign location-release forms, and also
and that we should shoot the scene. As we had
see if they wanted any money.

no other person to play the monster, the

“Okay.”

Working on Other People’s Independent Films 217

Weeks later, when I’d ask “Is that location
ing, we did need some extra hands, at least five secure?” he would say “Yes.” I was relieved that other people who could work the entire film
this wasn’t yet another job I’d have to do.

shoot, for two weeks. Another meeting was

However, when another month went by and
held at Dudley’s favorite bar/restaurant. I

I asked to see these locations, he said he hadn’t showed up, along with a 20-year-old guy who
spoken with the owners.

revealed that he was Dudley’s neighbor from

“I thought you said you secured every-
down the street, as well as the make-up effects
thing... I’ve asked you this many times.”

guy. Why was he here? He had nothing to do

“Yes, we talked about this.”

with crew decisions. But Dudley wanted his

“I kept on asking you if you had secured the
input, nonetheless. Dudley was excited about
locations and you said you had.” Perhaps I
the idea of getting all interns who maybe even
wasn’t making myself understood, although I
paid a fee, to learn on set so they’d be future
had sent him specific instructions on how to
workers. No, no, no, no. It was going to be a
go about this. So I wrote an detailed email,
challenge enough to shoot the movie with a
again defining that “securing means you have
small, tightly functioning crew who knew what
it locked in, that we have permission to shoot
to do. This wasn’t film school and I had no
there on specific times and days.” The reply
interest in worrying about students while I was
was this: “No, I don’t have that. I thought you
trying to get a movie done. This was bullshit.

meant that we already talked about it.”

I suggested we contact local colleges and put

Oh, my head...

ads for film students. They’d at least know

As it was now fall, there was no way it
their way around. And put an ad on the pro-
would be possible to start the movie any
duction websites. Something ELSE I’d have to
sooner then February. I assumed I would have
do as “ghost producer.”

to help on locations, but the more immediate

“We need an assistant director and a script
task was to start searching for actors. On Oc-
supervisor,” Dudley intoned.

tober 4, the casting info was on several actor

Yes, if we were shooting a million-dollar
websites. Hundreds of emails came in, which
movie. In this case those two titles were ab-
translates to dozens of hours of downloading
sorbed into “low-budget director.”

their résumés/head shots and sorting through

“No, we just need production assistants and
them. I told Dudley that we would have to
some gaffers — a few guys who know how to
have auditions in three weeks, at the latest.

set up lights.”

His job was to find a place where we could

Dudley looked around at the two other
have the auditions, just a room where peo ple
people, then at me. He was frowning. “Kevin,
could wait outside. I had done this many times
we need to do this professionally.”

when I lived in New York City, and it would

Seriously? Two hours later I left the meeting
be only $50 to rent a space for that amount of
with nothing accomplished. I had offered to
time. Every other day I emailed or called to
search for crew but the producer insisted, “I’ll see if he had secured an audition space. The
take care of it.”

reply was always the same: “I have a call out

I needed 30-hour days...

to a hotel I stayed at a while ago — they’ll give What I could work on was the actor situa-me a good rate on a conference room.” Wasn’t
tion. I contacted several genre actors I had al-
this simply a matter of calling them up and
ready worked with who would be perfect for
reserving the room for a specific day?

a few of the roles. I knew they would do this.

And what about crew? This was something

Dudley wasn’t sure they could act, although

I mentioned from the very beginning, as it was
he’d seen them in the movies I had done, and
the backbone of the actual production. While
demanded video auditions. Ron Ford, who

I’d be doing the directing, shooting and edit-
was up for the main role as the pharmacist,

218

HOW TO MAKE MOVIES
emailed the YouTube link the next day and it
bring a résumé/headshot and prepare a three-
was great — exactly what I had in mind for the
minute monologue of their choice and that
role. However, when I told my friend, the
they may also be reading a short scene or two

“Scream Queen” actress that he wanted to see
from the script. Auditions were from 9 A.M.

an audition tape and explained if it was up to
to 6 P.M., and they should show up during that
me she’d have the part — I was just humoring
time.

the “novice producer,” her reaction was this:

I emailed Dudley to make sure everything
was on schedule. I also emailed him explicit

No, I have thought about it and I certainly
understand someone wanting to see an audi-
instructions of how to behave during the au-
tion, but, I mean, I just starred in Tom Sa -
dition, such as sitting down and paying atten-
vini’s movie and he didn’t ask me to do this.

tion to them when they were performing, ask-

I wouldn’t mind, but I don’t know how to do
ing relevant questions, not spending more than
lighting and don’t want to send something
five minutes per actor. I did this because he
that looks like crap out to anyone.

was a yapper and I could envision him talking

So I want to thank you SO MUCH for all
endlessly about “his movie” with anyone who
the trouble you have gone to, Kevin. I really
walked in. I asked him to confirm that he re-
appreciate it a lot!! THANK YOU. But I
ceived all the info. When there was no reply I
won’t be videotaping an audition for him.

called his phone and left a message. He did

Happy holidays I hope to see you soon!!!

not call me back.

Debbie

Saturday morning was a severe snowstorm

I completely understood that she didn’t
and what would normally be a half-hour drive
want to waste her time. Hell, I didn’t want to
took an hour and a half. I left early, planning
be wasting my time. I relayed this info to Dud-for this, and arrived at 8 A.M., dragging my
ley and he thought it was for the best that she
camera and tripod as we’d be taping the audi-
declined, stating that she wouldn’t be right
tions. I went up to the lobby check in counter.

anyway. A few days later he brought up the

“Hi,” I said to the clerk,” can you tell me which bright idea of “flying to Philadelphia and
conference room is reserved for the auditions?

videotaping her audition.” He explained that

It should be under ‘Dudley Howard.’”

he knew someone who had a plane and that

The woman typed on the computer,
we could get aerial footage along the way.

frowned and looked up at me, saying, “No

“Uh, how much will this cost?” I asked.

one has reserved any conference room today.”

“A few thousand dollars,” he replied.

Uh-oh. “Are you sure there aren’t any audi-

“Shouldn’t we just put that money into the
tions here today?”

production? She already said she wasn’t inter-

“I don’t know anything about any au di -
ested in the part. And why would you fly to
tions. And neither of the conference rooms are

Philadelphia? She lives in New York City.”

scheduled today.”

“Oh.” Oh.

I quickly dialed Dudley and was promptly

The audition space room was set for two
sent to voicemail. I left three frantic messages months later, a week after Thanksgiving, for
in 15 minutes. Meanwhile, actors started
two days, a Saturday and a Sunday. He ex-
showing up early, so I directed them to sit
pected a huge turnout. I told him that my
down in the front lobby. I called Dudley again.

concern was that too much time had passed

Dudley stumbled in, appearing sleepy.

from the time of the original actor posting and

“So, are we all set?” he asked, a questioning
that the actors may not even remember the
look on his face.

posting they had responded to. It took two

“The hotel doesn’t know anything about
days to email all of the actors and send them
the auditions, and they say the conference
an “audition to do list,” which told them to
room hasn’t been booked.” I stared at him.

Working on Other People’s Independent Films 219

“Oh, I’m just getting a hotel room. We can
cared if it was in HD? The only two people
do it up there.”

who would see this were me and Dudley.

Oh, no. One of the things you never, ever

It began. There was a very sparse turnout.

do when having auditions is to have them in

I thought it was because of the horrendous
a hotel room. Unless you’re doing a porn, that
weather blowing outside the window — two
is. It’s simply unprofessional and makes the
feet of snow expected by the end of the day.

actors uneasy, with good reason.

But when an actor mentioned that they weren’t

“I really think we should do it in the con-
sure that the auditions were happening, I
ference room,” I insisted. “I mean, the actors
asked why.

are all waiting here in the lobby...”

“There’s a post on the actor’s website that

“It’s too expensive. We’ll do it in the room.”

says the audition was canceled. Someone called

I shook my head and walked away. I really
the hotel and they said there were no audi-
had to take a crap now. When I came back out
tions.”

of the restroom he was getting his door card

Someone must had phoned the front desk
to the room. “So, where’s the room?”

earlier, and since Dudley didn’t communicate

“It’s up on the third floor.”

with the hotel, they answered as best as they

No, no, no. “Do they happen to have a
could. So this actor or actress relayed this misroom on the first floor here?” He wasn’t un-
information on the website. The website itself,
derstanding. “If we have it on the third floor,

“Midwest Actor’s Resource” printed the hear -
how are we going to coordinate the actors?

say. And people obviously listened. I was ex-

You’re going to have to keep on running up
pecting over 200 people to show up, but only
and down the stairs to get them.”

50 actors were taped that first day. Weeks of

“That’s a great idea. I’ll see if I can switch
work — poof !

the room.”

While I did most of the talking with the ac-

He did. However, there was a king-sized
tors, answered questions and videotaped their
bed, along with a just-as-large hot tub. I must
bits, Dudley sat at the desk, typing furiously
have stared at it for a full minute. Then, I
at his computer, not paying any attention to
moved out the desk, put it in front of the bed
the performances. He’d get up in the middle
and the hot tub, to sort of downplay it, then
of a monologue or scene, read, go into the
set up the camera and tripod in front of the
bathroom or walk out the door, down the hall-
desk. Hopefully, this wouldn’t be too much of
way. There was no rhyme or reason other than
an issue.

that his ADD was acting up. Then, at five o’-

While I was doing this setup, Dudley had
clock his wife and three children showed up,
disappeared. There was something he had to
bearing bags and swimsuits. He neglected to
get in his car. When he came back he had a
tell me that they’d be coming because they
new HD camera and tripod. “Do you want to
wanted to use the hotel pool. This was not
try out the new camera?” he asked.

cool, nor was it professional. I was still mor-

I looked at my setup and then back to him.

tified we’d been doing this in a hotel room all

We needed to start seeing actors in minutes.

day.

Why didn’t he mention this when he first

The post was taken down that night, but
walked in? “No, there’s not enough time,” I
the harm was done. About 30 actors showed
said sternly.

up the following day. I turned to Dudley and

“That’s a shame, I wanted to try out the
said, “I think we’re going to have to do this
new camera. The auditions will look better in
again.”

HD.” The disappointment was palpable.

“Why? I think we found some great peo-

“Seriously, it doesn’t matter, we’re just using
ple?”

the video to view their performances.” Who

What the fuck was he talking about? He

220

HOW TO MAKE MOVIES
hadn’t even witnessed half of the auditions; he
later I tossed in the towel. I wasted enough
was either internet surfing or talking on his
time and energy on this no-go project. As
phone.

email wasn’t working I mailed him a letter say-

I assured all of the actors that we’d let them
ing, “Best of luck, hope it turns out exactly
know our decisions within two weeks, by Jan-
like you want.” After all, I had gotten paid for uary 7, and I reminded Dudley about this. He
all my work. It’s just that the work did not
and I had talked about this ahead of time, so
cul minate in anything. There was nothing left

I thought we were on the same page. As it
to do.

turned out, we were on different chapters ...

In April, three months later, I was emailed
in different books. In different languages.

by the make-up guy, who asked if I was in

“Yeah,” he beamed. “This went well.”

contact with Dudley. He was frantic because

I wasn’t going to argue. “Okay. Well, I’m
he had put his own money —$500— into all
heading out of here. I’ll make a copy of the
of the make-up supplies he had purchased and
auditions on DVD and mail it to you in a few
wanted to be reimbursed. Of course, Dudley
days.” I did all of this, along with my recom-
was not returning phone calls or emails. I was
mendations, the three best actors for each part.

curious: “When did you last hear from Dud-

Over the next week I spoke with my producer
ley?”

a few times, though he had very different ideas

“It was the end of January. He said he was
for the lead characters. Basically, what deter-
having some money problems.” Of course he
mined the actresses for him was breast size
was.

rather than talent.

“Well, I haven’t heard from him since De-

“Well, let me know if we need to do more
cember 12th. I emailed and called over a dozen
auditions — we’ll have to adjust everything.”

times. He never told me he had run out of

“Oh, no, we’re fine,” he insisted, clearly
money, and he wasn’t able to do the movie.

pleased in his ignorance.

There was no contact whatsoever, just silence.”

The two-week deadline was nearing and he

The make-up guy asked me if I wanted to buy
would not give me the list of actors to contact.

the props, that maybe I could do the movie.

All contact stopped. Another week went by,

“No, he hired me to write the script, it’s his
during which he did not reply to at least one
property. I was just a hired hand.”

email and phone call every day. I emailed the

One year later I was still receiving résumés
make-up guy and he said he was supposed
and emails from actors about this never-exist-
to meet with the producer the following
ing movie. It was the only — and last — time I
week.

ever worked on a feature that never existed. If

Maybe Dudley had either decided he was

Dudley had just given me the money for the
going to do things his way, and ditched me,
budget and let me handle everything, the
or he ran out of money. The only thing I could
movie would be completed and distributed at
do was guess, as there was no contact. A month
this point.

The Filmmakers were asked:

What is the worst thing that ever happened
to you while making a movie?

Glenn Andreiev: In 1993, we raised a
brand new car) towards making a larger bud-
large sum of money (let’s say enough to buy a
geted film. The rest of the money was to come

Working on Other People’s Independent Films 221
from a South Florida “finance company.” That
shoot as much as we needed. Thus, the benefit
company stole that money using fraudu lent
of being diplomatic. But the lesson here is
documents for funds that didn’t exist. I got
simple: being a filmmaker does not give you
the F.B.I. and the Florida State Comptroller’s
the right to be disrespectful. Think about

Office on them, and the scam artists went
what’s going on around you and act accord-
to jail. The money, of course, was never re-
ingly. We could have easily shot that footage
turned. One of the scammers fled and I believe
on a Saturday and not risked offending the
has yet to be caught. Other than that, I badly
parishioners. I tell this story because it’s so rel-scratched up my back doing a fight scene for
evant to using your head as a filmmaker.

Silver Night.

Richard Cunningham: A third-degree

John Borowski: The worst experience I
sprain to my right ankle. Out of all the dan-
had while making a movie was when the first
gerous stuff I did during Lycian, including interviews for Carl Panzram were shot. We fighting with a real sword for a sparring scene, were shooting with a Panasonic camera and
the sprain happened pretty ingloriously. A re-
utilizing the new P2 card technology. During
porter had shown up to do an interview. I was
the shoot we had to continually transfer the
answering questions in the village we had con-
footage to a master 1TB hard drive. After the
structed, and at the end of the interview the
shoot, I transferred all the footage to the hard reporter wanted to take some publicity shots
drive. The hard drive crashed. What I did not
of us on the set. We had built a guard tower
know was that the hard drive was a raid con-
out of rough pine and it was an ideal photo
taining two hard drives. So half of the infor-
op, so I climbed it, and when I hopped back
mation was written on one drive and half on
down off the ladder I landed on a block of
the other. This made the retrieval of the data
wood that twisted my ankle over. It instantly
impossible. So, not only did I lose the footage
swelled up like a balloon. I had to cut the in-
from the weekend, but I also lost about ten
terview short with the woman to go to the
years’ worth of data that was on the drive. I
emergency room.

was ready to quit the Panzram film and filmI was also one of the lead actors in the film,
making. Because I am so dedicated to my films
and there are a few scenes where I’m noticeably

I eventually reshot the interviews. I now shoot
walking with a limp, because I was on still on
on HDV, so I have a tape backup in case the
crutches.

data is ever damaged or lost.

Maurice Devereaux: During the shoot

Keith Crocker: When I was shooting the
of Blood Symbol, my co-director and director 16mm short, One Grave Too Many, in 1989, I of photography Tony Morello, for some
made the mistake of shooting the grave-rob-
strange reason, decided to stock all of our
bing scenes at what I thought was a deserted
rushes into his big hockey duffel bag that he
cemetery on a Sunday. Suddenly, the dilapi-
carried around with him at all times. He had
dated doors to the church burst open and out
over 150 reels (two weeks’ worth of shoot ing)

poured the parishioners. They came right over
in his bag, and during an early 6 A.M. Sunday
to us and started reading us the riot act for not morning, we were shooting in a deserted
getting permission to shoot there in the first
ceme tery. We had brought the main char -
place. Lucky for me, Paul Richichi was in a
acter’s bedroom set into the cemetery for a
chatty mood and decided to intervene, bab-
dream sequence. We were busy shooting,
bling on that this was a class project, that we
when we looked around and Tony’s bag was
had to shoot a horror-themed project and we
gone and all our rushes with it. We spent the
had no clue the church was still being used, et
rest of the day looking for it, to no avail. We
cetera. Anyhow, the pastor was a female, and
were absolutely crushed. We got a call late that actually liked us and gave us carte blanche to night around 11:30 P.M., and it was the police.

222

HOW TO MAKE MOVIES

They wanted us to go to a police station far
money to do so, so after uttering many verbal
from where we were. Confused, we asked
threats to me, to no avail, they tried to bribe
why. They would not tell us. We arrived at the
my actors to leave the set and quit the film,
police station and a cop pulls out Tony’s duf -
with the promise that if they did, they would
fel bag. I almost fainted. Then another cop
receive full entry to be union members (some-
approaches and, with a very stern voice, asks,
thing that usually takes years). Luckily, the ac-

“What were you doing in the cemetery?”

tors didn’t quit. I’m all for unions, but in this

“Shoot ing a film,” “What kind of film? A
case, they wrongly though we were a BIG film
porno? We can arrest you for that you know...”

trying to circumvent the union and not pay

Me and Tony look at each other baf fled...

people, when were basically trying to get by

Suddenly the other cop starts laughing... They
with next-to-no money. Later, I learned that
were just teasing. What happened was a man
the producer (the one who at went bankrupt
was taking a walk in the ceme tery and saw all
and left the project) had shafted the union be-
our stuff, and thought that we were robbers!

fore, and they though he was still involved

So he took the duffel bag and brought it to
with my film.

the police! Unfortunately, Tony’s wallet was

But, hands down, the worst thing that ever
also in the bag, with $100 bucks that myste-
happened to me during a film was on End of
riously disappeared. But, luckily, we got our
the Line. You know, I always laugh when I hear rushes back. Also, a few years later, after
about directors on big studio films that talk
spending over $12,000 to transfer all my
about “the pressure” they are under. Well, let
rushes to videotape (to edit the film), I had
me tell you, you do not know what real pres-
them in a suitcase and was taking the bus
sure is until you have sunk every dime you
while reading Stephen King’s The Stand, so own and borrowed even more to make a film.

