I’m Peter D. Marshall and I created this film directing blog in 2007 as an online movie making resource center for Independent Filmmakers like yourself. Peter D. Marshall

(As of August 29, 2537 film making posts have been published on this blog!)

For over 40 years I’ve worked (and survived) in the Film and TV industry as a Film Director, Television Producer, First Assistant Director and Creative Consultant. (See IMDb Credits.)

In 1999, I started my website, ActionCutPrint which has grown into one of the top film directing websites for Independent Filmmakers on the Internet today featuring online movie making courses, film directing articles, film and television books and filmmaking workshops.

In 2000, I started publishing my free monthly film making ezine, The Director’s Chair which is read by over 6000 filmmakers in 105 countries around the world. (You can read 155 back issues here.)

To fulfill my goal of mentoring and teaching, I developed several filmmaking workshops that I have presented over the past 19 years (Singapore, Dubai, Haiti, Vancouver, Toronto, Calgary, Regina.) I am also a directing instructor for Raindance Canada and the Vancouver Film School.

I also offer Film Directing Coaching services via Skype. So why hire me as your film directing coach? Along with my international teaching experiences and my 40 years of professional filmmaking experience (as a TV Director and Feature 1st AD), I feel I have the necessary qualifications to help you achieve your dreams of being a creative and successful independent film director.

So if you want to keep up to date on the latest Online film and television resources, please Bookmark this Page Now or Subscribe to this blog to read daily film making articles written by myself and other film makers from around the world.

Contact Peter D. Marshall

The feature article in this month’s issue of The Director’s Chair is called Blocking and Rehearsing Actors on the Set. “When you first start directing, blocking a scene can be one of the hardest – and most embarrassing – parts of your job. Get it wrong here, and you could waste valuable shooting time trying to get out of the mess you created! Before you step onto any film set, you need to first do your homework on Script and Character Analysis. You must be able to understanding every detail of the script (what the story is about; the themes; the story points) and character development and analysis (the development and objectives of the characters).”

SUBSCRIBE to the current issue of “The Director’s Chair” and get two free bonuses: (1) Day One (41 pages) of my 258 page Online film directing audio course, “The Art and Craft of the Director Audio Seminar” and (2) the first 30 pages of my 165 page “Script Breakdown and Film Scheduling Online Course For Independent Filmmakers.”

by Jason Bailey.

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It began with three brief items in his notebooks. “A film about deception and lost earrings,” went one. “Everybody has a past,” went another. And finally, “Friend on the couch. Affair with the wife.” The filmmaker jotted down those three ideas in 1986; three years later, the movie those three ideas spawned became the sensation of the nascent Sundance Film Festival, the winner of the Palme d’Or at Cannes, and an international box office smash. The young writer/director was Steven Soderbergh, the film was sex, lies, and videotape, and its release 25 years ago was, author Peter Biskind would later write, “the big bang of the modern indie film movement.”

It was “the serpent-apple-Adam and Eve moment for indie films,” Soderbergh’s contemporary Whit Stillman told me, “so commercially successful that the industry decided that indie films could be a business.” Stillman was one of the many filmmakers who benefited from this new climate; his three pictures of the decade (Metropolitan, Barcelona, and The Last Days of Disco) were intimate, personal, talky – the kind of thing you rarely saw in the slicked-up, lightning-paced ‘80s unless they were accompanied by subtitles. But the independent films of the 1990s were risky, provocative, and exciting enough to warrant comparison to the studio pictures of the 1970s — and sex, lies was their Easy Rider.

Read the rest of this article from Flavor Wire.

Do you need a Film Directing Coach? If actors, singers and athletes have private coaches, why not Film Directors? If you would like help to achieve your dreams of being a creative and successful independent film director, please check out my Film Directing Coach services via Skype.

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by Julia Llewellyn Smith.

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It was the middle of the afternoon when the emergency call came from Pinewood Studios in Buckinghamshire. A 71-year-old man had injured his ankle “in an incident involving a garage door”. Paramedics on the air ambulance sent to ferry him to the John Radcliffe Hospital in Oxford were amazed to discover their patient was no ordinary pensioner, but Hollywood actor Harrison Ford. His ankle had been smashed by a door falling from the Millennium Falcon, the spaceship his character Han Solo flies in the original Star Wars trilogy.

