Download Anatomy of a Guerrilla Film: The Making of RADIUS by Helmut Kobler PDF

By Helmut Kobler

"Anatomy of a Guerrilla movie: The Making of RADIUS," does whatever that no different how-to filmmaking e-book does: it teaches filmmaking rules by means of taking readers during the means of creating a real-world guerrilla movie after which enables you to watch the ultimate movie - integrated on an accompanying DVD - so readers can really see the result of all of the judgements, compromises, setbacks, and victories. First-time filmmaker and writer Helmut Kobler believes that how you can examine is through gazing other folks do anything after which studying from their successes and blunders. That philosophy is the idea that in the back of this publication. Written in transparent, trouble-free language for the first-time or starting filmmaker, "Anatomy of a Guerrilla movie: The Making of RADIUS," serves as a case-study for brand spanking new filmmakers, permitting them to see the teachings and ideas provided within the booklet come to existence within the real movie. From begin to end, each step and method that encompasses making an autonomous movie is roofed, together with preproduction, construction, submit construction, and advertising and distribution. diversified ways to every step and strategy are coated, not only the process utilized by the writer. Behind-the-scenes photos and statement by way of the writer at the integrated DVD sincerely illustrate the stairs making this ebook the main specified and hands-on advisor to guerrilla filmmaking.

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Extra info for Anatomy of a Guerrilla Film: The Making of RADIUS

Example text

Sting has a tiny part, but it gives the film some added cachet. A few written scenes were never filmed. For Crim, we eventually cast Matt McCoy, who’s done plenty of work in mainstream films and television. If you’re planning to make a fi lm, I’m sure you can identify some strategic goals for your script to meet. Writing in a cool, limited role for a marquee actor is great start. Also, perhaps you have access to some unique props or set pieces that are a bit out of the ordinary—you know, a friend who works at an ice rink or funeral home, or someone with a boat, jet ski, and so on.

A few weeks later, Rick backed out. Fortunately, I had held off telling other cast members, crew members, and friends and family that we had cast Rick in the first place (not wanting to jinx it), so his departure wasn’t the demoralizer it could have been. Lesson Learned Don’t count your chickens until they actually show up on set. The original Vesay backed out the day before production started. We had cast another actor to play Vesay, but he called the day before production started to tell us that he had to back out.

Also, we should have been more rigorous in getting detailed feedback from our test readers. If I had to do it over again, I would have given the script to a wider array of people—not just close friends—and would have followed up by asking readers specific questions about their understanding of the story, looking hard for gaps. Lesson Learned Have lots of people read your script before shooting, and get detailed, specific feedback. If possible, don’t just rely on friends. We wrote the script with some strategic goals in mind.

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