I was distracted. Suddenly, I go to pick up

That, my friend, is real pressure! When shoot-the suitcase and it is gone... The world spun...

ing End of the Line, it was my first union shoot I looked everywhere, and retraced where I

(no visits from goons this time) and I was get-
had been... Nothing... I went home and was
ting a discount from the Actor’s Union on the
totally numb. Luckily, I had had the good
rates for the actors’ salaries, but in exchange I sense beforehand to put my phone number
had to pay the complete payroll of all the
on all the cassettes. Someone called me who
actors for the entire film before the start of the had found the suitcase. Ever since, I always
shoot, and it was “non-refundable” (the amount
put my name and number on everything im-
was close to $100,000). So any canceled days
portant.

due to unforeseen circumstances, would be all

On the shoot of Lady of the Lake, during a extra cost to me, as I could not afford the ex-sword fight scene between our actors Eirik
pensive, “all-inclusive” insurance packages that Rutherford and Chris Piggins (in full armor),
would cover various mishaps. Unfortunately,

Eirik fell to the ground and hit his jaw against my father passed away during the shoot, and

Chris’s armored knee and cut it deeply; he had

I could not take any time off, as it would’ve
to be brought to the hospital. I was terrified,
cost me thousands of extra dollars that I did
but he was okay, [although he] needed stitches.

not have, to cancel or even delay shooting

So for the rest of the shoot I had to shoot Eirik days. So I had to plan and organize the funeral
from one side of his profile so as not to see his on my lunch breaks for the next available off
big bandage or, later, the stitches.

day. I think anyone who has ever directed a

During Slashers we had non-union actors movie can empathize how hard it must have
and, one day, reps from the unions sent big
been for me to keep going and keep my focus.

goons to push me around and try to make the

Unfortunately, a week earlier, my girlfriend of
film a union production. We did not have the
four years left me, and my mom had died four

Working on Other People’s Independent Films 223
years before, so I was all alone to deal with this VH1 reality show Megan Wants a Millionaire.

very difficult situation. I don’t think anything Jenkins murdered his wife just three weeks
worse could ever happen to me during a shoot.

after our show debuted, causing VH1 to im-

But it’s now October 2011 and I haven’t been
mediately cancel all remaining episodes.

on a shoot since, so who knows... If ever I do

Jeff Forsyth: I really don’t know. Maybe
another movie, I’ll probably be in a horrible
it’s like a mother’s experience after giving
accident that will leave me crippled, disfigured, birth. It was difficult and painful but I don’t
broke and homeless.

really remember the bad in any of the experi-

Donald Farmer: The dead body our ac-
ences. And I know there was. But, generally,
tress found during Cannibal Hookers was when I do remember those experiences, the
pretty bad. Most of the other terrible movie
memory is anchored with the memory of how
incidents have happened after the fact. Like

I overcame the issue and persevered.

reading about the death of Margaux Heming-

Richard W. Haines: The worst thing that
way just ten months after she’d starred for me
ever happened to me was losing creative
in Vicious Kiss. The same with Dana Plato, al-control during the production of The Class of though that was a few years after we made

Nuke ’Em High. Whoever controls the financ-Compelling Evidence.

ing controls the content, which is why I pro-

But one of the worst things to involve a
duce my own movies now. I still subscribe to
movie I made happened 15 years after we
the auteur theory of filmmaking, even though
wrapped production on Deadly Run. Our co-it’s fallen out of favor in the industry.

producer, Samuel Rael, had apparently con-

William Hopkins: As hard as both shoots
sulted with a man named Gary Hilton to con-
were, I don’t think anything was more depress-
coct the plot about a serial killer who stalks
ing than having the money run out midway
victims in the woods. Hilton also helped Rael
through production of Sleepless Nights. That find some of the out-of-the-way locations we
was a low point. To have put that much work
used in the Georgia mountains. Eighteen years
into something and then have it be shut down,
after that movie was released on video tape,
with no way of knowing if we’d ever be able

Gary Michael Hilton would admit to a real-
to complete it, was as bad a feeling as anything life murder in the Georgia mountains. He is

I’ve experienced on either film. But, in the
now in prison, serving time for the kidnapping
end, we were able to get the production back
and murder of hiker Meredith Emerson, and
on track and complete the film. And we

[is also] a suspect in three other murders. Rael learned a lot from the experience, and were
said that Hilton was never officially part of the able to put what we learned to work when we
production of Deadly Run, but he claims that started on our second film.

Hilton would stop by, and would even offer

Steve Hudgins: I got poison ivy while
advice to the main character.

filming Hell is Full and we accidentally broke In a final twist to this very strange story,
the window on the front door of a house that
when a search party gathered to hunt for the
someone was gracious enough to let us use in
missing woman Hilton killed in the Georgia
our latest movie, Spirit Stalkers.

mountains, a member of that search team was

Rolfe Kanefsky: Well, if I had been the
a movie producer named Don Babb. Just a few
one who died during Blonde and Blonder, I months earlier, Babb had produced my film
guess that would have been the worst thing.

Chainsaw Cheerleaders. So, basically, the story But since it didn’t happen to me I have to go
of a real-life serial killer has intersected two of with my experience making Corpses.

my movies. And, if that wasn’t enough, one

Corpses was actually a never-ending series year later, in 2009, I’d co-star with future wife of worst things. I could write an entire book
killer Ryan Jenkins when I appeared on the
about this called “How NOT to produce a

224

HOW TO MAKE MOVIES
movie: The Unmaking of Corpses,” but right who are in the news, because, that way,
now I’ll try to give you just the highlights.

you can have a name but not have to pay

Hire the ex-boyfriend of the head of the

SAG wages. And I’m talking a list of
company to be the development person who
names like “Monica Lewinsky,” “Siegfried
has a personal grudge going on that has noth-
and Roy,” “Pete Rose,” “Heidi Fleiss.”

ing to do to your project. Oh, and make sure

(NOTE: I went with the only actor on
he is also a frustrated screenwriter.

the list, Jeff Fahey. Thank God he
agreed.)

1. Get the greenlight to write the script a day 9. To save money on locations, shoot in a
before Christmas and make sure the dead-
real funeral home with real dead bodies
line for delivery is a day before New Year’s
everywhere — and I mean everywhere! I

Eve. That’s right. Give us a brilliant script
will not talk about the smell. You don’t
in five days in the middle of the holidays.

want to know.

Fun times ahead.

10. Flip your two-week schedule around the

2. Have the development guy call up the
weekend before shooting begins so none
writer (me) on New Year’s Eve, drunk, lik-
of the special effects, props, or anything
ing 90 percent of the script but upset about
else will be ready in time.

one point and then scream at the top of his

11. Make sure you don’t have all your loca-
lungs that “I will never work in this town
tions lined up so the night before filming
again” so loudly that he pops a blood vessel
you can still be wondering where you’re
in his eye!

going to be shooting the following day.

3. Make sure half the company quits or is

12. Make sure none of the cast is giving good
fired a week before production of your film
directions to get to the location the night
begins, including the development guy.

before so everyone gets lost.

4. As the head of the company, leave town for

13. Make sure there’s no film for the camera
the entire production and bring in a new
for the first two hours of the shoot.

producer who has a personal agenda that

14. Hire a sound man who is narcoleptic.

has nothing to do with the success of the

(I’m serious. It happened.)

movie he’s producing.

15. Hire a make-up woman who is so mean

5. Hire a director of photography whose wife
she insults one of the leading actresses and
is pregnant and expects to have the baby
sends her off, crying.

right in the middle of the production.

16. Find out a week into production that the

6. Make a zombie film with a wardrobe bud -
lead actress is pregnant and it’s unsafe for
get of $300 so there won’t be any duplicate
an unborn baby to be around the chem-
clothes when the blood and gore happen,
icals they use in embalming rooms, espe-
so you can’t do another take even if you
cially when you’re shooting in a real,
wanted to.

working funeral home.

7. Force the director to shoot on 35mm when

17. Schedule the film around the funeral
the budget is barely $50,000 so you can
home’s working hours so the whole cast
only shoot short ends (that’s the leftover
and crew will be shooting nights, coming
film that lasts five minutes — if your
to set during rush hour at five to six P.M.

lucky — but usually runs out in 15 to 30
and leaving at rush hour at 8:00 in the
seconds into a take). Oh, and make sure it
morning.

comes from different film stocks be cause

18. Make sure you have one make-up artist
it’s cheaper. (38,000 feet of film for a full
who has to get almost a dozen actors into
feature! Yay!)

zombie make-up so that he isn’t done

8. Try to cast the movie with non-actors
until two hours before wrap time.

Working on Other People’s Independent Films 225

19. Hire a new cameraman to take the place
many of my lines to other characters. I also
of the one whose wife had the baby to
wrote new scenes on the set to make sure I
shoot the other half of a scene that he
shot my page count for the day. I would direct
wasn’t around for in the first place.

with hand signals, with my line producer call-

20. Have an editor cutting the scenes without
ing out what I meant. Too weird.

director input so rough cuts can be shown

Chris LaMartina: It’s Murphy’s Law.

on set that make it look like nothing cuts

Anything that can go wrong will go wrong.

together properly.

We’ve seen it all: locations falling through

21. Don’t get permits for your location so you
at the last minute, actors double-booking,
get kicked out at midnight when you were
one-of-a-kind wardrobe disappearing. props
supposed to wrap at 5:00 A.M. and be -
break ing, car problems, hard drives failing
cause of this...

and (my personal favorite) blood-stained car-

22. ...put together a secret second unit to
pets.

shoot a scene that was missed because

A week into shooting Book of Lore, one of of the lack of permits and DON’T TELL
our leads got mono, and our tight schedule

THE DIRECTOR about it!!!!! Also, don’t
was basically thrown out of the window. Our
tell the cameraman, script supervisor or
shoot was supposed to be a month long ... it
sound mixer. Schedule it the next morn-
ended-up stretching into four months (mostly
ing in a secret location right after produc-
nights and weekends).

tion shot all night so the director won’t

Three weeks before we shot President’s Day, be aware of it. (NOTE: The director did

[the reps for] our high school location decided
find out, threw a fit, discovered where
a gory movie was not good for their reputation
the shoot was taking place, and ended up
and pulled their involvement. We’d written
directing it anyway, after having worked
the script specifically for that school, and we
all night, all day and then another all-
were screwed. The budget was already half
nighter!) Also, shoot the scene without
spent on props, wardrobe, and effects. We
sound, even though there’s tons of dia-
scrambled, but, luckily, found a replacement
logue.

at the last minute.

23. Don’t add any days to the production and

How Witch’s Brew was even finished is an just cut out the 30 pages of the script that
enigma to me. We faced every obstacle known
weren’t shot. It’ll make sense, right?

to man. Our budget (from Kickstarter), didn’t

24. And, in post-production, allow one hour
get deposited until two weeks before shooting
to color-correct an 85-minute movie.

... which meant our effects crew and costume
department were self-funding and waiting to

There’s actually a lot more I could add but
be repaid. We had to fire an actor (a first for

I think that gives you an idea of the worst ex-
me); we had locations that weren’t found until
perience of my career ... so far. I didn’t think days before we shot; and — the worst, for
it could be beaten, but this past year it came
me — was getting laid off from my job and re-
pretty close. However, that will be another
alizing my healthcare costs were going to jump
book, this one entitled, “Making Seven
to terrifying heights (damn my dysfunctional

Feature Films Simultaneously: Do NOT try
pancreas). After our first day of shooting, I
at home ... or anywhere else!”

was an emotional mess and almost called the

Brett Kelly: I got laryngitis during the
entire production off. Luckily, my partner,
making of Pirates: Quest for Snake Island. I was Jimmy George, is a good friend, my number-directing and was also the lead actor in that
one cheerleader, and a hell of a producer. He
film, so to lose my voice was devastating. I
saved that movie ... not just that day, but con-
ended up thinking on my feet and giving
sistently. He never let me give up.

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HOW TO MAKE MOVIES

Jim Mickle: During the shoot for Mul-
this? At some point this feeling occurs with
berry Street, my girlfriend’s brother died. She any project I create for public consumption.

was producing my film and another film at the

Eric Shapiro: After we finished shooting
same time. It was devastating for both of us,

Rule of Three, the hard drive with all the foo -
but also a complete shock to happen during a
tage on it crashed, and we had to go through
shoot because you live in a bubble when you’re
a very painstaking, methodical, nervous-
making a film and something like that can
breakdown-inducing process to save it. Not a
snap you back into the real world pretty quick.

happy time, and I’m still somewhat shocked

Hurricane Katrina happened that week, too,
that we came out okay.

and I knew nothing about it until weeks later.

Anthony Straeger: The worst thing that

It was a very emotionally complex situation to
ever happened to me was realizing that after
go through an intense, personal, emotional ex-
two days into shooting Call of the Hunter, I perience like that while also making a first fea-hadn’t really given myself enough time for the
ture.

whole project. And the reason was simple

Damon Packard: Can’t think of anything
enough: I didn’t have enough money to pay
truly horrible, but there was a disastrous day
for an extra two to five days.

of Foxfur shooting that never happened be-It was late on the Monday night and after
cause of bad planning.

dinner we returned to the main location/house

Brad Paulson: There have been so many
we were staying, and, after a nightcap, every-
bad things. Where should I begin?

one went to bed. Stephen knew I was worried

Our lead actress had a father who had a
and asked if he could stay up with me, but I
heart attack a week into the shoot. Murphy’s
needed some time on my own and time to

Law really had it out for us on that movie. Ei-
think. I sat at the table with a schedule that
ther that, or it was the Fates testing me to see had already fallen behind, and I felt sick be-if I was really prepared to make movies for a
cause I didn’t know what to do to makeup the
living. Making it through that movie cured
time. I already had a full schedule, and pulling my nerves for upcoming projects.

back the scenes wasn’t so easy. I worked and

Jose Prendes: On the first day of shoot -
re-jigged the schedule, and the following
ing Monster Man, I had assembled the cast and morning I announced a new battle plan.

we headed out toward our location, which was

From that night on I had less than two
an hour away from anywhere in Homestead,
hours of sleep per night and pushed myself to
which is Florida farm country. When we get
find the time and compress the schedule so
there, we set out the snacks and the lunches
that we could complete. We did shooting an
and tripod. I grab the camera and set it up as
average of seven minutes per day. The good

I instruct my friend Javier Castineira, who was
news was, I succeeded. The bad news was that
my assistant director, to open up the new pack

I had a migraine for about three days after-
of tapes. He responds with, “What tapes?” It
wards.

turned out that I had had so much on my

I do believe that [Murphy’s Law], “If it can
mind that I packed everything ... except the
go wrong, it will!” really exist in the world of damn tapes. We had to scrap the whole day
filmmaking. It doesn’t matter how much you
and the location, which was a major disap -
plan, something bad will happen, and at that
point and got me so mad that I ripped the
point, as the director or producer, you have
rearview mirror off of my car’s windshield.

to make a stand and resolve it.

Paul Scrabo: The worst thing is the sud-

Marc Trottier: As I mentioned about al-
den, overwhelming chill that overtakes you
most being scammed... I hired someone to
that you are making a complete disaster, and
re-edit Darkness Waits, and they ended up try-why the hell am I involving other people in
ing to renegotiate the fee in the middle of ed-

Working on Other People’s Independent Films 227
iting. I had paid half up front, with the other
film on which the dialogue had been trans-
half to be paid upon completion of the project,
ferred degraded after years of shuttling back
and they requested the second half to be paid
and forth, so we were forced to retransfer all
beforehand, which I declined to do. It began
the original one-eighth-inch Nagra masters
to be apparent how much of a problem their
after the negative had, finally, been transferred social ineptitude was going to be to deal with.

to digital. Every line of dialogue had to be first Then there were complaints about it being
re-synced —and our camera logs were so woe-
more work than they expected, saying that
fully kept that I basically had to do this by
they wanted to be paid more, which I de -
both eye and ear to make sure I was laying in
clined. Then they said that other jobs would
the correct takes. After that, audio whiz Rich
take precedence during the day, leaving a cou-

Conant (whom I met through Absence of Light
ple of hours at night to work on my project.

director Patrick Desmond) was able to engi -

This finally escalated to the point where they
neer all the dialogue tracks for consistency.

manufactured an argument as an excuse to not

Still, there were a number of lines we simply
finish the job, in which they said they’d keep
had to loop, which required tracking down
the money since half the job was completed.

the original cast.

At this point, with the conversations we were

If I had to choose the absolute “disaster” of
having, I realized that I was dealing with

The Resurrection Game— as well as our entire someone who appeared to have mental prob-career —[that] came about due to a processing
lems as well. After a stressful period, I was able error. Much of the negative of the film’s second to get the work that was done, but I have no
reel suffered a chemical splash, resulting in
doubts that I would’ve lost the second half of
little amoeba-like burns floating around dur -
the fee as well if I had agreed to pay it early.

ing key sequences and permanently ruining

The hardest part was trying to remain calm
the original camera negative. I had to learn
while dealing with this individual, because

After Effects and Photoshop over the course
after everything that had already happened,
of a week in order to paint out the worst of
the situation could’ve ended very badly for
these burns, and, to this day, I’m not 100 per-
them. The lesson learned was: You get what
cent satisfied with the results. (I also dis -
you pay for ... and sometimes when you deal
covered that the lab had transferred the nega-
with unstable individuals, you don’t get any-
tive to DV tape on EP speed, resulting in a
thing at all.

slightly degraded and pixilated picture, but

Mike Watt: On The Resurrection Game we not until long after the lab had gone out of
were in over our heads from day one, but we
business. Go figure.)

rolled with whatever came our way. If a loca-

All of those things were learning experi -
tion fell through, we rewrote and made do
ences, and, to date, we haven’t duplicated the
with whatever we could get. The rock bottom
mistakes or suffered the same indignities.

of that particular movie’s production was

We’ve been amazingly lucky during our 15
when our lead actress’s marriage fell apart dur-
years in the “business” in that we haven’t en-
ing shooting and she abruptly decided to move
countered much disaster. Admittedly, only
to Greece. This required a recast and a quick
part of this is luck; the rest of it is anticipating rewrite of the character, and it set us back
disaster. The worst things that happened were
nearly four months. Which, of course, also
usually on account of miscommunication.

meant a huge loss in film, processing and time.