Weeks later, any initial suspicions that producers were being overcautious about their star have been dispelled; Ford had broken his left leg. No 71-year-old, however fit, rich and famous, is going to recover quickly from such an injury. Ford is expected to miss at least eight weeks of filming on Stars Wars: Episode VII.

Ford’s accident – involving, as it did, one of the leading men in the most high-profile film currently in production – was bound to make headlines. But many more have gone largely unreported. In fact, it’s the film industry’s dirty secret that accidents – even fatal ones – on film sets are ­shockingly common.

Read the rest of this article from The Telegraph.

Sign up now for your own FREE monthly subscription to “The Director’s Chair” filmmaking ezine and get the first 41 pages of my 258 page Film Directing Multi-Media Online course, “The Art and Craft of the Director Audio Seminar.”

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GoPros on dorsal fins: How a Shark Week filmmaker tells sharks’ stories

August 27, 2014

by C. Molly Smith. is highly visual: Its name alone conjures up images of great white sharks breaching out of the sapphire blue waters of South Africa in slow motion. Between their impressive size and sleek design, sharks lend themselves to sight. They are the perfect subjects to be filmed, entirely photogenic. This imagery grabbed hold of […]

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Richard Attenborough Appreciation: A True Filmmaking Giant On Both Sides Of The Camera

August 26, 2014

by Pete Hammond. Lord was an Oscar winner. In fact he had two Oscars for both producing and directing 1982’s elegant epic biopic, Gandhi. But considering the breadth of his career not only in those capacities, but particularly as an actor, it is astounding to me that the Gandhi wins represented his only nominations in a six-decade career that memorably started with […]

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Far From Black and White: Modern Usage of Colourless Filmmaking

August 25, 2014

by Talia C. A director faces a plethora of choices when he or she sets out to make a movie. In this age of advanced modern technology, it is often assumed that one decision no longer needs to be made: whether to film in black and white, or in colour. Colour can add richness and […]

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How the influence of existentialist philosophy plays out in Richard Linklater’s filmmaking

August 24, 2014

by Ben Sachs. In a post last week I considered the possible influence of Rainer Werner Fassbinder’s Katzelmacher on a key sequence of Richard Linklater’s Boyhood. I failed to acknowledge, though, how this sequence is also highly characteristic of Linklater. To review, the passage finds a junior high-aged Mason walking and talking with a callous, […]

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6 Filmmaking Tips from John Cassavetes

August 23, 2014

by Landon Palmer. The 1980s proved a difficult time for many notable American directors of the 1960s and 70s. Sure, filmmakers like Altman and Coppola came out on the other side of the decade with renewed vigor, and at least one – Scorsese – even managed to arguably realize some of the most interesting work of […]

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VIDEO: Cassavetes Between Takes of Love Streams

August 22, 2014

by Sarah Salovaara. “If our films are supposed to be something like life is…then how can you determine what’s going to happen tomorrow?” That’s  from the set of Love Streams on the importance of surrendering to the unpredictability of filmmaking. Excerpted from the film’s on-set documentary I’m Almost Not Crazy…–John Cassavetes: The Man and His Work, this […]

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Thornton: Filmmakers can’t take risks

August 21, 2014

from Cover Media.  believes the television boom comes down to “economics”. The actor, who stars in FX series Fargo, says small screen projects have “taken over” bigger-budget independent film, sending the most talented writers to what used to be considered a less prestigious outlet for storytelling. And he insists excelled interest in television can be […]

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Adventure Travel Film Festival: Films we’ve screened are about as tough as it gets when it comes to pitting man against nature

August 20, 2014

by Lois Pryce. The DVDs just kept on coming. They were arriving with postmarks from India, Poland, Brazil, and all over Europe, the USA and Australia. Incredible films of true-life derring-do were landing on our doormat at a startling rate, complete strangers were sending us links to obscure vintage travel documentaries and our friends were […]

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