Screenwriter Jeffrey Alan Schechter loves the number 4

The excellent Film Courage interviews Jeffrey Alan Schechter who claims Every Great Story Has A Main Character That Goes Through 4 Archetypes.

He explains the six Jungian archtypes:

“The most concise and well constructed version of this came from the book “Hero Within” by a person named Carol S. Pearson…. She was a psychologist who wrote a self-help book with the idea, and the hero within I think it’s like six archetypes we live by. Her idea was that you can define yourself by one of these six archetypes which was like warrior, wanderer, orphan, martyr, innocent, magician, there we go I actually got them all.”

Jeffrey is big on the number four. To him, every film answers four questions, in four acts:

He reviews movies on his website, mystorycanbeatupyourstory.com, and illustrates the four questions and four archetypes well. Just click on any film you know to see what I mean.

The four questions:

  1. Who is your main character?
  2. What are they trying to accomplish?
  3. Who is trying to stop them?
  4. What happens if they fail?

The protagonist will move through four of these six archetypes, one state in each of the four acts:

  1. Orphan
  2. Wanderer
  3. Warrior
  4. Martyr
  5. Magician
  6. Innocent

Jeffrey’s book, “My Story Can Beat Up Your Story: Ten Ways to Toughen Up Your Screenplay from Opening Hook to Knockout Punch”, is available on Amazon.

My take: fascinating! As someone very curious about storytelling, I love all the various theories on structure and the various rules and edits around screenwriting. Oh yeah, he also says there should be 44 plot points.

 

Please do feed the film crew

According to the adage, an army travels on its stomach. And it’s no different for an indie film production.

Feeding a film crew? A few suggestions, and an idea on how to do it for free:

Sophia Harvey writes Food on Set: Do’s and Don’ts for Feeding Your Crew on No Film School and expounds on these topics:

  1. Don’t be stingy.
  2. Aim for variety.
  3. Keep it caloric, but healthy.
  4. Pay attention to dietary restrictions.
  5. Keep it hot and punctual.
  6. Crafty: no mess, no mayo.
  7. Coffee and water, always and forever.
  8. Choose bulk catering.
  9. Special touches matter.

AJ Unitas lists 8 Essential Tips for Prepping an Awesome Craft Services Table on StudioBinder that include:

  1. Keep caterers away from the craft services table.
  2. Buy supplies in bulk from wholesale markets.
  3. Account for allergies and diets.
  4. Fill your craft table with healthy options.
  5. But don’t get too crazy.
  6. Get brands specifically asked for.
  7. Turn cheese sticks into two.
  8. Keep your Production going.

How to afford what could be your biggest expense on a low-budget short?

Lacee Kloze suggests 9 Ways to Feed A Hungry Film Crew For Free on Creative Live. Her bold strategy?

  1. Create a flashy one-sheet about your project.
  2. Write a form letter.
  3. Send your form letter and one sheet combo EVERYWHERE!
  4. Don’t be afraid to ask for something small — snacks, drinks or desserts — instead of a full meal.
  5. Don’t forget to ask for staples like bagels and coffee.
  6. Hit the grocery stores, natural food markets and co-ops.
  7. Start early.
  8. Team up with a non-profit.
  9. When the yeses start coming back, follow through with your promises.

Three great blog posts to get you thinking!

My take: I like French Hours that keep your work day to 10 hours, with no meal break.

The School of Indie Filmmaking

What to do if you can’t get into film school? Follow in Christopher Nolan‘s footsteps and invest in your own education by making your own movie.

In this video, Christopher Nolan describes how he made his first film, a 70 minute neo-noir called “Following.”

Rather than ask all his friends to make themselves available for a continuous stretch of time, he decided to shoot on Saturdays only for a whole year:

“It was a no-budget film and in the true sense. We spent about $6,000 on the entire movie so it was all myself and Emma and a group of our friends getting together each Saturday to shoot about 15 minutes worth of footage. We did that for about a year and put the thing together that way. It was a very good learning experience to be able to spread it out over that time. A lot of no budget filmmakers take exactly the opposite approach and are really fast and furious to get these people together and say okay you have to just do this for three weeks. I wasn’t able to do that because we all had to work full time during the week and couldn’t really take much time off.”