One source of frustration on Splatter Movie

Because of our limitations of equipment
was due to shooting during the haunt’s off-
and experience on The Resurrection Game, season in mid-summer. Also, it was one of the
most of our biggest problems came during the
hottest summers in Pittsburgh’s history. Since
lengthy post-production period. The magnetic
the primary haunt season is autumn, none of

228

HOW TO MAKE MOVIES
the interior sets were air conditioned, natu -
devoured over the course of two weeks, with
rally. Which meant we had to up the water
more money having to be scrounged for post.

and Gatorade supply for all involved. Being

On other occasions, though, limitations
summer, volunteers and employees were also
magically became advantages, as I’ve illustrated building and rebuilding parts of the haunt
above. Throwing money at the problems on
while we shot. We were able to work this into

Demon Divas didn’t give us more time. Using the script and story, though, so we could
only dedication, boldness and the sheer kick-
always explain the sudden whir of a circular
assedness of the cast and crew on Razor Days saw or frantic hammering on the tracks. But
saved us time down the line and resulted in
the best (or worst) was that entire rooms would
magic. This is where being independent is
disappear overnight, which made shooting
truly the best direction. Hollywood demands
pick-ups quite challenging. Sometimes the
perfection and will pay any price to achieve
rooms could be located (we’ve never needed
it. The indie world rewards risk and persever-
an “on set location scout” before or since), but ance. Fortune favors the bold and resource-most of the time, they’d been repainted and
fulness begets art.

redressed in the space of 12 hours. This also

Ritch Yarber: The worst thing that ever
prevented us from orienting ourselves to any
happened to me while making a movie was
great degree. We’d go down a familiar hallway
the miserable experience of going through the
and the door that was there yesterday was sud-
computer crashes that plagued the production
denly a solid wall the next!

of Murder Machine! The frustration of getting On Demon Divas there was a complete mis-to a certain point and then losing everything
understanding on our parts as to what bowling
is indescribable. This happened more than
alleys had to go through for “league play.” The
once on this production and really caused the
owners told us that they’d be closed through
whole thing to grind to a halt. We did not
the month of August, so when we began sched -
have the means to quickly obtain new equip-
uling, we were under the impression that we
ment, and had to wait for an interminable
had six good weekends to ourselves at the alley.

time to finally be able to move forward with

As it turned out, four of those six weekends
post-production. The pressure from every -
would be dedicated to reconditioning lanes,
body who donated their time and efforts to
retraining staff and machine maintenance.

the film were overwhelming, as they pressed

Which meant that our six weekends became
to find out what the holdup was. I am ada -
a mere six days of production time. Flights
mant about my obligations and not being able
were rearranged, hotels had to be rebooked
to quickly fulfill my promises weighed greatly
and a transportation chain had to be sum-
on my mind every day, causing great mental
moned from scratch. The resulting production
anguish, like a dread that lies thinly disguised, felt so rushed and hectic that we were literally but never goes away, leaving an endless sick
tearing pages from the script as we went along,
feeling in the pit of my stomach. I hope to
purposefully staging scenes in front of some
never have to experience that again.

easily borrowed backdrop that could be re -

Ivan Zuccon: I don’t know if it’s the worst, located to another person’s wall in the future,
but certainly the strangest and most disturbing
and many, many cast and crew doubled
thing was the first week of shooting of Colour (shemped) for others. On one day, two or
from the Dark. We shot in an old and beautiful three different actresses wore Brinke Stevens’s
farmhouse and had an incredible series of mis-
costume and were shot from the neck down
adventures. The first week was the most diffi -
to transition from one shot (from last week)

cult, not because of the shooting schedule or
to the next (shot the following week). This
the actors or anything like that, but because
slight disaster resulted in our budget entirely
of some (actually, many...) strange episodes

Working on Other People’s Independent Films 229
that dramatically slowed down production.

out there was a mysterious guest on set; in fact, Within a few days we had to replace two HD
through the smoke coming out from the
cameras that mysteriously stopped working
smoke machine we glimpsed a sulky face, the
properly; the second camera was actually
same in each picture. From then on we began
recording and stopping by itself. Fortunately,
thinking about the presence of a ghost or a
the third camera did not give us problems.

naughty poltergeist. Our visual effects super-

Both of my cars broke down: the first had
visor took a couple of mysterious photos, too.

brake failure, the other had a broken engine!

There’s an unbelievable photo sequence where

And I could go on and on, telling about other
you can spot a black, foggy substance taking
accidents that happened almost everyday to
human shape while rising from the ground of
people and things on set. We were shocked!

the yard in front of the farm: a really inexpli-

After the first week we were so behind schedule
cable and disturbing picture! However, after
that we had to work on days off. The executive
the first week, strange episodes became less
producer of the movie, Roberta Marrelli, took
and less frequent, so that we managed to finish
some pictures during the shoot, and we found
shooting the movie.

Your Career as an Indie Filmmaker

When people ask me what I do for a living,
movies and my library of titles grew. I even

I don’t tell them I’m a “filmmaker.” Nowadays
quit that staff job in ’97, to do the independent that’s a meaningless term and usually refers to
filmmaking thing more than full-time. Be -
someone who does this as a hobby or is still in
cause it’s not just a job, it’s a lifestyle.

school. I tell inquisitive minds that I’m an “in-When the horror/sci-fi market became over
dependent movie producer,” and more re-
saturated at the beginning of the 21st century,
cently, a “television documentary producer,”

and distributors were expecting movies for free
to set me apart from someone who just posts

(they promised residuals, and we all know
videos on YouTube. While there’s nothing
what that means) I switched gears and began
wrong with doing that, that’s a beginning step
making independent feature documentar ies.

and I’ve been doing this for over 20 years. And

Money was obtained in a completely different
while I’ve never made a Hollywood movie, I
way. I wasn’t selling to individuals or stores. I am a professional.

was getting underwriters (advertisers) for the

Making the movies was always far more im-

Public Television broadcasts. It took a bit more portant than the idea of being able to make a
time and work on my part, but I was in con -
living at it. When I first started making movies trol of all of this. And, as with the feature

I was on the staff of a production house in
films, it was sheer determination that got them

New York City. A perk of that job was that I
out there. I could never really dwell on how
had access to their broadcast-quality cameras
daunting a task it all was, from creating to selland could shoot on weekends. I spent my two-
ing a project on which I was earning my living.

week summer vacation in 1990 shooting Vam-

But, after ten years, the funding for doc u -
pires & Other Stereotypes. The next movie was mentar ies began to dry up. Even documentary
shot on weekends, and the next was shot after
cable chan nels want your film for free, saying
work and on weekends. I made my income
they’ll give you lots of “exposure.” With PBS
from my “real job,” which I didn’t particularly
no longer a factor, I decided to make a docu-
like. It was a means to an end—to make mov -
mentary that was a bit more risqué, and hear-
ies. It wasn’t until my third movie, Addicted to kened back to my horror roots — The Life of

Murder, that I began to make an income from Death. I’m still shopping that around. Many them. This was the first Brimstone title that
distributors are interested, but not interested
was distributed through Blockbuster video,
enough to pay money for licensing or broad-
which was a big deal in 1995. There were
casts.

Blockbuster rental stores on every few blocks

So it was back to doing other sorts of video
in New York City. Thousands of copies were
jobs, like shooting/editing local commercials
sold. Then, I started making sales to distribu-
to supplement income and pay the bills. Does
tion companies in other countries — England
this make me less of an independent film-
and Germany, to name but two. This influx
maker? I don’t think so. It’s all a part of the
of cash inspired me to continue to make more
deal. I’m still making films a though each day

230

Your Career as an Indie Filmmaker 231
of not knowing where my income is coming

There may not be much money in it, but that’s
from is, honestly, a bit stressful.

not the reason I’m making it. I need to satisfy

In fact, because there’s no longer a paying
the creative itch and get that “movie in my
market for documentaries I’ve come full circle
mind” on screen. After all, I can’t help it. I am and am planning on working on a new horror
an independent filmmaker.

feature, Cannibal Baby, in the next few years.

The Filmmakers were asked:

Is it realistic for someone to make a living making low-budget independent movies?

Glenn Andreiev: Maybe up until the mid
bution—it happens, and it happens to the full -

1990s; not so much anymore. I feel making
est extent of the law. In other words, books can low-budget independent films can lead to sec-be fudged, figures fucked with, and you are
ond-hand sources of money — being able to
going to lose. But filmmakers should bask in
teach filmmaking, screening your film to spe-
the idea that their work is available for all to cial-interest groups, getting work on other
see and will outlive the filmmakers themselves.

people’s films — things like that.

Making films makes you immortal, in a sense.

John Borowski: It may be possible, but

But it might not pay your bills, so be prepared
the key is to make films in volume. I would
to put your oars in many different waters.

say an indie filmmaker may be able to make a

Richard Cunningham: I think at first it’s living after having five or more films com-good to assume that you’re going to be spend-
pleted. But less than that it is pretty impossible ing some of your own hard-earned money (and
to survive making indie films. If you have the
time) making low-budget indie films, while
luxury of being able to devote all your time to
you’re progressing from one film to the next.

your filmmaking career and do not have to

That being said, opportunities are opening
work a nine to five job, then you may be able
up in the form of crowd funding online, i.e.,
to make some progress. It is extremely difficult Kickstarter, where a good idea and some ag-to plan and make a film, publicize and pro-
gressive outreaching can raise an entire budget
mote it yourself, and seek other film work at
for a small film, or cover the costs of distributhe same time. Each of these aspects is a full-
tion. Lately, I’ve also been seeing some of those time job.

aforementioned zombie fan sites forming pro-

Keith Crocker: No, it’s not realistic to as-duction companies that release indie zombie
sume you’re going to make a living as an in-
films, and they’re soliciting to a built-in fan
dependent filmmaker. You’re going to need to
base; so there are definitely new and creative
be more than that. I teach adult education
ways that you can go about making low-bud-
courses on filmmaking and film genre. That’s
get films.

one way to supplement income. I still own and

Maurice Devereaux: Not anymore. Years
operate Cinefear Video, which also brings in
ago even hack filmmakers could make a living
money. I’m often hired to shoot and direct in-
churning out bad B-movies, but the new real -
dustrial training films. That’s extra cash in the i ties of an abundance of films (now, anyone pocket. Films are a labor of love; you really
can make a film) and the easily available pi-
have to want to do them. And, as I said earlier, rated down loads have changed the dynamics
you have to expect to be ripped off in distri-
so much for the little guy. Yes, you can MAKE

232

HOW TO MAKE MOVIES
a film now, it’s never been easier (or cheaper), one who wants to do filmmaking, it’s a good
but you will NOT make a LIVING doing so.

idea to have a day job. Maybe that day job

Prices to buy indie films have plummeted. I’ll
could be video production services... I know
give you a few examples. My film End of the
several guys who [make] wedding and indus-

Line, after months of negotiating, finally sold trial films between movies. But, in today’s
to the Sci-Fi channel/Chiller in the U.S., but,
economy, it’s harder than ever to make a living
unfor tunately, the price was a measly $5,000,
off just movie-making alone. It was different
minus U.S. taxes of 30 percent and a 10 per -
in the ’80s, when companies paid good ad-
cent commission to a lawyer who arranged the
vances for even the cheapest shot-on-video
deal. I’m not going to retire on that amount.

projects, but those days are SO gone!

When I sold End of the Line at the AFM in Jeff Forsyth: You know, I am not really

2007 to Japan for $50,000, this was high-end
sure. I see it being done, so I have to say yes.

dollars, but ten years before it would have

I want to say yes.

been $200,000 minimum. Today you’re lucky

Richard W. Haines: It was in the ’80s
to get $10,000 for a quality low-budget indie.

and ’90s, but the industry has changed so dra-

One of my friends made three low-budget sci-
matically, it’s much more difficult now. For in-
fi flicks, in 2004, 2007 and 2009. Each film
stance, in the ’80s, when I started my career,
was better than the last, but each sold for less there were hundreds of independent cinemas,
money as dwindling DVD markets crashed
grind houses and drive-ins to book your movie
and piracy and illegal downloads went up. So,
in. They’re all gone and were replaced with
today, unless a film is completely financed
megaplexes, which only show studio product.

through brokers using “investments portfolios”

There used to be many video companies, like
of many people (who will never get a dime

Vestron and AIP, that gave advances to pro-
back) and that you are PAID a salary to make
ducers, but they folded, too. Many of the for-
the film, this is the only way to not lose money eign sales reps I used passed on, like Walter
as a filmmaker. To be hired with a guaranteed

Manley who made lucrative deals on Splatter
sal ary. Even Francis Coppola, who self-fi -

University and Space Avenger. Indies always nanced his last two films, found out the hard
worked on the fringes of the film industry, and
way that, unlike his wine business (where he
the marketing opportunities are more limited
made the money to finance his last two films),
today than they were years ago. It’s advisable
the film business was a shark-filled ocean for
to have another career, like teaching or writ -
the indie producer, he lost huge amounts on
ing, between productions. I’m a film historian
both films. So all his previous experiences as
and also give lectures at colleges between pro-
a hired hand on Hollywood films did not pre-
ductions.

pare him for the shocking realities of being an

William Hopkins: It’s not realistic for
indie producer and then trying to sell your
everyone who has a desire to make movies to
film and make money.

expect to be able to make a living doing it.

Donald Farmer: For every filmmaker

There just isn’t that big a market for low-bud-
who supports himself strictly through low-
get product for everyone who wants to be in
budget movies, you can probably point to
the business to make money at it. But the few
hundreds more who don’t. And movie work
who are willing to stick with it may find their
can rarely be counted on for a regular income.

work catching on over time. Sheer persistence

When you finish a project it may be months
is often rewarded in this business.

or years before you can work again. There are

Steve Hudgins: It can be realistic with
always exceptions, like the people who made

LOTS of hard work! I don’t think most people

Paranormal Activity or The Blair Witch Project, realize the amount of work that has to go into
but they’re very much the exceptions. For any-
being an independent filmmaker. If you’re

Your Career as an Indie Filmmaker 233
going to make money, I think it’s more likely
started ten years ago when DVD was fairly
to happen off of a large body of work, span -
new. Is it possible? Yes. Is it realistic? I honestly ning many years, as opposed to making money
don’t think so. You need a second gig.

off of one movie.

Chris LaMartina: How you define “make

Rolfe Kanefsky: Absolutely! Piece of
a living” determines the answer to this. I know
cake. All it takes is luck, hard work, luck, ded-plenty of folks that make cheap movies full-
ication, luck, determination, luck, talent and
time. They’re not ordering the lobster or living luck. And you might want to add “knowing
like kings, but with everyone who produces
the right people” to that list. In fact, you can low-budget content, they do it because they
get rid of all of that list except for luck and
love it. I’d be impressed with anyone who pays
knowing the right people. But, seriously, is it
their mortgage by doing what they love. It is
realistic to make a living? No. But luckily, the remarkable that someone can function off
film business isn’t realistic to begin with. It’s micro- budget film revenue, however. If that
all make-believe and fantasy. The reality of
is the case, they’re probably involved in their
working consistently in the film business is like own distribution avenues. The basic problem
winning the lottery many times over. There
is the time it takes between finishing a film
are no rules. To quote William Goldman, “No -
and the arrival of residual checks from a dis-
body knows anything.” I and many others
tributor. Even if it’s a quick turnaround, some-
have always said that if you can be happy
times those residual checks never even show
doing anything other than making films, do
up. Hell, most of the time they don’t show. It’s that. You have to be 100 percent obsessed with
a sad truth.

movies and just can’t do anything else. If it’s

To anyone who is living (in any sense) off
a hobby then let it be a hobby and have an-
of the fruits of their cinematic labor, I say
other job where you can make a living. But

“Bravo!” So what if they only eat bologna
trying to have a family, a house, and work ex-
sand wiches and sleep on a pull-out couch? I’d
clusively in the low-budget arena, I believe, is still say they’re living the dream, and that is
impossible. You might be able to start in low-
highly commendable.

budget movies and move up the ladder to the

Jim Mickle: I’d love to say yes, but every studio level and then make a comfortable liv-indie director I know, including myself, has a
ing. But to stay in the low-budget field and
day job. Maybe as distribution evolves and be-
get by ... highly doubtful. However, if you
comes more democratized, more money will
were to ask Fred Olen Ray or Jim Wynorski,
go to the actual filmmakers, but for now it
they might tell you otherwise. The only rule
seems hard for anyone to make good money
is that there are always exceptions to the rule.

on a consistent basis without supplemental

I’ve been in this business for over 20 years
work.

and some years have made as little as $14,000

Damon Packard: It depends on what
for the entire year. My rent is $1,000 a month,
scale you’re talking about. Low-budget indie
so you do the math. But, in my case, with a
movies that get distributed and released on
little help from my parents when times get
some scale? Like, for example, a Todd Solendz
very tough, I’ve just managed to survive. I
or Guy Maddin? Yes, they seem to manage.

have squeaked out a living, but the things I’ve

But, for the most part, absolutely not.

sacrificed to do this makes me wonder if it’s

Brad Paulson: Nothing is impossible, but
been really worth it. Again, watch Tomorrow
you’re looking at Han Solo odds from Star
by Midnight for more insight on the subject...

Wars. In other words, not even close. What’s Oh, right, you can’t. It never came out.

realistic is to expect that you’ll be delusional Brett Kelly: It’s not easy, but I do. The in keeping that dream alive while you’re still
odds are against it by a long shot these days. I broke. It’s realistic to expect you’ll be broke as

234

HOW TO MAKE MOVIES
fuck for far longer than it’s hip to be below

Anthony Straeger: NO, unless you get
the level of the common man while you keep
your small independent movie picked up and
hoping it will get better one day. The truth is, have a successful company like Lionsgate be-only about 1 percent of people in L.A. actually
hind, it you will spend more than you can get
make a living at being screenwriters, actors or
as a return in promoting your film. Then you
directors. Sure, you may make a few dollars
are hoping that you, as the filmmaker, will be
here and there, but nothing you can quit that
picked up and paid to do another project.

shitty day job for.

I have seen some films that have been made

Jose Prendes: No, unfortunately not.

for nothing more than a two or three thousand

There is no money in no-money movie mak-
dollars, but, still, I can’t see them making any ing. It’s sad, but passion isn’t a prerequisite for money either, because most of them are simply
a paycheck. If you want to make movies, then
awful.

MAKE THEM! No one should tell you any

If you can make money out of low-budget
different. But don’t expect to get rich filming
independent filmmaking, I think you need to
your uncle dressed as vampire or your little
have a film that WILL win festivals and gain
cousin running away from a guy with a ma-
acclaim, that is genre specific and that you
chete. There is a place and an audience for
have looked at and set in place every kind of
this, but it won’t make you money. Hell, even
marketing ploy under the sun.

the big studios are going under with their

For me, Call of the Hunter was a testing multi-million-dollar flops.

ground, and is a fabulous calling card. It proves However, the one thing to remember when
that I can produce a certain quality within a
it comes to making movies is: THERE ARE
certain budget—that I have a certain style and

NO GUARANTEES. Nothing is written in
can deliver exactly what it says on the tin.

stone, and your little backyard opus could be-

Ultra low/no budget films are nothing more
come the next Blair Witch Project. So I say for-than that. If you get into the range of half-
get the naysayers and just fucking do it. Pre -
million budgets, then maybe if you can main-
pare to starve, but stay hopeful.

tain the quality — and we know how hard that

Paul Scrabo: You can make money right
is to do — you might be able to get by. But you away, but you are not going to make a profit
sure won’t get rich doing it.

right away! That’s two different things. My

Marc Trottier: That’s hard for me to an-
projects are self-funded. It’s silly for me to
swer. I’ll say, “Maybe.” I would love to hear
offer deferred payment to a cast or crew mem-
what other people think; those who have con-
ber. They showed up for me, they adjusted
sistently put out content and successfully sold
their schedule for me. Their pay is part of my
their product. I, myself, am curious to know
film’s budget. Some friends offered to work on
how much of a profit there is to be made.

the film for free. I took advantage of their gen-If you have good ideas and you have the re-
erous offer and their talent and I made sure
sources to be able to make your films in a cost-
we fed them, and not fast food, but real meals.

effective manner, in a period of time that

Keep your budget low, and, hopefully, you
makes sense, then why not?

can at least get your money back.

Mike Watt: No.

Eric Shapiro: Sure. I know numerous

That’s the short answer. The long answer
people who do. The majority who try never
is: absolutely not. But, strangely enough, with
will — it’s not some big pie we can all take a
that realization comes freedom. Knowing ahead
slice of. Though if you create a viable piece of of time you will not make money or, even in
work that sells to a healthy amount of territo-
the best of circumstances, likely even make
ries around the world and manages to play in
your investment back, is comforting in its own
perpetuity, you can make a great living.

way. The best thing about being an independ-

Your Career as an Indie Filmmaker 235
ent filmmaker is that first word: indepen dent.

Ritch Yarber: At this time, I do not feel You’re not beholden to an audi ence or to any
that one can make any kind of real living mak-
sort of studio expectations. There is no film
ing these types of films. There are just too
by committee to undermine your base con -
many people making movies these days to be
cept, only what you and your handpicked
able to get enough commercial exposure for
part ners bring to it. Independence has its own
your films to pay the bills. Independent films
myriad problems, of course, but at the end of
are still an entertainment afterthought when
production, the movie you made is 100 percent
it comes to audiences watching movies. The
yours, to pass or fail on the merit of you and
big studios still have the upper hand with
the crew that put its faith in your guidance.

huge-budgeted movies backed up by slickly

If you are lucky enough to find investors
produced trailers and commercials that de-

(which we refer to as “angels”), let them know
mand your viewing dollars. Occasionally, an
ahead of time that this is a risky venture and

“independent” film will break the barrier and
tell them (and understand yourself ) to never
make a small fortune for a lucky filmmaker,
invest more than one is prepared to lose. The
but it is rare. I think that the reason to con -
compromises you’ll have to make will either
tinue to make these small-budget independent
be budgetary, time-limited or conflict of sched -
films is to experience the challenge of reaching ules (and sometimes personalities, but the big
an audience and making them yours for a
boys suffer those things, too).

short while. The hope of being discovered and

Don’t like a predictable three-act script
actually getting any kind of steady income
struc ture? Pitch it, but know what rules you’re rests like a lost treasure in each independent
breaking. There’s no one to enforce any “rules”

production, waiting to be discovered and
upon you, such as having to have the plot in
added to the mother lode. It’s all about the
motion by page five. You can take the time to
dream.

establish characters, if you want. You can put

Ivan Zuccon: Yes, it is, but it’s also a very in as much gore and nudity as you like, or have
difficult dream to fulfill. You’ll have to make
none at all. Let the story dictate the elements
many sacrifices, more than you can imagine.

of the movie and make the movie serve the

The movie business is a tough one. Every
story. You don’t have to pander to the demands
morn ing I say to myself, “Okay, that’s it,
of corporate sponsors and product placement,
enough is enough. From now on I’m going to
you don’t have to worry about a release date
dedicate myself to something else. I’m tired,

(in most situations) and you can truly make a
it’s too hard, it’s a battle I can never win.” ...

movie that’s an extension of you. If in the end, I feel like Don Quixote. My windmills are dis-the pacing seems slow to you, change it. Too
tributors, and they are so huge and monstrous
short? Shoot additional scenes or leave it the
that they give you the creeps. You get scared
length it is.

about the fact that your movie might end up

But, in order to do yourself and your art
in a limbo, or in the wrong hands. The fruit
the best service, make sure you know what
of your sacrifices, of your biggest effort, the
story you want to tell and give consideration
blood of your blood could be thwarted by
to who you want to entertain. Those are and
poor film distribution. Then, I find myself
should be your only restrictions. Be thoughtful
flickering through my new scripts, so I start
and make the movie you want to make. It’ll
writing, reviewing dialogue, thinking about
attract a large audience or a small one, but it
the camera movements, and I finally say to
won’t matter when no one is dictating to you
myself, “I’m going ahead, but this time’s the
what you have to do.

last time. This is going to be my last movie.”

236

HOW TO MAKE MOVIES

The Filmmakers were asked:

What advice do you have for anyone who wants to be a

“filmmaker,” whether as a producer or director or writer?

What are the three top things to do (and why) that would set them in the right direction?

Glenn Andreiev: Be yourself in your

Keith Crocker: You have to love being an
writing, filmmaking and producing. We don’t
artist. A filmmaker should be coming from the
need another Dario Argento tribute film, or a
same intensity that drives a painter, poet, or

Scorsese-like Mafia movie. Everybody has a
sculptor. You have to let your desire to create
good story to tell. Don’t try and do some thing
art guide you, and you must not limit your
like Hollywood, like your own low-budget
dreams. Let that freak flag of yours fly high.

version of Salt. Your car chase will never com-Always remember: (1) you can do it; never let
pare to Hollywood’s. Just focus on telling a
any one make you believe you can’t live a
good story, a unique story—your story. Third,
dream. Of course you can, no one will stop
on so many low-budget film sets I watch film -
you if you have the desire; (2) Don’t get dis-
mak ers [take great pains to be] Stanley Ku -
couraged. Learn how to troubleshoot prob -
brick– like perfectionists, that everything has
lems at the drop of a hat. You need to think
to be just 100 percent right. (For example, I
and be on your feet at all times so don’t doze—
saw one filmmaker repeatedly reshoot a night-
not even for a minute, you might lose an op-
club sequence because the light wasn’t just
portunity; and (3) Be proud of your work,
right on an actor’s face, or they found better
warts and all. Do the very best you can. Don’t
extras and want to do retakes, and so on) You’ll sell yourself short. Your voice matters in this
delay production, eat up what little funds you
over crowded world, you’re not insignificant,
have, and possibly wind up with an unfinished
you matter more than the next man. If you
film. A good filmmaker makes the minor flaws
have something to say, say it! And, last but not fly by unnoticed.

least, have fun. Filmmaking is fun—it shouldn’t

John Borowski: My advice is: DON’T
be a burden. You can tire out, but if the energy DO IT! But if you feel you are strong enough,
and the drive keeps returning, then you know
then go ahead. Lighting and sound are the
filmmaking is for you.

most important elements when filming. If you

Richard Cunningham: I think it’s impor -
select a genre, then you will have a niche mar-
tant to push yourself and the work you do as
ket to exploit. You must have the drive to work
hard and far as you can, however you go about
on your films for years (and possibly the rest
it, be it teaching yourself, working in the field, of your life) as you promote and sell them. You
or attending film school; develop within your-
must believe in your work. Keep the quality
self an insatiable hunger to understand, master, at the highest [level] and never sacrifice story and appreciate all the art forms that serve to
for modern equipment or special effects; they
ultimately constitute a movie, because whether
won’t make the film any better. My motto is:

you’re a writer, a producer or a director, the

I would rather watch a well-told [story] shot
more perspective you gain on the process, the
on the lowest [budget] available than a film
better you can go about being a part of it.

which costs millions of dollars, where there is

Along those same lines, I think it’s good to
no emotional connection between the audi -
always keep moving ahead to the next project.

ence and the film.

Of course you want to give your finished

Your Career as an Indie Filmmaker 237
movie its due run of promotion. Enter it into

1. Write something tailor made for a low bud -
festivals, maybe try online distribution, even
get (few actors and locations).

take the time to engage social media, so you

2. Make sure your script is ready and really
can build up a targeted fan base. Do as much
tight, as you don’t want to shoot anything
as you possibly can to exploit the movie you’ve
you will later cut out (that means time and
toiled so greatly to make, but be sure, too, that money wasted).

you have projects lined up, or your next script

3. Don’t spend your own money — you’ll
is ready to go. There are invaluable lessons to
never get it back. But if you absolutely have
learn that only the experience and the struggle
no other choice, make sure you budget an
of making a film can provide; so every time
amount you can easily [spend without see-
you put yourself in that situation, you are
ing a return]. And then think that you will
hurtling yourself light-years ahead in useful
probably have to spend about 40 percent
filmmaking know-how.

more for unforeseen expenses. Then look

Last but not least: networking. Whether it’s
at the amount, and be true to yourself. Can
virtually via social media outlets, or passing
you say goodbye to that money? ... If the
your card or spec script off to someone in the
answer is “Yes,” then go into pre-produc-
business, producing with teams of like-
tion.

minded filmmakers, or just having a conver-

4. Get professional actors; whatever extra
sation with people on other sets, the larger
money you spend will be worth it. They
your network of talent, the more tools you will
will make your job easier and make you
have available to put together a film when the
look like a better director. Use a casting
time comes to commit.

agent, if needed, to find them.

Maurice Devereaux: Kids, don’t try this

5. Get professionals for key crew (Lighting,
at home ... seriously, don’t do what I did. Don’t camera, sound, costumes, sets, make-up)

spend your own money. It’s better to work

6. Make sure your locations are easily acces-
your way up to become a hotshot director of
sible, with available parking and low noise.

photography, shoot flashy music videos and

7. Once you start shooting, make sure you
commercials and you’ll have a better chance
get your film completely “in the can,” as
of getting hired as a director (to do a remake
you don’t want to have to run after people
of a classic horror film) than I do. Because
for reshoots or unfinished scenes.

EVEN if you make a film, (like my award-

8. If you’re producing, do NOT hand over
winning horror feature End of the Line that your film to a sales agent. Accept only up-premiered at the Toronto International film
front cash deals. Because you will NEVER
festival and then played 39 other film festivals see any royalties and/or back-end money.

worldwide, garnered rave reviews and sold to

No matter if it’s a prestigious name com-
many countries), this route gave me no job of-
pany or not. Look at it as you would a drug
fers and left me thousands of dollars in debt.

deal—both of you hold guns at each other,

So, it’s not recommended. It’s unfortunate but
the buyer holds money, and you hold a
true that the people who fund big films would
master copy of the film. Then you do the
rather hire someone who never directed a fea-
switch, never keeping your eyes off the
ture but did a bunch of expensive-looking,
other guy until you’re paid. It’s better to
flashy commercials. Just look at the bios of the walk away from any deal, no matter how
guys who made the remakes of The Nightmare
good it seems, if they do not pay you up
on Elm Street or The Texas Chainsaw Massacre.

front. You will always hear the classic ex-

That’s the way it is and part of the reason why
cuses, “Send us the master and we promise
most horror films suck today. Keep the fol-
we’ll wire you the money next week,” et
lowing points in mind:

cetera. Don’t fall for it.

238

HOW TO MAKE MOVIES

9. Don’t give up. You only have one short
with people who are shooting. Learn from
life. If this is something you need to do,
them and gain skills. And when you can, grab
do it!

a camera and shoot — that’s how you’ll really

10. Don’t listen to what anyone says, espec -
put your skills into action.

ially me.

Richard W. Haines: My first suggestion

Donald Farmer: Here are a few basic tips
will probably be ignored by the majority of
for anyone who wants to get into filmmak ing:

aspiring filmmakers, but I hope a few consider

1. Know how to network. Filmmaking is
what I’m about to say. I think the most im-
definitely a team activity, and you want
portant thing for anyone making independent
to assemble the best team possible.

movies is to preserve their work. That means

2. Try to know a little about the job of every
either shooting in 35mm or outputting their
crew member ... especially the cinematog-
digital movie to a 35mm negative. They
rapher. The more you know about the re-
should retain either the camera negative or a
sponsibilities of your crew, the better you
duplicate negative of their feature and store it can supervise them. And know enough
in a private temperature-and-humidity-con-
about lighting so you can make specific
trolled film vault. If they can’t afford that, do-suggestions and requests to your director
nate it to an archive for long-term preserva -
of photography, camera operator, et
tion. You should never assume the distributor
cetera. That’s the area in which I tend to
is preserving your film. They aren’t archivists, become the most vocal... I’ve learned the
they’re salesmen and have no proprietary in-
hard way not to always accept what a cin-
terest in the survival of your movie. I know of
ematographer wants to give you.

several indie filmmakers that can no longer

3. Learn the basics of promotion — make
find their camera negatives, since the distrib-
sure your target audience knows about
utor and lab folded.

your movie.

Archival considerations aside, you cannot

4. Thanks to audio commentaries on DVDs,
sell something that doesn’t exist. If you want
everyone has access to a movie-making
to have your film available for future sales you education that used to be the sole domain
need a “hard copy” of the picture on film since
of film schools. You can’t listen to too
digital imagery is an unreliable long-term stor-
many directors’ commentaries.

age medium, subject to data loss and degra-

5. Visit the sets of other low-budget movies.

dation. Never give your only master to a dis-

Study how other directors and producers
tributor without keeping a duplicate element
cope with tight schedules and little money.

yourself.

Talk to any directors you can corner at

My second suggestion is to shoot [using Al-
conventions or fan gatherings and pick
fred Hitchcock’s methodical approach] rather
their brains. That’s basically what I was
than trying to improvise the shoot. The more
doing when I did magazine interviews
pre-production, the better the technical specs
with my favorite directors. I was picking
will be. I know some people get away with
their brains for tips I might be able to use
mak ing crude movies, and sometimes the
later. For anyone wanting to be an indie
crude ness is part of the appeal, but it’s a risky filmmaker, it’s a good place to start.

way of making a picture. Technical ineptitude

Jeff Forsyth: Besides seek therapy, I think can be a distraction for audiences who are less
a lot can be learned just by watching movies
tolerant about this than they were in the ’60s,
and analyzing them.

when directors were shooting in the cinéma

The top three things I would say to do are:

vérité style. I suggest creating storyboards for read, connect, and shoot. Read all you can
every shot to make sure you have the coverage
about the process and the equipment. Connect
you need. Trying to “wing it” on your first fea-

Your Career as an Indie Filmmaker 239
ture film might prevent you from completing
and it’s hard to get productions going — it’s a
the movie or resulting in an amateurish pro-
fight all the way. But you shouldn’t give up.

duction that won’t be able to compete with

Always be working towards your next film, al-
more polished low-budget films.

ways have something on the drawing board.

My third suggestion is to make sure you ne-

The only way to become a good filmmaker is
gotiate a distribution deal that includes an ad-
to keep making films. The more you make,
vance that will recoup your production cost,
the better you’ll get at it. So, keep writing
or a deal where marketing expenses are either
scripts, keep networking with people who
capped or recouped from the distributor’s
share your interests and goals and try to keep
share of proceeds. If you sign a deal with un-
alive in yourself the spirit of enthusiasm and
limited marketing expenses recouped off the
optimism you had when you were just starting
top or out of your share, you’ll never see a
out.

dime. Or, take the DIY option by researching

Steve Hudgins:

how to sell your movie in the available mar-

1. Don’t expect someone to see your movie
kets.

and suddenly offer you a million bucks for

William Hopkins: I feel you should learn
it. If that’s what you’re hoping for, you’re
to do as much of it yourself as you can. Learn
setting yourself up for a big disappoint-
to write a good, solid screenplay; learn how
ment. That’s a fairy tale. It just doesn’t hap-
to shoot it yourself; learn how to edit it your-
pen.

self. For the indie filmmaker working on a

2. Get a distribution and marketing plan in
tiny budget, there’s no one you’ll be able to
place before you even start making your
afford to hire who will care as much about
movie.

your film as you do, so you immediately put

3. Get out there and start doing it. Don’t talk yourself in a better position if you hone your
about doing it. Don’t work toward doing
skills in as many areas of the filmmaking
it, just do it!

process as you can. That way you’ll never be

Rolfe Kanefsky: Okay, let’s switch gears
dependent on anyone else to get your film
from all this bitching and moaning to some-
done the way you want it done. And, nowa-
thing positive. My father said that, in order
days, with the cam eras and software that are
to survive in this business, you have to believe available, there’s really no good reason why
everything and at the same time believe noth-
anyone should shy away from learning these
ing. That means you have to think positively
things.

but keep a reality check in the back of your

It’s also important, I think, to carefully pick
mind that it could all fall apart at any time.

your projects. If you’re going to be taking a

There’s a lot of bullshit in this business. It’s project from inception through production
amazing that any movies get made. Many peo-
and—eventually—distribution, that may rep-
ple have said that if we knew how difficult it
resent an investment of a couple of years of
was to do something, we would never do any-
your life. So you’d better feel strongly about
thing. But, to make movies, you almost have
the film you’re making. You’d better like the
to have a kind of blind optimism. A kind of
story and the characters and feel comfortable
leap-before-you-look attitude. However, if
in the world you’re creating, because you’ll be
you have no sense of reality you can get hurt,
living in it for a while. Finally, it’s important usually emotionally.

for people looking to have a career as indie

So, my advice is, if you have the drive and
filmmakers to develop a thick skin and a stub-
obsession to make movies, go for it. You know
born attitude about things. It’s a tough busi-
it’s impossible, but you do it anyway. It’s a case ness, and you’ll face a lot of discouragement
of mind over matter. Now, once you have the
from people. It’s hard to raise money for films
right mentality to take a shot at the film busi-

240

HOW TO MAKE MOVIES
ness and refuse to let anyone talk you out of
more you’re on a film set — either your own or
it, you have to work your ass off. Nothing is
someone else’s — you will learn invaluable in-
just going to fall into your lap, and if it does, formation.

be prepared for it to jump back out again. You

I worked as a production assistant in the
must network and meet as many people as you
summers on independent films from the ages
can. This business is all about connections and
of 16 to 21. Even after I made my first film,
the people you know. Build relationships, and

There’s Nothing Out There, I went back and don’t expect to be an overnight success. There
worked as a production assistant on another
are thousands of overnight successes that took
film. The more you do, the better you get. You
ten, 20 years to get there. Try to find a group
learn from your mistakes. And there is nothing
of friends who can give you an honest reaction
that can compare to being on a movie set. All
to your work. Everyone in Hollywood is afraid
the theories and classes can give you some info, to tell you what they really think. They can
but you must do it for yourself to really see
be ultra kind or ultra cruel. The real response
what making movies is all about.

is usually something in between. So, find a

Finish what you start. This is a key fact. If
good sounding board of opinions you can
you expect someone to give you money to
trust. It will help keep your head on your
write, direct, and produce, they need to trust
shoulder so you don’t get too suicidal or too
you. They have to feel confident that their
full of yourself. Both are bad conditions in this money is in good hands. You have to show
business.

them you are responsible. So, I have always

Next, you need to know what you’re doing.

made a point to finish everything. If I’m writ-

Watch movies and learn the names of the pro-
ing a screenplay I will not stop until I reach
ducers, directors, and writers. Many people in
the end. Even if I’m not happy with some of
the business—especially at the studios—really
it, I barrel through to the conclusion. Maybe
don’t know much about the movies. Most
people start a project because they think it will mem ories go back about ten years or less. So,
be fun. Then, when it gets difficult, they walk
it really helps if you know what you’re taking
away from it. Finishing something is what
about and have the knowledge of film and
makes the difference between a hobby and a
filmmakers. Know your history. That way,
career. Even if you start to hate it, finish it, when you’re in the room, you don’t have to
because once you reach the end, you will prob-
bullshit. You’ll know what you’re taking about
ably realize it’s not as bad as you thought, and and can give references to what worked or
you can always go back to fix the problems.

didn’t work in similar motion pictures. Also,

Prove you are capable of making a short,
if you do run into a film buff, you’ll already
script, feature, and you will win over all of the have something in common. If you want to be
naysayers. People will always tell you it can’t
a writer, read screenplays, both good and bad.

be done. Well, if you do it, you win the argu-

You’ll learn a lot about what works, why it
ment hands down.

works, and what to avoid. Compare the script

And, finally, keep at it. If you’re serious
to the final movie. See how it changed — what
about making it in this industry, you have to
they pulled off and what they blew. In many
keep plugging away. Slamming your head into
ways, this can be just as good as taking a
that wall until it breaks down. Many have said
film/writing course.

that the one who wins is the one who lasts the

Then you need to do the work. If you’re a
longest. If you’ve got the stamina to put up
writer, write. Every day. Set goals for yourself.

with all the heartaches, rejections, insults,

Force yourself to be productive. Make it a
abuse, poverty, backstabbers, people with hid-
habit. If you want to be a producer or director, den agendas, negative reactions, and boredom
make movies any way you can. Basically, the
that comes with this job, then you may just

Your Career as an Indie Filmmaker 241
make it in this town. It also helps to have a
and play to them. If you have access to an
little luck. Did I mention that yet?

amazing location, write a marketable story

Well, that’s about it. Good luck!

around it. If you wail on guitar, maybe you

Brett Kelly: My advice is to take a class should score the film, too. On the other
and watch a lot of films, especially movies that side of the token, if your girlfriend or boy -
you think you won’t like. You’ll be surprised
friend can’t act to save their life ... do not
where inspiration comes from. Lastly, make a
cast them. Filmmaking, especially with no
lot of short films, finish them, watch them and
money, is about intelligent compromising
learn from them — do all this before you try a
and problem solving. Be smart. Work your
feature. Good luck!

advantages. Don’t ask me what yours are.