Other takeaways:

  1. Corporate video work taught Nolan how to light and shoot quickly.
  2. He cast stage actors because they can learn lines.
  3. They rehearsed for six months.
  4. They found amazing locations that would be expensive to recreate.
  5. He shot the 16mm film handheld.
  6. Black and white means you can create a more distinctive look.
  7. Shoot singles on each actor and then only limited master shot coverage.
  8. Do sound-only takes on set first to warm up the actors and to capture great location audio.
  9. Because not all your crew will turn up each day, you will learn to do every job on set.

The key to ultra-low budget filmmaking?

“One of the keys to getting an ultra low budget film actually finished is definitely to have in mind what kind of film you can make with the resources available to you.”

See Following on Youtube.

My take: lol, I did both. My suggestion is to join a film co-operative and invest your money in your own film projects. You can learn everything you need to from fellow filmmakers, and Google.

Netflix-BANFF Diversity of Voices Initiative needs you to apply

Calling all Black, Indigenous, and People of Colour creators and producers of any gender from across Canada! Time is running out to apply to the 2022 edition of the Netflix-BANFF Diversity of Voices Initiative. Attend the 2022 Banff World Media Festival and benefit from an exclusive professional development program designed to help projects and careers move forward.

The deadline to apply is January 7, 2022 at 3:00 pm EST.

There are 100 spots available and the successful applicants will receive:

  • A full access pass to the 2022 Banff World Media Festival, a leading international conference and marketplace that provides a platform for the evolving media industry to develop its creative and business objectives.
  • A customized professional development program.
  • Networking opportunities with senior media industry executives.
  • Access to and visibility within the Canadian and international media industry.

But wait, there’s more!

Twenty-five participants will also invited to pitch their projects and will also receive:

  • A $1500 CAD travel stipend to attend the 2022 Banff World Media Festival (on the condition of an in-person Festival).
  • Mentorship from an industry advisor expertly positioned to provide actionable feedback on project and career development.
  • Private networking or pitching opportunities with Canadian and international executives.

See the eligibility requirements and the entry guidelines.

See the 2021 participants.

My take: BIPOC creators, go for this!

The Dutch Angle, explained

Marie Cascione explains on Vox — why movies tilt the camera. Watch now:

She writes:

“The Dutch angle (aka Dutch tilt, canted angle, or oblique angle) is a filmmaking technique that involves setting the camera at an angle and tilting the entire scene. You see it everywhere, from blockbuster movies to soap commercials. It’s used to emphasize when something is a little off, or just to make a shot look more interesting. The thing is… it’s not actually Dutch. And it didn’t start with filmmakers. It was pioneered by German directors during World War I, when outside films were blocked from being shown in Germany. While Hollywood was serving up largely glamorous, rollicking films, the German film industry joined the expressionist movement in art and literature, which was focused on processing the chaos of world war. Its themes touched on betrayal, suicide, psychosis, and terror. And expressionist films conveyed that darkness not just through their plotlines, but through their set designs, costumes — and unusual camera shots.”

My take: all of this reminds me of my short film Largo. Because it’s a psychological portrait, I invoked elements of German Expressionism to illustrate the Captain’s mental state, particularly canted camera angles, skewed sets and long shadows. Not bad for 72 hours and $10!

Women: Apply to Banff SPARK now

There are less than two weeks left to apply to the BANFF Spark Accelerator for Women in the Business of Media.

This program is designed to address the systemic gap in gender equality and representation by providing essential opportunities and resources to help increase the number of Canadian women-owned businesses in the media industry.

Up to 100 spots are available and include:

  • A full-access pass to the 2022 Banff World Media Festival.
  • A $1500 CAD travel stipend to attend (on the condition of an in-person Festival).
  • A suite of tailored virtual workshops between February to April 2022.
  • Mentorship from an industry advisor.
  • Access to and visibility within the Canadian and global media industry.

BANFF Spark is open to candidates who are established in the media industry and those that are starting out. Content production businesses as well as those that offer services within the screen-based industry are eligible.

The application deadline is Monday, November 15, 2021 at Noon PST.