Chris LaMartina: My first question for

Everyone has their own.

an aspiring filmmaker is: “What do you want

3. Filmmaking is collaborative process, and,
to do as a filmmaker?” If someone just wants
as someone who has written, directed, ed-
to make goofy short films, then ... go for it.

ited, and scored his own stuff, I know how

Nothing is stopping you. Technology is get -
easy it is to take all the credit. My co-pro-
ting cheaper and cheaper, and anyone can
ducer and co-writer, Jimmy George, has
make movies now. If you want to make a liv -
been a backbone that not many people have
ing telling stories (features, web series, et cet -
acknowledged in various articles about my
era) ... then I’d sincerely suggest figuring out films. Similarly, you will have partners, and
a business model while you hone your skills as
mini-armies of folks who are going to help
a storyteller. It’s show business, and in order your vision come alive. Most of them (if
to keep making films on a larger scale, you’ll
not all of them) will be working for pea -
have to increase revenue. Plenty of folks I
nuts. Say “Thank you” ... a lot! In general,
know have full-time “boring video” jobs that
we work harder for people who treat us
fund their dream projects ... but it’s definitely with respect and dignity. Make sure you
taxing.

let people know that you appreciate their

If I could break down my advice to three
hard work. If I subtracted the time it takes
things, it would be these.

me express my gratitude each shooting day,

I’d probably have an extra 40 minutes for

1. Respect your story. If you don’t have a
coverage ... but it’s worth it to tell my cast/
strong, primal screenplay that is market -
crew that I [appreciate] their efforts. Don’t
able you’re asking for trouble in every part
take anyone’s work on your film for granted.

of the filmmaking process. A lazy, sloppy,
or derivative screenplay will murder any

It’s tough making movies, but nothing
chance of great direction, solid editing,
worth doing in life is easy. Just get ready to
and, most importantly, distribution. Never
sacrifice all of your free time, push relation -
forget that. Distribution is everything.

ships to their limit, and challenge yourself to

Other wise, no one will see the hard work
be more creative. If you’ve got the fire in your you’ve put into this story.

belly, you’ll figure it out.

2. Know what’s within your means. Don’t

Jim Mickle:

make your barbarian epic in your parents’

1. Start making films right away. Don’t wait
backyard for $237. You won’t be able to
around for the perfect opportunity or for
pull it off. I mean ... you can ... if you want

Hollywood to hand you a budget. Make
it to be a comedy ... or maybe I’m wrong,
your movie your own way and give yourself
and you can pull it off. The point is, you
a chance to get a film distributed. You’ll
need to become a good judge of your abil-
learn from your mistakes and your voice
ities. Figure out what your strengths are
will evolve the more you do it. Use a Flip

242

HOW TO MAKE MOVIES
cam, a DV cam, an HD cam or a RED.

You must be completely satisfied with your

Get iMovie or Final Cut Pro or Adobe Pre-
work. The world outside of yourself will not
miere and edit it yourself. Then go make
necessarily gratify you. But then there are
another one.

many [others] who have better results on that

2. Shorts are a great way to practice and don’t end.

require years of work to accomplish, but

Brad Paulson: First and foremost, if you
it’s also very hard to find continued success
want to be a filmmaker, do it because you love
making shorts exclusively. The finances are
movies. Don’t do it because you want to be a
hard to pull off and chances for distribution
glorified frat kid and think you’ll get a bunch
are very small. Also, the SHORTER the
of Hollywood glitz and glam from the whole

BETTER. I made a 22-minute senior the -
deal. Don’t do it because you’re a narcissistic
sis after most professors advised against it,
asshole who wants to see your name in lights
and when it came time for festivals it was
or your face in front of a camera. Don’t do it
very hard to get accepted anywhere. No
because you think it will give you the attention festivals want to show a 20-minute film be-you never got in high school. Don’t do it be-
fore a feature, and in a short film program,
cause you think you’re God’s gift to cinema.

it’s easier to schedule a lot of shorter films

No one likes a pretentious ass, and, from what
than to take up valuable time with longer

I’ve seen in and out of school, those who talk
films. And this was before YouTube and
about how great they are and berate others

Vimeo, so attention spans have only gotten
usually make terrible movies.

shorter. When making a short, try to re-

Second, be ready to live, sleep, and breathe
member what kind of an audience you’re
movies. With the infusion of Netflix instant,
hoping for.

and all the ways to get our hands on movies

3. Work on as many films as possible. If you’re nowadays, people have no excuse to miss the
interested in cameras, try to intern in the
classics. As we all know, nerds make the best
camera department. If you like lighting,
movies. The names Martin Scorcese, Quentin
talk to grips and electricians. If you don’t

Tarantino, Steven Spielberg, Peter Jackson and
know what you might be good at, look for

Stanley Kubrick are all household names, and
production-assistant jobs or general intern
these guys have one thing in common: they
work. Spend as much time on sets as you
are all complete movie dorks. I remember see-
can and learn the workflow, so by the time
ing an interview with Spielberg where he was
you’re directing or producing, you have
toading up The Shining and he talked about some idea how things work. Or get an
how he had seen the movie 25 times. I loved
office-assistant job and spend time in a pro-

Spielberg after he said that. You really have to duction office, or be an assistant editor and
know your shit. If you know your shit, it im-
see how things come together in post. Be
presses people. It legitimizes you in the eyes
patient. A lot of people are looking for jobs
of filmmakers. Don’t be the guy who has to
and it helps to be in New York City or
look up the answer to a question on his phone.

L.A., but when an opportunity comes, be

Be the guy who already knows the answer and
on time and show a willingness to be help-
is ready for several more.

ful without being annoying. There’s a lot

Third, learn to embrace failure. I think this
of “hurry up and wait” times in filmmak-
is why some people either work on movies for
ing, but if the people that brought you on
ten years or just, plain and simple, fuck up.

enjoy your company, they’ll look you up

Realizing that we’re all human and not perfect
for the next one. Stay busy.

is a terrifying reality but it’s a fact of life we’re Damon Packard: Just be prepared for a
all going to have to accept sooner or later, so

LOT of work and very few rewards or results.

it’s best to fail as early on as possible and try

Your Career as an Indie Filmmaker 243
and learn from our mistakes. What I’m saying
easy, so be ready to fight, be ready to get
is, don’t be afraid to rush into new challenges
pinned to the ropes, be ready to sweat and cry
and take on overwhelming jobs out of the fear
and bleed, but keep swinging and eventually
you’ll fail. You will. You’ll endure humiliation they will have to let you win. But know how
and question yourself with every decision you
to swing, first and foremost. Most persistent
make. But, that’s okay. It’s the name of the
people fail because they don’t really know what
game. You’ll get better and hone your skills
they’re doing, so have a plan, know how to
with time and practice.

play, and come out swinging.

Fourth, and most importantly, learn to live

If there are three things you should know,
like a broke starving artist for a long time.

they would probably be:

Being broke may be romanticized in the mov -
ies. Hollywood loves a Cinderella story. It fuels 1. WATCH MOVIES. Watch all kinds mov -
their machine. Living broke in real life, on the ies from all over the world. You can’t make
other hand, sucks rotting donkey balls. It’s
movies if you don’t know movies. I recom-
nonstop war with the worst enemy you can
mend a healthy dose of the Criterion Col-
image: yourself. It’s a battle of quiet despera-
lection for great foreign films. This is cru-
tion that never seems to end. I recommend
cial, and you’ll see that most well-known
you live out of your car for a few weeks, just
film people are film scholars, too.

to get a feel of what the pursuit of filmmaking

2. UNDERSTAND FORMAT & LINGO.

in Los Angeles will be like. Tony Scott filmed

If you are a writer, have a solid grasp of
this city through an orange filter several times screen writing format. Once you have for-in his films, but, in reality, if you go a couple mat down to a science, then you can have
blocks south of the Hollywood Walk of Fame
fun with your scripts. If you’re a director,
you’ll see drug deals in broad daylight and soak learn all the terms for things so you don’t
in the unmistakable scent of human urine on
look like an idiot to the seasoned pros. If
the streets. If you can make your peace with
you’re a producer, maybe take a business
that and realize that it will most likely take
course to understand financing and how to
years of suffering and prayers for the sweet re-
raise money and what terms go along with
lease of death ... if you can ignore all the more-it, so you’re not left in the cold. No one
than-wise warnings to stay away from any -
will give you money if you don’t under -
thing having to do with making movies and
stand what they’re talking about.

have a normal life before you end up killing

3. STICK TO IT. Most people give up when
yourself out of sheer desperation and misery
they realize how hard it is, or how long it

... then maybe, just maybe, you have what it
takes. If you want it, then you fight for it.

takes to be a filmmaker. Good luck, brothers

Stick to what you love like white on rice.

and sisters. Keep the dream alive. If you do

Nothing worth doing is easy. Good luck.

make it through the heartless, soul-sucking

Paul Scrabo: Most important, SAFETY
trenches in one piece, I look forward to seeing

FIRST.

your movies one day.

We had a scene where Queen Exotica (Deb-

Jose Prendes: If you want to make mov -
bie Rochon) is blasted by a ray gun and be-
ies in any capacity then JUST GO FUCKING
comes stiff as a board. The villain shows up

DO IT. I hear from a lot of people [say], “I’m
with a hand truck, scoops the rigid queen up
thinking of ” or “I’d like to” or “One day I’m
and exits. It was a quick, inexpensive gag.

gonna” ... but the truth is, talk is cheap. Like Debbie’s apprehension became apparent.

Yoda says: “Do, or do not. There is no try.” I

“Okay. Just ... wait a second... I’m just get-
hold that as my motto, and I think you should,
ting over a back problem ... and...”

too. If you want it, then go for it. It won’t be

“No. Forget it. Don’t worry about it. Give

244

HOW TO MAKE MOVIES
us a second and we’ll figure out something else
everyone I shoot with knows it, too. I love or-
to do.”

chestrating the visual side, but my obsession

“No. It’s a funny bit. I can do it, but let ME
is the text and characters, so that’s where I
be in control of how to do it.”

place my chips.

So, instead of being scooped up in the hand

Third, you need to get comfortable with the
truck, Debbie carefully placed herself on it be-
idea of failing over and over again. There will
forehand, and it’s a funnier bit now, because
be tons of rejection and negativity, even if you you just see her being carted away in the back-create a critically acclaimed masterpiece. At
ground. It can be dangerous getting caught up
least a third of the people who watch anything
in any “big picture” and not being aware of
will despise it. So don’t go chasing after some
any potential danger to a cast or crew member.

objective, unassailable form of acceptance, be-

You are already taking a risk with your own
cause it doesn’t exist for anyone. If you’re good, money, making your film. Let that be the only
you’ll get enough people on your side to con-
risk.

tinue, and you should be grateful for whoever

Listen to your cast and crew for any ideas.

picks up what you’re putting down.

We were finishing the final scene of the film

Anthony Straeger: My advice is simple.

where Debbie and Trent sail off into the sun -

First, don’t take it personally. In this business, set. I was never really satisfied with the ending whether as an actor a member of the crew as
because I knew it needed something extra.

the filmmaker, you will always find someone

Debbie was joking around, and she says, “And
that will want to piss on your parade. Being
this is when a hand should come out of the
strong and having a belief in what you do and
water, and everybody screams!” And we all
are doing is very important. The other thing
laugh, and I say, “Okay, that’s it, everyone.

that you have to remember is that once you

We’re done!” And we all pack up and go home.

have made it, people might not like it. You

And then I realize that she was absolutely
find that someone on Amazon has called your
right. The next opportunity to use the location
film all the sons-of-bitches under the sun. But
was in the beginning of winter, and I’m there

I believe that, if you put your head above the
in a rented wetsuit doing the hand-coming-
parapet, then expect to get it shot off!

out-of-the-water gag.

Second, if you can’t stand the heat, get out

Finally, try not to be a perfectionist. You’ll
of the kitchen. This is a very hard process and
drive yourself crazy, and you’ll also drive every-you shouldn’t go into it lightly. It is much
body else crazy. Take your project very seri-
easier to make a feature these days, but I would ously, but don’t take yourself too seriously.

really hate myself if I felt I had wasted the time Eric Shapiro: The first thing is to get se-of everyone who had contributed to my proj-
rious about the script. Don’t view it as a pro -
ect. If you can’t be bothered to do it right, and cess that sets you up for a shoot. View it as the if you want others to carry the can, then stop
most important part of the film — period. If
before you start.

you look at IMDb’s list of the most beloved

Finally, you have got to give it everything
films, all of them vary in terms of style and
until you don’t want to give any more. This
sensibility, but those are some great fucking
business attracts lots of “wannabes,” but keep -
scripts, across the board. That’s the most
ing yourself motivated is difficult when your
human and holy element, so don’t rush it or
rent is six months behind.

underestimate it.

To conclude, what you have to do is be as

The second one is to go where your strengths
clear about your aims as is possible. You have
are. Don’t pretend to be something you’re not.

to include words like realistic — yeah, it’s borDon’t make comedies if you have a morose
ing... But, being realistic doesn’t exclude you
worldview. I know I’ll never be a techie, and
from being artistic.

Your Career as an Indie Filmmaker 245

My three top tips for anyone wanting to get

3. Don’t be an asshole. People don’t do favors
into independent filmmaking are as follows:

for assholes, and the indie world is built on
favors.

1. Planning is everything at every stage, be it Ritch Yarber: If asked to give advice to
budgets or schedules. You have to take the
someone interested in becoming a filmmaker,
time and care to look under every stone

I guess I would simply tell them the same
and make sure you have checked, double-
thing I was told 11 years ago by New Jersey
checked, triple-checked. Why? Because the
film maker Karl Petry ( Ironbound Vampire, The less you leave to chance, the more chance

Larksville Ghost). He said, “Quit talking about you have of succeeding.

it and shoot something!” Conditions will never

2. The script: read it with an objective mind,
seem perfect for the beginning filmmaker to
not a false sense that you have written
actually start a project, especially on the

God’s gift to filmmaking. It doesn’t matter
micro-budget level, making for a great oppor-
whether this is your script as the director
tunity to hide behind excuse after excuse as to
or someone else’s work, as with Call of the
what one would do if they only had the money,

Hunter. Understand what it is about and
the time, the crew, the equipment, and on and
what it is you are trying to achieve with it.

on. Get a camera and start shooting some -

Rewrite it as many times as it takes and
thing! Anything! Just take a topic and try to
read-throughs to clear up any problems in
tell a story with moving images. Once the
the flow and understanding for the per-
door is cracked open, the rest will come. Be-
formers. Why? Because once you are in
lieve me, I know. I talked about making films
production, you want everyone quite liter -
for over ten years ... the conditions were never ally on the same page, and rewriting some-just right. And they still aren’t, although I’ve thing on set can be a hell of a nightmare.

now been making movies for over a decade.

3. Take advice from anyone who has more

Writing, producing or directing, it all starts
experience than you. Always remember
with the very first step. Start stepping!

good advice is always helpful but doesn’t

I think the top three things to do in getting
have to be taken. Consult anyone you
started making movies are as follows:

know in the business, from the shops you

(1) obtain some type of camera; (2) come
hire the camera from to going to studios
up with a story that you are interested in tell -
and asking editors for advice. Why? Fore-
ing; and (3) take great care to use a script that armed is forewarned. I know everything
is well-planned and complete. Once the ball
about every one’s job.

is rolling, the other elements will come for-

Making Call of the Hunter was one of the ward, or you will find ways to present the vi-best experiences of my life. It was some of the
sion that is in your head. Filmmaking is like
hardest work I have ever done and the most
painting. You start with a blank canvas that is
time I have ever invested in anything in my
slowly filled with images, colors, music and
life. I am proud of my work and hope that
sounds. Everything leads to the unveiling.

anyone who watches will enjoy it. Making a

Only then, judged solely by the audience’s re-
film is one of the best buzzes in the world. But action, is the payoff to your efforts rendered.

you really have to roll your sleeves up and get

It is a highly sought after, fleeting moment of
your hands dirty.

truth that will quickly validate or repudiate

Mike Watt:

one’s passion for filmmaking. If one has even

1. Feed your cast and crew. People don’t like
an inkling of becoming a filmmaker, they owe
to work when they’re hungry.

it to themselves to give it at least one shot, on 2. Love what you’re doing. People don’t like some level. The true filmmaker will be quickly
to watch half-assed movies.

addicted.

246

HOW TO MAKE MOVIES

Ivan Zuccon: “Wanna make movies?

itive affect on your work, and the chances of

Then start digging!” “This is what I’d like to
making an interesting movie are many.

say to budding filmmakers. I think art should,

Secondly, “Never give up.” Even when
first of all, make people think. I don’t like cin-every thing seems to be against you, even when
ema without content, movies that are merely
it seems that there’s no way out, never stop
showy, even when I can’t deny that I some -
believing in yourself and your ideas. If you
times watch that kind of film in order to spend
have dug deep enough to find them, you’ll
a carefree and relaxed evening. But when I
have ideas worth fighting for. As I often say,
work I personally try to find a meaning in

“The life of independent filmmakers is like a
everything I’m doing. So, as long as I find it,
struggle against windmills. We are the Don

I begin to dig. Here, the term “digging” is the

Quixote of movies.” But this isn’t a good rea -
right one. At first I start digging deep inside
son to stop struggling and fighting. Third, be
myself until I find the right idea. From that
picky. Never be satisfied. The more your work
idea the entire movie will be born. If you dig
improves technically and artistically, the more
deep enough this is going to have a very pos-
it will have commercial value.

Epilogue

As you may have surmised by now, being
of your shot footage from the camera’s mem -
an independent filmmaker is not easy. You
ory cards. The scariest part of all is that there may be an amazing writer, yet when you try
is little support for independent filmmakers.

to shoot a feature in your neighborhood, you

YOU are the support and the glue so that
come to the realization that your community
things will not fall apart.

theater actors are unable to do your script jus-

Ask yourself, “Is making a film something
tice. Or you may have the complete opposite

I really want to do?” Well, if the answer is happen and see that your dialogue is crap

“Yes,” do it. And perhaps doing it again if
coming out of these great actors’ mouths.

you’re happy with the experience... There is

There are also things, like equipment failures,
nothing quite like it!

cast and crew showing up late, and losing all

247

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Appendix: The Filmmakers
and Their Films

Glenn Andreiev

Lady of the Lake (1998, MTI/Bedford Entertain-Vampire’s Embrace (1993, Camp Releasing) ment/Fangoria [U.S.]; Antarctic Video [France];

Night (1997, Joseph Green Pictures)

Stax Entertainment [UK]; also released by un-

Mad Wolf (1998)

known distributors, through a sales agent, to

Sharp and Sudden (2001)

Germany, South Africa, Hungary, Benelux, Is-

Every Move You Make (2002)

rael, Spain, Greece, Latin America, Indonesia,

Silver Night (2005, Echelon Pictures)

Malaysia, Panama, Singapore, India. Also played

The Deed to Hell (2008, Echelon Pictures) on Canadian Pay-TV, and had a one-week the-The Make Believers (2009)

atrical run at the NFB theatre, in Montreal, in

March 2000)

John Borowski

Slashers (2001, MTI/Bedford Entertainment/ Fan -
goria [U.S.]; Kaboom/49th Parallel Censored

H.H. Holmes: America’s First Serial Killer (2004, 4/3 edition [Canada]; Ion New media [Ger-Facets Video)

many]; Salvation films [UK]; Antarctic Video

Albert Fish: In Sin He Found Salvation (2007, Facets

[France]; also had a four-weekend theatrical run Video)

at the Cinema du Parc, in Montreal, in Septem-

Carl Panzram: The Spirit of Hatred and Vengeance ber 2002)

(2012)

PMS Survival Tips (2003)

End of the Line (2006) Anchor Bay (Canada/Aus-Keith Crocker
tralia/ New Zealand); E1 (U.S.); MIG (Ger -

The Cinefear Sampler (1992, VHS Cinefear Video) many); AMG (Japan); Opening (France); Noble

The Bloody Ape (1997, VHS Vanguard Distributors (Scandinavia); Popron (Czech Republic); The

DVD Wildeye Releasing)

Entertainment Imitative (Benelux); International Blitzkrieg — Escape from Stalag 69 (2008, DVD

Production Associates (Thailand, Vietnam)

Wildeye Releasing)

Donald Farmer

Richard Cunningham

(Director on these titles unless noted otherwise) Lycian (2002)

Day of the Dead (1985) Actor

The Seven Kings: Scene Selections from Arcadium Demon Queen (1986) Actor

(2005)

Cannibal Hookers (1987, Magnum Video)

She (2006)

No Justice (1989, Richfields Productions) Produc -

America the Mental (2008)

tion Manager, Casting, Actor

Year Zero (2010)

Scream Dream (1989)

Vampire Cop (1990, Atlas Entertainment)

They Bite (1991, MTI Video) Assistant Casting Di-Maurice Devereaux
rector, Actor

Blood Symbol (1991, Atlas Entertainment [U.S.], Invasion of the Scream Queens (1991, Mondo Video) also released in Russia and played on Polish TV

Savage Vengeance (1993, Magnum Video)

under the title Krwawe znami)

Red Lips (1995, Video Vamp)

249

250

APPENDIX

Deadly Run (1995, Stratosphere Entertainment) Demon Resurrection (Feature Resources, 2008) Di-Compelling Evidence (1995, Stratosphere Entertain-rector, Writer, Editor, Music, Special effects.

ment)

Vicious Kiss (1995, Stratosphere Entertainment) Steve Hudgins

Demented (1996, Richfield Productions) Co-pro-The 3rd Floor (2007, Corn-O-Copia Productions) ducer

Maniac on the Loose (2008, Big Biting Pig Produc-Demolition Highway (1996, Stratosphere Entertain-tions)

ment)

Goatsucker (2009, Big Biting Pig Productions) Space Kid (1999, Velli Entertainment)

Widow (2009, Big Biting Pig Productions) Blood and Honor (2000, David Heavener Enter-Hell Is Full (2010, Big Biting Pig Productions) tainment)

The Creepy Doll (2011, Big Biting Pig Productions) Battle for Glory (2000, David Heavener Entertain-Spirit Stalkers (2012, Big Biting Pig Productions) ment)

The Strike (2001, MTI Video)

Blood Feast 2 (2001, Shriek Show) Actor

Rolfe Kanefsky

Deadly Memories (2002, Brain Dead Films) There’s Nothing Out There (1992, Image Entertain-An Erotic Vampire in Paris (2002, E.I. Cinema) ment; Troma, 2011) Writer, Director

Bollywood and Vine (2004, Stratosphere Entertain-My Family Treasure (1993, Arrow Entertainment) ment)

Story, Director

Red Lips: Bloodlust (2005, Sub Rosa)

Red Line (1995, Orion/Triboro) Writer

Red Lips: Eat the Living (2005, Sub Rosa) The Ultimate Attraction (1996, New Concorde En-Whose War? (2006, Indieflix)

tertainment) Writer, Director

Dorm of the Dead (2006, Under the Bed Films) The Alien Files a.k.a. Alien Erotica (1998, MTI Chainsaw Cheerleaders (2008, Stratosphere Enter-Home Video/Bedford Entertainment) Writer,
tainment)

Directorse

Megan Wants a Millionaire (2009, VH1) Actor Restless Souls (1998, New Concorde/Click Produc-Country Strong (2011, Screen Gems) Actor tions) Writer

Twi-Hards (2011, Suicidal Productions)

Tomorrow by Midnight a.k.a. Midnight 5 (1999, Shark Exorcist (2012, Suicidal Productions) Hope Street Entertainment) Writer, Director

Pretty Cool (2000, MTI Home Video) Writer, Di-Jeff Forsyth
rector

Rod Steele 0014: You Only Live Until You Die (2001, Children of the Sky (2000, Brimstone Productions) New Concorde Entertainment) Writer, Direc-C.A.I.N. (2013) in post
tor

What You Know (2012, short)

The Misadventures of the Invisible Man (2002, New Concorde Entertainment) Writer, Director

Richard W. Haines

Shattered Lies (2003, Lantern Lane/Hart Sharp En-Splatter University (Troma, 1983–1986, New Wave tertainment) Writer

Distribution, 1986–2011)

The Hazing a.k.a. Dead Scared (2003, Lightning Space Avenger (New Wave Film Distribution, 1989) Entertainment/MTI Video) Writer, Director

Head Games (New Wave Film Distribution, 1993) Corpses (2004. York Entertainment) Writer, Direc-Run for Cover (New Wave Film Distribution, 1995) tor

Unsavory Characters (New Wave Film Distribution, Jacquelyne Hyde (2004, Warner Home Video) 2001)

Writer, Director, Producer

Soft Money (New Wave Film Distribution, 2005) Nightmare Man (2005, Lions Gate/After Dark What Really Frightens You? (New Wave Film Dis-Films) Writer, Director, Producer
tribution, 2010)

Pretty Cool Too! (2006, MTI Home Video) Writer, Director

Blonde and Blonder (2008, First Look Entertain-William Hopkins
ment) Writer

Children of the Night (Columbia Tristar Home 1 in the Gun (2009, MTI Home Video) Writer, Di-Video, 1993) Writer
rector

Sleepless Nights (Open Communications, 2003) Di-Today Is Yesterday Tomorrow (2012, ASP Produc-rector, Writer, Editor
tions) Writer, Director

The Filmmakers and Their Films

251

Emmanuelle in Wonderland (2012, ASP Produc-There & Back: Interviews with Near-Death-Experi-tions) Writer, Director
encers (1997)

Alien Agenda: Under the Skin (1997) directed seg-Brett Kelly
ment “The Guys in Black”

Addicted to Murder: Tainted Blood (1998) The Feral Man (2001, Tempe Video)

Creaturealm: From the Dead (1998) segment “Eyes The Bonesetter (2002, Tempe Video)

of the Ripper”

Final Curtain (2003, Tempe Video)

Creaturealm: Demons Wake (1998) Producer only The Bonesetter Returns (2004, Tempe Video) Caring for the Caregivers: Living with Cancer (1998) Spacemen, Go-Go Girls and the True Meaning of documentary Co-Producer, Co-Director (2000–

Christmas (2004, Tempe Video)

2006, Films for the Humanities)

Spacemen, Go-Go Girls and the Great Easter Hunt Walking Between the Raindrops (1999)

(2004, Tempe Video)

Rage of the Werewolf (1999)

My Dead Girlfriend (2005, Tempe Video)

Addicted to Murder 3: Blood Lust (2000) Co-Pro-Kingdom of the Vampire (2006, Tempe Video) ducer, Co-Director (with Tom Vollmann)

Prey for the Beast (2007, Brain Damage Films) Beyond the Lost World: The Alien Conspiracy III Attack of the Giant Leeches (2008, Brain Damage (2001) Co-Director (with John Bowker, Tim

Films)

Rit ter)

Pirates: Quest for Snake Island (2008, Brain Damage Time Enough: The Alien Conspiracy (2002) Co-Di-Films/Black Flag Pictures)

rector (with Ron Ford, Alexandre Michaud)

Iron Soldier (2008, Maverick Entertainment) Grey Skies: The Alien Conspiracy (2002) Co-Di -

Avenging Force: The Scarab (2008, Japanese release) rector (with Tom Nondorf & Les Sekely)

She-Rex (2009, Self-distributed)

Blood of the Werewolf (2002) Co-Director (with Blood Red Moon (2009, Brain Damage Films) Bruce G. Hallenbeck, Joe Bagnardi)

Rockland (2009, undistributed)

“But You Look So Well...” (2002, documentary) Thunderstorm: The Return of Thor (2010, TomCat Broadcast nationally on PBS 2003–2008

Films)

Werewolf Tales (2003) Producer, Co-Writer Hell at My Heels (2011, Barnholtz Entertainment) Turning American: A German Immigrant’s Story Jurassic Shark (2012, Tomcat Films)

(2004, PBS documentary)

My Fair Zombie (2013, in production)

“But You Still Look So Well...”: Living with Multiple Sclerosis (2005) Broadcast nationally on PBS, Chris LaMartina

2006–2011 [completely different from the 2002]

Dead Teenagers (2006, Brain Damage Films) The Healing Prophet: Solanus Casey (2006) Broad-Book of Lore (2007, Camp Motion Pictures) cast internationally, beginning in July 2007

Grave Mistakes (2008, Camp Motion Pictures)

“I’m Not Nuts”: Living with Food Allergies (2008) Faces of Schlock Segment: “One Foot in the Grave”

Broad cast nationally on PBS, beginning May

(2009, Independent Entertainment)

2009

President’s Day (2010, Spy Music Group)

The Life of Death (2011)

Lost Trailer Park: Never Coming Attractions (2010–

Blood of the Werewolf II: Wolves & Zombies (2012) 2011, Web Series)

Witch’s Brew (2011, unreleased)

Jim Mickle

The Underdogs (2003, senior thesis short film) Kevin Lindenmuth

Mulberry Street (2007, Lionsgate/After Dark Films) (Producer/writer/director, unless otherwise noted) One Night in December (2008, short film) Stake Land (2010, Dark Sky Films/IFC)

Vampires and Other Stereotypes (1992) ... a.k.a.

Hell’s Belles

Twisted Tales (1994) Co-Director (with Mick Mc-Damon Packard

Cleery, Rita Klus)

Afterlife/Amazing Stories (1983–84)

Addicted to Murder (1995)

Dawn of an Evil Millennium (1988)

Alien Agenda: Out of the Darkness (1996) Co-Di-Apple (1992)

rector (with Mick McCleery)

The Early 70’s Horror Trailer (1999)

Alien Agenda: Endangered Species (1996) Co-Director Reflections of Evil (2002)

(with Tim Ritter, Ron Ford, Gabriel Campisi)

Untitled Star Wars Mockumentary (2003)

252

APPENDIX

SpaceDisco One (2007)

Darkness Waits (2009, Screamkings.com)

Nausicaa (2009)

Resolute (2011, undistributed)

Foxfur (2011)

Mike Watt

Brad Paulson

Tenants (1997) Writer, Director, Editor

The Van (2003, Brimstone)

The Resurrection Game (2001) Writer, Director, Co-The Bloodstained Bride (2006, Brain Damage Producer

Films)

American Nightmare (2002) Production Assistant Evil Ever After (2006, Cryptkeeper Films) Weregrrl (2002) Writer, Editor

Reservoir Drunks (2008, Aleheads Apart)

Cannibal Aneurysm (2003) Camera

Dead Harvey TV: Episode One (2009, Cape Fear Severe Injuries (2003) Writer, Editor

Imageworks)

Dr. Horror’s Erotic House of Idiots (2004) Actor Paranormal Inactivity (2011, FSD)

My Demon Nights (2004) Director of Photography Suicide Poet (2011, Straight Stumble)

Spicy Sister Slumber Party (2004) Director of Pho-Satisfied (2011, UBFilm) Screenplay
tography

Guns, Hookers and a Pound of Coke (pre-produc -

Dead Men Walking (2005) Screenwriter
tion, The Ford Austin Company) Screenplay

A Feast of Flesh (2007) Writer, Director, Editor Zebra Room (pre-production, The Ford Austin Blood Bath: Blood Wrestling Volume I (2007) Pho-Com pany) Screenplay
tographer, Editor

The Screening ((2007) Screenwriter

Jose Prendes

Splatter Movie: The Director’s Cut (2008) Co-Producer, Editor, Photographer

The Monster Man (2001, Brimstone) Writer, Di-Demon Divas and the Lanes of Damnation (2009) rector

Writer, Director, Editor

Vampire Resurrection (2001, Full Moon) Writer I Spit on Eli Roth (2009) Director of Photography) Corpses Are Forever (2003, Asylum Entertainment) The Night We Didn’t Discuss Myra Breckinridge Writer, Director

(2009) Writer, Director

Countdown: Jerusalem (2009, Asylum) Writer Countess Bathoria’s Graveyard Picture Show (2011) The Terminators (2009, Asylum) Writer

(“Retreat” segment) Writer, Director, Editor

Haunting of Winchester House (2009, Asylum) Razor Days (2012) Writer, Director, Editor Writer

Tales of Poe (2012) Actor, Associate Producer Final Girl (2012, Aviator Ent) Writer, Director Ritch Yarber

Paul Scrabo

Transylvania Police: Monster Squad (1999, Alpha Dr. Horror’s Erotic House of Idiots (2004, self-dis-Home Entertainment)

tributed)

The Gobbler (2001, unreleased)

The Deep Dark Woods (2003, self-distributed) Eric Shapiro

The Deep Dark Woods: No Witnesses (2005, recut Rule of Three (2010, Big Screen Entertainment version 2009, self-distributed)

Group)

The Tricky Treat (2007, Short Film)

Mail Order (2011, Wildlight Entertainment) The Marc Norton Show (2009)

Girl Zero (due 2012, Big Screen Entertainment Murder Machine! (2010, self-distributed) Group)

Ivan Zuccon

Anthony Straeger

The Darkness Beyond (2000, Epix Media)

Call of the Hunter (2009, U.S.— RSquared Films, Unknown Beyond (2001, Leo Films)

UK — Quid In Shrapnel Productions)

The Shunned House (2003, Brain Damage Films) Bad Brains (2005, Epix Media)

NyMpha (2006, MTI Video)

Marc Trottier

Colour from the Dark (2008, Vanguard Cinema) The Job (2003, undistributed)

Wrath of the Crows (2011, in production)