See the previous cohorts.

My take: very worthy and highly recommended.

Crazy8s deadline coming soon

This Monday, October 25, 2021, at 11:59 pm, is the deadline to apply to Crazy8s on Film Freeway.

Since 1999, Vancouver’s Crazy8s has produced 127 short films. The Crazy8s Film Society exists to provide funding and support to emerging filmmakers to help them produce short films and to train crew and cast.

Each Writer, Directer and Producer team submits a 3-minute video pitch. Forty semi-finalists will be contacted by November 15 to schedule a time to pitch in-person to a jury of industry professionals on either November 20 or 21, 2021.

Next, twelve semi-finalists go into a story editing phase and work with a professional Script Editor.

Then the Top 6 Teams receive almost $50,000-worth of camera, lighting and grip packages, $1000 cash, and mentorship throughout the duration of their 8-day production and delivery of their final films.

The process culminates with a Gala Screening and AfterParty slated for April 9, 2022, in Vancouver.

My take: I’ve seen a number of Crazy8s films over the years and have always been impressed with their professionalism. Highly recommended.

NSI Series Incubator deadline approaches

The NSI (National Screen Institute) is currently accepting applications for their new NSI Series Incubator program. Note: the deadline is October 14, 2021.

Four writer/producer teams with an idea and treatment for a live-action fictional series will receive workshops, mentorships and hands-on training, over eight months to develop their idea and create a $28,000 proof-of-concept film by July 2022.

Applications are welcomed from people who identify as (one or more):

  • Black
  • Indigenous
  • People of Colour
  • Women
  • Lesbian
  • Gay
  • Bisexual
  • Transgender
  • Queer or questioning and two-spirit (LGBTQ2S+)
  • People with disabilities
  • Those outside large urban centres (Montreal, Toronto and Vancouver)
  • People from regional and remote areas and various religious groups

In addition, applicants must:

  1. Be a Canadian citizen or permanent resident living in Canada, aged 18 or over
  2. Have an idea and preliminary treatment for a series
  3. Have demonstrated experience in a writer or producer role
  4. Maintain creative and financial control over the project as well as technical ownership.
  5. Not be a participant in any other training program that would conflict with your ability to commit to the NSI Series Incubator program
  6. Have production or craft experience, or business affairs/legal experience, or marketing/distribution experience, or some combination of these
  7. Demonstrate storytelling ability with past works (i.e.: short film, short story, journalism or another creative writing endeavour)
  8. Commit the necessary time to complete this multiphase training

Your application must include one file that contains:

  1. Project name; format; genre; time frame; setting/location; synopsis (one to two pages); source of series
  2. Producer CV clearly stating production experience: include your role on the production and the following information about each project: the writer/producer; genre; if it was a student film; final running time; any broadcasts/theatrical release/festivals played; is it in development, production, post or completed?
  3. Writer CV demonstrating your storytelling experience: include short film, short story, journalism or another creative writing endeavour.
  4. Producer letter of reference AND writer letter of reference: these letters should help identify why the person providing the reference feels you are ready to develop a series.
  5. Producer letter of expectation AND writer letter of expectation: both the producer and writer should provide a paragraph explaining what they hope to gain by participating in NSI Series Incubator.
  6. Additional letter (if applicable): required for applicants who need to demonstrate their suitability to participate in the program because they don’t meet eligibility criteria.
  7. Series proposal: including: overall concept, seasonal arc, lead character descriptions (maximum of four) and target audience.
  8. Writing sample: (no more than 10 pages) from the writer.

Note: there is a $100 non-refundable application fee per project and $500 tuition per successful participant.

My take: full disclosure: I have never been successful with any of my applications to the NSI. However, I have heard from participants that they highly value the training they received. Although this application is quite lengthy, the $10,000 cash injected into your proof-of-concept short is well worth it, in addition to the training and mentorships. I highly recommend this program to my friends who identify as: Black, Indigenous, People of Colour, women, lesbian, gay, bisexual, transgender, queer or questioning and two-spirit (LGBTQ2S+), people with disabilities, those outside large urban centres (Toronto, Vancouver and Montreal), and/or people from regional and remote areas and various religious groups.