Index

Aaron, Matthew 82, 83, 160

Argento, Dario 6, 15, 16, 30, 109,

56, 83, 84, 96, 113, 120, 132,

Abbott & Costello Meet Dr. Jeckyll

142

144, 151, 173, 204, 205
and Mr. Hyde 12

Army of Darkness 14

Blockbuster Home Video 175, 185,

Abby Singer shot 31

Arnold, Mal 204

189, 191, 195, 230

Abed, Ramzi 188

Arquette, Alexis 188

Blonde and Blonder 206, 207, 223

Abrams, JJ 18–19

Arrow Entertainment 187

Blood and Honor 39, 50, 115, 153

Absence of Light 227

Artist View Entertainment 191

Blood Symbol 6, 57, 70, 97, 152,

Addicted to Murder 36, 198, 214,

ASCAP 142

183, 198, 204, 221

230

Attack of the Giant Leeches 207

The Bloodstained Bride 63, 147,

After Dark Films 155, 156, 176,

Attenborough, Richard 200

193, 208

193

Avatar 131

The Bloody Ape 23, 56, 83, 84,

After Dark Originals 156

Avildsen, John 24

113, 131, 144, 151, 160, 173, 204

After Hours 12

Bloody, Bloody Bible Camp 93

After Midnight 188; see also To-

Babb, Don 223

Blue, Green, Yellow, Dead! 64, 158
morrow After Midnight

Back to the Future 16

The Blues Brothers 12

Agnello, Tom 161

Backstage Magazine 95, 99, 216

The Bodyguard 98

Airplane! 17

Backstage West 103

Bogart, Humphrey 20

AIT 139, 140

Bad Taste 18

Bollywood and Vine 50

Albert Fish 113, 120, 151, 173, 204

Baker, Rick 11

Bonk, Ron 164

Alcott, Sally 90, 139, 209

Baker & Taylor 182

Book of Lore 41, 61, 138, 192, 207,

Alda, Robert 5

Ballard, J.G. 21

208, 225

The Alien Agenda 130

Balmy and Clod 8

Borowski, John 4, 23, 36–37, 49,

The Alien Conspiracy 130, 141

Band, Charles 86

56, 82–83, 95–96, 113, 119–120,

Alien Files 146, 155

Bannister, Reggie 94

131, 144, 150–151, 160, 173, 182,

Allen, Karen 25

Barnum & Bailey 179

198, 204, 321, 236

Allen, K.C. 144

Barry, John 146

Bowie, David 8

Allman Brothers 142

Barry Lyndon 22

Boxing Helena 121

Alpha Home Entertainment 195

Bartin, Michael 127

Boyle, Peter 24

Altman, Robert 66

Bartlebaugh-Gmys, Stacy 109, 126

Bradbury, Ray 5

Amazon.com 172, 179

The Basement 137

Braveheart 5

America the Mental 84, 96, 120,

Battle for Glory 50, 115, 153

The Breakfast Club 16, 206

132, 144, 151

Bauer, Steven 100, 156

Brennan, Tim 85

American Film Market 184, 186,

BBC 17

Bridges, Jeff 25

232

The Beast with Five Fingers 4–5

Bringing Up Baby 19

American International Pictures

Beausejour, Marie-Pierre 84

The Brood 70

(AIP) 232

Beck, Thomas Calvin 5

Brooks, Conrad 105, 106, 159, 195,

An American Werewolf in London

Bergman, Ingmar 21

208

12

Best, Amy Lynn 79, 105, 108, 109

Brown, Kaleigh 138

American World Pictures 190

The Beyond 30

Browning, Tod 10

Amicus Films 10

Big Biting Pig Productions 206

Bukowski, Charles 16

Anderson, Wes 5

Big Screen Entertainment 193

Bumgarner, Don 140

Andreiev, Glenn 3–4, 22–23, 36,

Bilvox 147

Buñuel, Luis 21

49, 55–56, 69, 82, 95, 113, 119,

The Birds 145

Burke Lakefront Airport 128

131, 143–44, 150, 160, 172–173,

Bisson, John 134

Burroughs, William 21

182, 198, 203–204, 220–221,

Bissonet, Hugo 65, 127

231, 236

Black Christmas 207

C-47 31

Annoying Orange 182

The Blair Witch Project viii, 39,

Caban, Wilfred 134

Arcadium 131, 151

73, 160, 162, 190, 232, 234

Cagney, James 20

Arche 5

Blitzkreig: Escape from Stalag 69 4,

C.A.I.N. 26, 205

253

254

INDEX

The Call of the Hunter 44, 45, 64,

Conant, Rich 227

Demme, Johnathan 162

78, 89, 107, 125, 139, 148, 157,

Condon, Chris 161

Demolition Highway 8, 57, 115,

164, 179, 180, 194, 202, 209,

Cooper, Tara 127

134, 153

226, 234, 245

Coppola, Francis Ford 6, 232

Demon Divas and the Lanes of

Cameron, James 86, 162

Cops 159

Damnation 47, 65, 90, 105, 126,

Cameron, Jessica 169

Cordero, Ralph 134, 153

127, 148, 158, 203, 228

Cannes Film Festival 188

Corman, Roger 86, 137, 162, 187

Demon Queen 8, 9, 25, 39, 71, 85,

Cannibal Apocalypse 72

The Corpse Who Loved Me 44

114, 115, 121, 133, 144, 145, 152

Cannibal Baby 231

Corpses 146, 147, 189, 206, 207,

Demon Resurrection 12, 60, 86, 100

Cannibal Hookers 39, 57, 72, 98,

223

115, 122, 136, 145, 154, 161, 175,

99, 115, 134, 145, 153, 174, 204,

Corpses Are Forever 44, 63, 125,

186, 206

223

157, 193, 208

Deng, Paul 123

Capitol Entertainment 188, 189

Costner, Kevin 98

DePalma, Brian 6, 25

Capote, Truman 8

Court TV 172

Desmond, Patrick 227

Capra, Frank 16

Craven, Wes 155

Desperado 134

Carl Panzram 56, 120, 151, 160,

Createspace.com 172

Desperate Housewives 92

204, 221

The Creepy Doll 27

Detroit Comic Fair 214

Carlson, Tabatha 127

Crew United 89

Devereaux, Maurice 6, 7, 24, 38–

Carpenter, John 6, 12, 14, 21, 24,

The Criterion Collection 16

39, 49–50, 70–71, 85, 97–98,

25, 142, 143, 146, 147

Crocker, Keith 4–5, 23, 37, 49,

114, 120–121, 133, 144, 152, 160,

Carrie 25, 93

69, 83–84, 96, 113, 120, 131, 144,

174, 183–184, 198–199, 204,

Cassette, Bette 66, 109

151, 160, 173, 182–183, 198, 204,

221–223, 231–232, 237–238

Castineira, Eddie 147

221, 231, 236

The Devil Bat 160

Castineira, Javier 226

Crognale, Gino 140

The Devil Music Ensemble 144

Casting Call Pro 89

Cronenberg, David 6, 70

Dexter 92

Castle Films 6, 8

C.S.I. 92

Diff ’rent Strokes 99

Castle of Frankenstein 5, 10

Cunningham, Richard 5–6, 23–

Diggerfilms 65, 127

Catharine the Great 115

24, 37–38, 49, 56–57, 69–70,

The Dirt Bags 141

CBC (Canadian Broadcasting

84–85, 96–97, 113–114, 120,

Discmakers 142

Company) 14

131–132, 144, 151–152, 160–161,

The Discreet Charm of the Bour-

Chainsaw Cheerleaders 58, 115,

173–174, 183, 198, 204, 221, 231,
geoisie 21

134, 175, 223

236–237

Divine 94

Chaplin, Charlie 163

The Curious Case of Benjamin But-

Dobrowolski, Mark 108

Charles Theatre 178
ton 134

Doc Savage 19

Cherry Blast 94

Curle, Julia 107

Dr. Horror’s Erotic House of Idiots

Children of the Night 11

44, 45, 78, 147, 157 163, 179,

Children of the Sky 39, 134, 205

Dahl, Roald 16

202, 208, 209

Chiller Channel 232

Damici, Nic 42, 52, 102, 124

Doctor Phibes 3

Chiller Theater 4, 10

Dante, Joe 162

Dog Day Afternoon 145, 206

The China Syndrome 145

Dark Shadows 10, 198

Donovan, Robert 101

A Chorus Line 200

Dark Sky Films 77

Dorm of the Dead 39, 153, 204

Christie, Agatha 12

Darkness Waits 64, 65, 79, 107,

Douglas School of Education 140

A Christmas Story 207

148, 180, 194, 209, 210, 226

Dourif, Brad 100

Cilla, Frank 11, 86

The Darkside (magazine) 166

Dracula 6, 10

Cinefantastique Magazine 6, 97

Davi, Robert 156

Dracula Is Alive and Well and Liv-

Cinefear Effects Troupe 131

Davidson, Joe 124
ing in Hewlett 5

Cinefear Sampler 56

Davies, Lexie 26

Dramalogue 103

Cinefear Video 173, 231

Dawn of the Dead 134, 175, 203

Dresh, Fred 72

The Cinema Arts Centre 113

A Day in the Life of Felix 209

Drive 88

Cinemagic Magazine 3

Day of the Dead 25, 133

Driving Miss Daisy 98, 121

Cinemax 155

Dead Land 174

Duff, Denice 208

Cirello, Ralph 134

Dead Scared 189; see also The

Clark, Bob 207

Hazing

Earth Mother Music 142

The Class of Nuke ’Em High 205,

Dead Teenagers 157

Eastman, Rodney 106

223

Deadhouse Music 148

Eastwood, Clint 163

Clerks 206

Deadly Dares: Truth or Dare 4 168,

Edwards, Blake 12

Cleve House Ivybridge 125, 158

169, 170, 171

E.I. Video 185

Cleveland Museum of Art 159

Deadly Memories 39, 50, 121, 145

Elliott, Dan S. 148

Cleveland State University 140

Deadly Run 39, 57, 72, 115, 153,

Emerson, Meredith 223

Close Encounters of the Third Kind

223

Emerson College 31

6

Deadworld 213

Emmanuelle 187

The Coen Brothers 6, 16

The Deed to Hell 119, 143, 150

Emmanuelle in Paris 191

Colour from the Dark 278

The Deep Dark Woods: No Witnesses

Emmanuelle in Space 187

Columbia Tristar 11

195, 210

Emmanuelle in Wonderland 146

Comicon 155, 176

Deliverance 25

Emmanuelle vs. Dracula 187

Compelling Evidence 8, 57, 99, 115,

Demented 8, 57, 72

The Empire Strikes Back 9

121, 134, 153, 223

DeMiguel, Sig 103

End of the Line 38, 57, 71, 120,

Index

255

133, 144, 152, 184, 198, 204,

Franklin, Dan 107

Haines, Richard W. 9–10, 26, 39,

222, 232, 237

The French Connection 28

50–51, 58–59, 73, 86, 99–100,

Equinox 142

French New Wave Cinema 16

115, 121, 134–135, 145, 153–154,

An Erotic Vampire in Paris 115, 121,

Friday the 13th 18

161, 175, 185–186, 199, 205–206

153, 185, 204

Friedkin, William 28

223, 232, 238–239

Escape from New York 21, 171

Fright Night 12

Hall, Bob 126

ET: The Extraterrestrial 5, 12

Frisky Dingo 5

Hall, Gabriella 123, 190

Ettinger, Art 65

Fulci, Lucio 30, 130

Hall, Jackey 175

Everson, William K. 26, 27

Full Moon Pictures 86

Hall, Sandy 126

Every Move You Make 143

FYE (For Your Entertainment)

Halloween 142, 146

The Evil Dead 6, 12, 14, 18, 197

182

Hamen House of Horror 18

The Evil Dead 2 25

Hammer Films 10, 161

Evil Ever After 117

Gaiman, Neil 164

Hampshire College 28

EWTN (Eternal Word Television

Game, John 111

Hannibal 134

Network) 3

Gandhi 200

Hansler, Jonathan 107

The Exorcist 28

Garage Band 144

Happy Cloud Pictures 79, 139

Garcia, Jorge 188

Harryhausen, Ray 10, 11

Facets Video 113, 151

Gauthier, Martin 70–71, 144

Hart, Scott 137

Fahey, Jeff 100, 224

Gawtry, Stephen 89

Harvard 181

Fame 110

Gemini 57

Hauschild, Rob 173

Famous Monsters 10

George, Jimmy 41, 51, 52, 124,

Hawks, Howard 33

Fangoria Magazine 6, 9, 24, 127,

146–147, 178, 224, 225, 241

Hayes, David C. 92–95

166, 171, 184

George Romero Presents Deadtime

The Hazing 41, 101, 123, 137, 146,

Fangoria’s Weekend of Horrors 176

Stories 126–127

155, 189, 206, 207

Fantasia Film Festival 97

Geraghty, Simon 65

HB Studios 12

Fantastic Films 24

Gerner, Pete 138

Hell at My Heels 207

Farley, Jeff 137

Ghost Adventures 206

Hell Is Full 206, 223

Farley, John 132

Ghost Hunters 206

Hemingway, Margaux 223

Farley, Kristine Renee 27

Ghost Lake 190

Hermitage Museum 115

Farmer, Donald 6–9, 24–25, 50,

G.I. Joe 6, 9

Heroes of the Horrors 5

57–58, 59, 71–73, 85, 98–99,

Gibbs, James 87

Herren, Larry 8

114–115, 121, 133–134, 144–145,

Gil, David 187

Herron, Alyssa 109

152–153, 161, 174–175, 184–185,

Gillis, Jaimie 99

H.H. Holmes 37, 69, 96, 131, 151

199, 204, 223, 232, 238

Giordano, Amodio 134, 153

Hilton, Gary 223

Farrell, Christopher 146

Glass Eye Pix 88, 138

Hiroais, Toshi 171

Fawcett, Farah 8

Glee 146

A History of Violence 213

F.B.I. 221

Glengarry Glen Ross 16

Hitchcock, Alfred 3, 4 6, 11, 12,

Feast 102

Gmys, Ron 126

28, 143, 200, 238

A Feast of Flesh 47, 90, 126, 203

Gocinski, Steve 144

Holland, Tom 12

Fernandez, Angelique 107

Godzilla 130

Hollowbrook Drive-in 9

Ferrell, Will 21

Goldman, William 233

The Hollywood Reporter 176

Fessenden, Larry 77, 88

Goldsmith, Jerry 145–146

Hollywood Video 185

Fewell, Shaina 191

Gonzales, Rick 25, 133

Holman, Mike 169

Fighting Chance 185

The Good, the Bad and the Ugly

Holsapple, Russel 147

Film Noir 19

21

Homan, Bill 108, 139

Final Cut Pro 57, 62, 64, 66, 131,

Goodstein, Esther 101

Home Box Office (HBO) 155, 187

144, 151, 242

Goodwin, E. Ray 110–111

Hopkins, William 10–12, 26–27,

Final Draft 46

The Goonies 12

39–40, 51, 59–60, 73–74, 86,

Fincher, David 39

Goregoyles 3, 130

100, 115–116, 122–123, 136, 145,

Finder, Sara 156

Gothic Castle 121

154, 161–162, 175–176, 186, 199–

Fiocca, Richard 145

Grace, Jeff 88

200, 206, 223, 232, 238

Fleiss, Heidi 224

The Graduate 20

Horror Fest: 8 Films to Die For 61,

Fleming, Charlie 109

Graham, Jeff Dylan 94

155, 193

Flint Horror Convention 93

Gran Torino 112

Horror Hound Magazine 185

Flynt, Brendan 161

Grant, Carey 20

Houston, Whitney 98

Fogg, Kirk 100

Gravdal, Vernon 204

Howard, Ron 162

For Amusement Only 17

Grave Mistakes 124

The Howard Stern Show 175

Ford, John 33

Green, Adam 176

Howdy Doody 6

Ford, Ron 217

Gregan, Nick 89, 90

Hudgins, Steve 12, 13, 27–28, 40,

Forsyth, Jeff 9, 25–26, 39, 50, 58,

Griggs, Robyn 105

60, 74, 86, 100, 116, 123, 136–

73, 85, 99, 115, 121, 134, 145,

Gross, Tim 109

137 145, 154, 162, 176, 186, 200,

153, 161, 175, 185, 199, 205, 223,

Gulager, Clu 102

206, 223, 232–233 238

232, 238

Gulager, John 102

The Hudsucker Proxy 99

Foster, Brian 47

Hughes, John 16

Foxfur 103, 226

The H-Man 3

Hundred Acres Manor 126

Franconeri, Frank 95

Haaga, Trent 44, 106, 209

Hurricane Katrina 226

Frankenstein 10

Hahner, Bill 108

Huston, John 109–110

256

INDEX

I Sell the Dead 138

Knusch, Jim 84, 205

The Lowlies 149

I’m Not Nuts: Living with Food Al-

Koch, Jason 138

Lugosi, Bela 104
lergies 3

Kohr, Brian 108

Lumière Brothers 19

Imagifects Studio 137

Kot, Tatyana 132, 173, 205

Lycian 38, 131, 151, 221

In Cold Blood 7, 8

Krause, Tina 145

Lynch, David 14, 203

In Hot Blood 7, 8

Kubrick, Stanley 6, 11, 163, 242

Lynch, Richard 208

Independent Film Channel (IFC)

Kunkle, Brent 124

193

Kurosawa, Akira 16

MacGyver 47

Independent Film Project (IFP)

Kurtzman, Robert 140

Machined 93

155

Mad Magazine 8

Independent Video Magazine 166

L.A. Casting 101, 103

Mad Men 92

Indiana Jones 5

L.A. Confidential 203

Mad Wolf 131, 143

Indie Gathering International Film

L.A. Times 176, 188

Maddin, Guy 233

Festival 149, 211

L.A. Weekly 174

Madsen, Michael 21, 100

Indiegogo.com 74

Lady of the Lake 39, 57, 97, 144,

Magic 200

Instone, Michael 107

152, 183, 199, 222

The Magnificent Seven 19

The Ironbound Vampire 245

LaMartina, Chris 14, 28–29, 41–

Mail Order 106, 125, 147, 157, 202

It’s a Mad Mad Mad Mad World

42, 51–52, 61–62, 76, 87, 102,

The Make-Believers 143

20

117, 123–124, 138 146–147, 157,

Making Movies on Your Own viii

162, 177–178, 192, 201, 207–208,

Making Nothing at the Age of 20

J & R Music World 182

225–226, 233, 241

28

Jackass 169

Landis, John 12

Maltin, Leonard 26

Jack’s Friends 75

Lanier, Jasi Cotton 109

Mamet, David 16

Jackson, Peter 15, 16, 18, 193, 242

Lantern Lane 189

Man, Steven 156

Jacqueline Hyde 61, 101, 123, 137,

The Larksville Ghost 245

A Man Called Nereus 93

146, 190

The Late Late Show 9, 10

Mandingo 50

James Bond 48, 90, 146

Laugh-at-the-Law Productions

Maniac 171

Jaws 11, 19, 143

210

Maniac on the Loose 206

Jay, Tony 69, 173

Laurel Caverns 119, 126

Manley, Walter 232

Jenkins, Ryan 223

Laveck, John 138

Mann, Anthony 33

Jeremy, Ron 94

Lawlor, Brian 210

Mark of the Devil 160

Jetsons 164

Lawrence of Arabia 58

Mars 148–149

Joe 24

Lee, Edward 16

The Marx Brothers 12

Johnson, Don 98

Lee, Spike 200

Masonberg, Hal 194

Jordan, Edward 50

The Legion of Terror 140

Mastronardi, Bart 66, 90

Jordan, Rhoda 53, 106

Leigh, Jennifer Jason 99

The Matrix 131

Judge Jugular 17

Lemmon, Jack 24

Maturro, Keith 84, 151

Julien, Annie 107

Leone, Sergio 21, 33

McCollough, Pau 148

Just Listen 28

Leslie, Peter 17

McCorkindale, Don 107

Justine 187

Lesser, Henry 160

McCrae, Nikki 109, 127

Lesser, Ron 9

McCrae, Scooter 148, 164

Kane, Carol 188

Lester, Mark 190

McGillis, Kelly 103

Kanefsky, Rolfe 12–13, 28, 40–41,

Level-D-Green 142

McKinnon, Ray 98

51, 60–61, 74–75, 86–87, 100–

Lewinsky, Monica 224

Megan Wants a Millionaire 223

102, 116, 123, 130, 137, 145–146,

Lewis, Americk 84

Mego 6

154–156, 162, 176–177, 186–191,

Lewis, Herschell Gordon 24, 131

Mercy College 153

199–201, 206–207, 223–225,

The Life of Death 3, 141, 150, 197,

Methodfest 188

233, 239–241

230

Metz, Blythe 101

Kaplan, Steve 195

Lincoln, Abe 41

Meyers, Dave 205

Kaufman, Lloyd 86, 87, 179

Lindenmuth, Kevin 3, 22, 35–36,

MGM 14

Keaton, Camille 72

55, 68, 81, 92, 112–113, 130, 141,

Miami Vice 98

Kelly, Alan Rowe 90

150, 165, 166–167, 197–198, 212–

Mickle, Beth 88

Kelly, Brett 13–14, 28, 41, 51, 61,

220, 230–231, 247

Mickle, Jim 14–15, 29, 42, 52,

75–76, 87, 102, 116–117, 123,

Lion’s Gate 155, 193, 234

76–77, 88, 102–103, 117, 124,

137–138, 146, 156–157, 162–163,

Lipski, Dan 84

138, 147, 157, 163, 176–177, 192–

177, 191–192, 201, 207, 225, 233,

Lipton, Hillary 98–99

193, 201, 208, 226, 233, 241–

241

Little, Jackey 133

242

Kelly, Katrin Riedel 107

Locke, Vince 213

Midnight Movie 18

Kent, Nicholas D 143

Loeh, Tennyson 97

Midwest Actor’s Resource 219

Ketchum, Jack 16, 202

London, Jack 16

Million Dollar Movie 9

Kickstarter.com 74, 76, 225

London International Film School

Misadventures of an Invisible Man

King, Stephen 16, 142, 222

3, 321

146, 187

King Kong 10

Longworth, Tony 147

Mitchell, Cameron 72, 98

King Lanes 126, 127

Lord of the Rings 15, 18, 193

Miyazaki, Hayao 5

King of the Hill 5

Lorre, Peter 5

Molinaris, Eric 140

Kingdom of the Vampire 207

Lost 92, 188

Moll, Richard 101

KNB 140

Lovecraft, H.P 48

Monahan, Jeff 109, 127

Index

257

Monster Man 31, 44, 63, 104, 138,

O’Hara, Scarlett 103

President’s Day 41, 61, 76, 124, 138,

147, 157, 193, 208, 226

O’Keefe, Miles 50

157, 207, 208, 225

Mood Boobs 191

One Grave Too Many 221

Pretty Cool 146, 189, 191, 207

Moore, Melissa 145, 204

One in the Good 191; see also One

Pretty Cool 3 191

Moore, Michael 184
in the Gun

Pretty Cool Too! 123, 146, 155, 162,

Moran, Linda 88

One in the Gun 61, 146, 206

190, 191, 207

Morello, Tony 221–222

The One We Came in For 18, 156,

Prism Entertainment 155

Morgan, Dennis 89

191

Pro Scores 148

Morgan, Kelly 107

Open Water 160

Project: Valkyrie 90

Morgan-Moyer, Cerris 106

Optic Nerve 140

Prom Night 70

Mork & Mindy 19

Orwig, Bob 72, 98

Psycho II 12, 146

Morot, Adrien 71, 133

Out of the Past 22

Public Enemies 120

Morrow, Adam 138

The Outer Limits 10

Putnam, Hanna 102

Mosher, Darren A. 138

Mostert, Denis-Noel 97

Packard, Damon 15, 29, 42, 52,

Queens World Film Festival 191

Movie Magic 19

62, 77, 88, 103–104, 117, 124–

Quid in Shrapnel Productions 148

MTI Home Video 156, 189, 191

125, 138, 147, 157, 163, 179, 193,

Quixote, Don 235, 246

Mulberry Street 42, 62, 102 117,

201, 208, 226, 233, 242

124, 138, 178, 191, 226

Pageau, Pierre 24

Rabid 70

Muller, George Ann 105, 139

Pal, George 19

Rael, Samuel 223

Mullins, Amanda 103

Panzram, Carl 151

Rage of the Werewolf 130, 141

Mundae, Misty 204

Paragon Video 173

Ragsdale, Doris 134

Munhall Cemetery 108

Paranormal Activity viii, 160, 162,

Raiders of the Lost Ark 6, 20

Murder in Winter 12

232

Raimi, Sam 6, 15, 16, 24, 25, 46,

Murder Machine 47, 48, 67, 110,

Paranormal Inactivity 157, 208

47

128, 159, 195, 211, 228

Party Down! 92

Randolph, Katherine 156

Music Video Distributors 182, 183

The Patty Duke Show 19

Rasputin on Campus 83

My Blood Valentine 70

Paul, Sarah 18, 107

Ray, Fred Olen 24, 72, 204, 233

My Fair Zombie 191

Paulson, Brad 15–16, 29–31, 42–

Razor Days 47, 66, 90, 109, 126,

My Family Treasure 60, 187

43, 52, 62–63, 77, 88, 104, 117–

140, 158, 203, 228

Myers, Michael 93

118, 125, 138, 147, 157, 163, 179,

Reading, Chris 89, 209

Myra Breckinridge 8

193, 201, 208, 226, 233–234,

Reagan, Ronald 95

242–243

Reborn 93

Naked Gun 17

PBS 150, 230

Red, Eric 1

Napier, Charles 72

Peck, Craig 154–155

Red Lips 39, 58

Nash, Howard 11

Peek-A-Boo 137

Red Lips: Bloodlust 58, 115, 121

National Film School 32

Père Lachaise Cemetery 115

Redbox 195

Needham, Hal 25

The Perfect Woman 53, 139

Reed, Joel 24

Netflix 172, 180, 193, 195, 242

Perzel, Michael 210, 211

Reflections of Evil 208

New Line Cinema 193

Petry, Karl 245

Reilly, John C. 21

New Wave Film Distributors, Inc.

Phantasm 97, 171

Reservoir Drunks 147

205

Phantom of the Rue Morgue 160

Resolute 180

New York Daily News 172

Pierce, Jack 11

The Resurrection Game 20, 46, 66,

New York Post 175

Piggins, Chris 222

108, 109, 148, 158, 181, 203, 228

New York University (NYU) 26

Pirates: Quest for Snake Island 225

Return of the Swamp Thing 134

Nicholson, Jack 25, 98

Pitezal, Carrie 96

Reynolds, Burt 24

Nicotero, Greg 140

Pittsburgh Filmmakers 32

Reznick, Graham 88

Nielsen, Brigitte 98

The Plague 194

Richichi, Paul 96, 221

Night of the Living Dead 10, 20, 148

Planet of the Apes 3

Rigby, Pat 85, 96

Nightmare Man 17, 61, 101, 116,

Plato, Dana 99, 223

Ristow, Dennis 142

137, 146, 155, 156, 162, 176, 190,

Platoon 72, 98

Ritter, Tim 164, 167–172

191, 207

PMS Survival Tips 204

RKO 161

A Nightmare on Elm Street 18, 227

Poe, Edgar Allan 16

Rochon, Debbie 45, 66, 105, 106,

Nixon, Andrew 145

Polanski, Roman 6

109, 126, 134, 181, 208, 209, 243

No Justice 57, 72, 98, 153

Polychrome Entertainment 190

Rod Steele 0014 74, 146, 187

North, J.J. 59

Pommepuy, Sacha 148

Rodriguez, Robert 15, 134

North Coast Central Casting 110

Pommepuy, Youri 148

Rogers, Kenny 145

The Notebook 134

Pop Cinema 192

A Rolfe Kanefsky Flick 200

Notre Dame Cathedral 115, 121

Porky’s 207

Romero, George 6, 24, 109, 142

Novak, Rick 146

Posed for Murder 28

Rose, Felissa 208

Nowcasting.com 101

Preciado, Gina 108

Rose, Pete 224

Nuke 139

Precinct 13 140

Rosemary’s Baby 10

Prendes, Jose 16–17, 31, 43–44,

Rosemary’s Boo Boo 8

O’Barr, Jim 214, 215

52– 53, 63, 77–78, 88, 104–105,

Royal Pains 152

Obradovic, Marija 67, 101, 111

118, 125, 138, 147, 157, 163, 179,

RSquared Productions 158

O’Brien, Willis 11

193, 201–202, 208, 226, 234,

Ruddy, Neal 134

Occupy Wall Street Movement 23

243

Rudolph the Red-Hosed Reindeer 93

258

INDEX

Rue Morgue Magazine 185

Siegfried and Roy 224

Sullivan, Tim 94

Rule of Three 53, 63, 106, 125, 147,

Siegler, Ben 106

Sullivan, Tom 197

157, 193, 202, 226

The Silence 21

The Summoned 8, 72, 115, 133

Run for Cover 161, 185

Silver Night 131, 203, 221

Sundance Film Festival 155, 190

Russo, James 156

Simon, Neal 12

Superman 6, 16

Rutherford, Eirik 97, 222

Sin City 15

Superman II 15

Sipe, Brian 134

Sweet and Vicious 109

Salt 236

Sir Graves Ghastly 3

The Sweet Smell of Success 5

Samhain Magazine 166

Siritzky, Alain 74, 187, 188, 191

Syfy Channel 131, 155; see also Sci-

Samul, Ryan 88

Sisk, Gene 145

Fi Channel

Satterfield, Jason 82, 83

Skin Crawl 32

Szuch, Ray 110

Savage Vengeance 57, 121, 133

Slashers 38, 57, 144, 152, 184, 199,

Save the Tiger 24

222

Tangerine Dream 142

Savini, Tom 104, 133, 138, 140,

Sleepless Nights 12, 60, 73, 100, 115,

Tarantino, Quentin 52, 95, 242

148

122, 136, 145, 154, 161, 175, 186,

Taxi Driver 134

Sayles, John 109

206, 223

Technicolor 199

Saxon, John 72

Sleuth 12

Technicolor Career Institute 121

Scarface 25

Slocombe, John 89, 158

Teen Titans 134

Schall, Lee 106

Slumdog Millionaire 190

Telefilm 70

Schiff, Nathan 131

Smirnova, Sofiya 109, 127

Tennessean 9

Sci-Fi Channel 232; see also Syfy

Smith, Dick 11

Terms of Endearment 98

Channel

Smith, Ernie 140

Terror Train 70

Scorsese, Martin 147, 163, 236, 242

Smith, Kevin 15, 52

Tessier, Francis 97

Scrabo, Paul 17, 31, 44, 45, 53, 63,

Smokey and the Bandit 25

The Texas Chainsaw Massacre 203,

78, 88, 105–106, 118, 125, 138–

Snyder, Bud 142

237

139, 147, 157, 163, 179, 193, 202,

The Social Network 39

That Man from Rio 20

208–209, 226, 234, 243–244

Sodec 70

There’s Nothing Out There 12, 28

Scream 155, 200

Solendz, Todd 233

60 123, 130, 137, 154, 155, 176,

Scream Dream 8, 57, 121, 133, 145,

Solo, Han 233

187, 188, 200, 240

204

Sota Effects 137

The Thing 25

Screamkings.com 194

Southland 92

The Third Floor 206

Screen Actors Guild 98

Space Avenger 59, 99, 100, 122,

This Island Earth 8

Scrimm, Angus 97

134, 160, 185, 199, 205, 232

Thomas, Kevin 176, 188

Scrivani, Rich 105

Space Kid 58, 204

Thomas, Mike 44, 105, 106, 209

Sears, Nathan 45, 105, 106

Spaghetti Western 9

Thomas, Phillip Michael 98

Seasons of the Wolf 141, 147

Spears, Brian 134, 135, 138

Thornett, Eric 109

Segal, Michael 111

Spiderman vs. the Ninja 9

Three Slices of Delirium 83

Seidman, Tom 189

Spielberg, Steven 6, 9, 12, 16, 18,

Tidwell, Robert 8, 72

Serling, Rod 5

179, 242

Today Is Yesterday Tomorrow 74,

Severe Injuries 47, 109, 148, 203,

Spirit Stalkers 87, 206, 223

191

210

Splatter Movie 47, 90, 126, 203,

The Tomb 72

Shapiro, Eric 17, 31, 44, 53, 63–

227

Tomorrow by Midnight 137, 146,

64, 78, 88, 106–107, 118, 125,

Splatter Times 9, 24, 72, 199

188, 206, 233

139, 147–148 157, 163–164, 179,

Splatter University 59, 134, 153, 232

Top Gun 103

193–194, 202, 209, 226, 234,

Stabs, Lilith 105

Toronto Film Festival 155

244

Stake Land 42, 62, 77, 88, 103,

Tosi, Matteo 111

Shark Exorcist 58

117, 124, 138, 147, 178, 193

The Toxic Avenger 14

Sharp & Sudden 204

Stalag 17 160

Toxic Crusaders 14

Shatter Dead 148

The Stand 222

Transamerica 88

Shaun of the Dead 190

Star Trek 9, 10, 134

Transformers 41, 42, 43, 46

ShE 151

Star Wars 5, 6, 9, 11, 12, 65, 233

Transylvania Police: Monster Squad

Shelly, B.J. 134

Starlog 6

159, 195

Shelly, Bob 134

Starman 25

300 15

Sheen, Charlie 8, 72

The Stepfather 12

Tregenza, Nick 139

Shenton, Martin 90, 139

Stevens, Brinke 53, 105, 109, 139,

Tribeca Film Festival 84, 114

Shepis, Tiffany 101, 102, 153, 156,

208, 228

The Tricky Treat 210

176, 181, 191, 204

Stone, Oliver 163

Trident Releasing 187

Shiley, Mike 148

Straeger, Anthony 17–18, 31–32,

TrigFX 139

The Shining 242

44–45 53, 64, 78–79, 107, 118,

Trivisonno, Mike 211

Shivers 70

125–126, 139, 148, 157–158, 164,

Troma Films 12, 14, 28, 86, 187

Shooting People 89, 90

179–180, 194, 202, 209, 226,

Troma’s War 12

Shoreline 190

324, 244–245

Tropepi, Frank 26

Shreiner, Gary 145

Street Trash 22

Trottier, Marc 18–19, 32, 53–54,

The Shunned House 211

Strength in Numbers 12

64–65, 79, 90, 107–108, 118,

Shyamalan, M. Night 18

The Strike 39, 50, 57, 115, 153, 185

126, 139, 148, 158, 164, 180,

Side Show 134

Subspecies 208

194–195, 202–203, 209, 210,

Sidell, Terry 87

Suicide Poet 157

226–227, 234

Index

259

Truth or Dare 167, 168

Vicious Kiss 57, 59, 72, 115, 133,

Witch’s Brew 41, 62, 76, 138, 157,

Tubbesing, Andy 140

153, 223

163, 178, 207, 208, 225

Tuskes, Al 140

Videocopilot.net 138, 139, 148

Withoutabox 179

TV Guide 10

The View 172

Witness 103

Twilight 35, 201

Villeneuve, Steve 65, 127

The Wizard of Oz 19

The Twilight Zone 5, 10

Vindication 90

Woelfel, Jay 145, 190

Twin Towers 130

Vorhees, Jason 93

Wolff, Gerald 99

Twisted Tales 130, 141, 150

Wonderland 191

Twistedspine.com Films 80, 128,

Waddell, Barry D. 141–143

Wood, Ed 104

164, 181, 195, 210

Waddell, Wesley 142

Woodside, PJ 27

The Twistedspine.com Micro Film

Walking Between the Raindrops: Re-

Woody Woodpecker 6

Fest 181
visited 36, 68

World War II 55

Waltrowski, Jeff 90

Wrath of the Crows 48, 67, 101, 111,

Ultraviolent Magazine 65

Warasch, Natasha 4

211

The Umbrellas of Cherbourg 22

Warner Brothers Home Video 61,

Wright, Seth 145

The Underdogs 62

123, 190

WW and the Dixie Dance Kings 24

Unger, Richard 90

Wasilewski, Carolyn 124

Wynorski, Jim 134, 204, 233

Universal Studios 14, 190

Waters, John 16

University of California–Los An-

Watt, Mike 19–20, 32–33, 54, 65–

Yarber, Ritch 20–21, 33–34, 47–
geles 29

66, 79, 90–91, 108–110, 118–119,

48, 54, 66–67, 79–80, 91, 110–

University of Michigan 22

126–128, 139–140, 148–149, 158–

111, 119, 128, 140, 149, 159, 164,

Unknown Beyond 211

159, 164–165, 180–181, 195, 203,

181, 195–196, 203, 210, 211, 228,

Unsavory Characters 161, 199

210, 227–228, 234–235, 245

235, 245–246

Urban Saber 139, 158

Wayne, John 25

Year Zero 38, 56, 84, 114, 132, 133,

Weiss, David 83

144, 151, 152, 173, 174, 204

Welch, Raquel 8, 25

York, Tanya 189–190

Valkhn Film and Video 155

Welcome to Cretinville: Legend of

York Entertainment 189

Vampire Cop 39, 57, 98, 121, 133,
the Melonheads 210

You Only LIve Until You Die 74

134, 204

Welles, Orson 160

Young, Freddie 58

Vampire in Notre Dame 185; see

Wells, H.G. 5

YouTube.com 139, 148, 182, 204,
also An Erotic Vampire in Paris

WETA 138

230

Vampires & Other Stereotypes 3,

Whale, James 10

35, 130, 150, 190, 213, 230

What Really Frightens You? 39, 134,

Zacherle, John 105

Vampire’s Embrace 55, 150, 160,

135, 161, 199

Zacherley 105, 209

182, 203

Wheeler, Edward 12, 86

Zimmerman, Charles 178

The Van 62

Wildeye Releasing 173, 182

Zombieland 134

Van Helsing 134

Williams, Bill 154

Zuccon, Ivan 21, 34, 48, 54, 67,

Vanishing on 7th Street 112

Williams, Rachelle 127

80, 91, 111, 119, 128–129, 140,

Variety 174, 175, 176, 185

Williams, Robin 19

149, 159, 164, 181–182, 196, 203,

Veazey, Justin 27

Wingenfeld, Justin 32

211, 228–229, 235, 246

Vestron 232

Wings Castle 39

Zuckerberg, Mark 39

VH1 223

Winston, Stan 140

Zwang, Ron 146

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Document Outline

- Cover
- Table of Contents
- Preface
- Foreword by Eric Red
- Making Movies
- Film School
- The Script
- Equipment and Production
- Budget and Funding
- Production Crew
- Actors

- Locations: Where You Live and Where You Shoot

- Special Effects
- Music
- How Long Does It Take to Make a Movie?
- Publicity, Promotion and Distribution
- Being an Independent Filmmaker
- Working on Other Peopleš Independent Films
- Your Career as an Indie Filmmaker
- Epilogue
- Appendix: The Filmmakers and Their Films
- Index

Table of Contents

- Cover
- Table of Contents
- Preface
- Foreword by Eric Red
- Making Movies
- Film School
- The Script
- Equipment and Production
- Budget and Funding
- Production Crew
- Actors

- Locations: Where You Live and Where You Shoot

- Special Effects
- Music
- How Long Does It Take to Make a Movie?
- Publicity, Promotion and Distribution
- Being an Independent Filmmaker
- Working on Other Peopleˇs Independent Films
- Your Career as an Indie Filmmaker
- Epilogue
- Appendix: The Filmmakers and Their Films
- Index