TV Showrunner Bootcamp: apply now!

BIPOC writers take note: here’s a great way to advance in episodic television.

The BIPOC TV & Film Showrunner Training Bootcamp is a 4-day workshop-style intensive for mid-level to senior writers. Led by writer and executive producer, Anthony Q. Farrell, along with special guest instructors and panellists, the workshop will train up to 50 writers on best practices in managing and staffing their writing rooms, managing production and post-production schedules, and working effectively with production companies and broadcasters.

Farrell says:

“A nice thing about the Canadian Entertainment industry right now is that more doors are opening for BIPOC creators. It’s a beautiful thing. What I’m noticing though, is that many of those creators are being thrown into showrunning without any real preparation or support. The goal of this program is to get mid and upper-level writers ready for the jump to showrunning, demystify elements of the role that are new to them, and to inspire them to take creative control of their series. We’ll go through the nuts and bolts of the job so they’re mostly ready for the opportunity if and when it arises.”

The Showrunner Training Bootcamp is open to Canadian writers who are Black, Indigenous, and/or racialized (Persons of Colour). To be eligible you must also meet at least one of the following criteria:

  1. You have or had a show (web or TV) in development with a Canadian broadcaster or with a production company; or,
  2. You have attained a producer-level credit on at least one season of a Canadian TV or web series; or,
  3. You have a story editor credit on an animated series.

Here’s the program:

Week 1 (October 16): Managing and staffing your creative team

  • What to look for when hiring, where to find your writers
  • How to cultivate a safe working environment
  • How to communicate and delegate effectively
  • How and when to promote junior writers
  • How to work best with story editors/coordinators
  • How to manage relationships and set realistic expectations with producers
  • How to manage a co-showrunning relationship

Week 2 (October 23): Managing Schedules
Guest Instructor: Jim Corston

  • Breaking down line producing and budgets
  • Pitfalls for showrunners to avoid
  • Determining budget realities and priorities
  • Staying within your budget and production schedule
  • Special session on notes; who gives them, when, pushing back, communicating them to writers

Week 3 (November 6): Production & Post Production
Guest Instructor: Dave Huband

  • Post production workflow from day one to delivery
  • Tracking dailies
  • Working with editors (giving and taking notes)
  • What to look for at the mix and in colour correction

Week 4 (November 20): Managing Relationships + Wrap-up
Guest Panellists: Marsha Greene, Floyd Kane, Vera Santamaria

  • Building and managing relationships with your writers, actors, crew, non-writing producers, broadcasters
  • Panel featuring showrunners from Canada and the US

Apply by September 19, 2021 here: https://docs.google.com/forms/d/e/1FAIpQLScCjxsiHG0GN0bqQb9EPhk3N8A5ar78eIaMb2gzX4JnmKVO4Q/viewform?usp=sf_link

My take: Ana de Lara, this is for you!

The Future of Film Showcase 2021

The annual Future of Film Showcase (FOFS) is happening now.

Evan Goldberg (google him if you don’t recognize the name) gave the opening keynote conversation.

Barry Hertz of The Globe and Mail interviewed him leading up to this. On if heading off to Hollywood is the only way to make it, he says:

“Seth and I knew our sensibility was in making huge in-theatre comedies. But if you’re trying to make a dramatic indie film that’s not specifically designed to be a blockbuster that makes a lot of money, then Canada has an incredible system to help you. I feel that Canada is always pushing its filmmakers in an impressive way. Usually there’s the industry that pushes it, but the actual political forces of Canada push it forward, too. But I feel like it’s going to break through in a bigger way soon. Canada has been known as a great place to produce comedians, but there’s a wave of directors and producers coming up, too. And the opportunities are growing: We have giant corporations and studios setting up shop here.”

Most of the Industry Panels have passed or are full but there are still two ZOOM seminars available:

Watch this year’s films on CBC GEM and read about them here.

My take: a worthy cause and event — but maybe slightly ageist, as their definition of emerging means 40 and under. I guess that makes me “post-emerging?” (Back in the day, 30 was the supposed dividing line. Remember, “Don’t trust anyone over 30?”)