by Adam Charles.

Few things have been as equally discussed and deliberated over the past few weeks than that of who Lionsgate was going to choose to take the reigns from Gary Ross to direct the second installment in The Hunger Games franchise. The first film had one of the biggest opening weekends in history (and it didn’t even require 3D price-hikes to get there), earned a positive majority from critics, and has a dedicated fanbase that defies demographic lines of fandom; and they’re chomping at the bit to see the next adaptation in the series, Catching Fire, as quickly as possible.

Neither Lucas, Spielberg, or even Peter Jackson’s franchises could replicate just how much of the domestic populous is waiting for the next picture.

The studio was working with a rigidly limited time-frame of their own making by trying to get the next installment into theaters by next Spring. This was further complicated by only having a few months left to shoot before star Jennifer Lawrence has to revert her attention over to her other franchise role at Fox as Mystique in the next X-Men film. Oddly enough, the director of that franchise might have made a pretty good candidate to take over the position Lionsgate was trying to fill.

Over the past few weeks there were news items of Lionsgate wish-lists of filmmakers they wanted to approach with David Cronenberg, Alejandro Gonzalez-Inarritu and Alfonso Cuaron topping the list of experienced and critically-lauded directors. They are three of the most uniquely talented filmmakers in world cinema, so they obviously sparked deep intrigue from cinema lovers. I imagine the majority of the fans of The Hunger Games have no idea who any of them are; nor really care.

Read the rest of this article from Film School Rejects.

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by Adam Bowers.

While there are an enormous amount of elements that go into making a film (like cinematography, sound, and hair), many directors would argue that the most important element of all is the performances you get from your actors. For a long time, I could have sworn it was hair, but I’ve come to realize how important the actor’s role truly is (yes, even more important than the person in charge of the hair).

No one knew how important the actor was more than Alfred Hitchcock, who once said, “All actors should be treated like cattle” (I’m pretty sure he was Hindu). But, in addition to being the most important part of a film, directing actors can also be the most difficult. Why? Because actors, like most people, are human beings, and each human being is as individual and unique as a snowflake that went to DeVry University.

Since working with actors can be a daunting task for many directors, I thought I’d share some tips I’ve gained from my experiences working at an Olive Garden (the manager there has directed a TON of actors).

First, let me suggest that the best way to understand the mind of an actor is by BECOMING one (you might want to stop and check to see if you just got a nosebleed). Once you’ve cleaned yourself off, look into taking an acting class. It will help you to learn more about the actor’s general process and to go through the same difficulties that they may encounter on your set, firsthand. This way, you can say to yourself, “Oh, she must be having the same problem understanding her character’s point-of-view that I had when I did that scene out of Dickie Roberts: Former Child Star,” when you’re shooting that shot-for-shot remake of Dickie Roberts: Former Child Star.

Read the rest of this article from IFP Resources.

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by Bill Goodykoontz.

Film is a director’s medium, so they say.

Well, “they” are going to have a lot to talk about this fall, when some of the biggest names in directing unveil several high-profile films. How many? Steven Spielberg has two movies coming out in the span of two weeks. Also up between now and Christmas: movies directed by George Clooney, Martin Scorsese, David Fincher, Cameron Crowe and Francis Ford Coppola.

It makes you wonder, though. Is film really a director’s medium? And is the mention of the name of the person behind the camera enough to interest an audience, to bring people to the theater? Depends on whom you ask.

Read the rest of this article from AZCentral.

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from Comic Book Movie.

Passion in movie making…it’s sounds like a contradiction.The movie industry is ultimately about money,isn’t it? (and egomania,but I digress) Well,on rare occasions,it’s not,it’s about passion expressed through an art medium-film.And that’s when the public most benefit.

I’m a gen-xer, so I’ll deal film from my generation.

First, ‘Stat Wars’. Lucas had a vision-an amazing world which he passionately desired to create.Fox exe’s were a bit inflexible,and put massive pressure on his creative process,but ultimately his vision, birthed in artistic passion,was created and changed the world of film.(of course, after ‘The Empire Strikes Back’,his descent from reality commenced,but initially the germ of inspiration was created).

Read the rest of this article from Comic Book Movie.

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The Project: The Entertainment Business Management (EBM) program of the Vancouver Film School (VFS) is in production on their third Compendium Series called “Steampunk Neverland.” These 5 high-end special FX short films (5 – 9 minutes) are being created for distribution into an interactive digital magazine.

“Steampunk Neverland” is a version of Peter Pan’s Neverland re-imagined with Steampunk technology. I directed the last film in the series called “Forever” which depicts the final battle between Hook and Pan.

I will be using this blog as my weekly journal to demonstrate what a director goes through during the three production phases of a film. My goal with this journal is to put you in the passenger seat with me and give you an insider’s view of how this short, low budget film was made – as it happens!

To accomplish this, I will be writing about the directorial process I go though every week during the making of this film: from pre-production to production and into post-production. The series has to be completed by August, so this journal will take you through all the steps a director has to deal with for the next few months.

I am also going to do something else for you as well.

As I discuss my weekly activities, I will add various directing tips based on the subject I am talking about at that moment. I will also link to various articles and websites so you can get the most information possible on the subject. This journal will become, in effect, a “practical how-to guide” for directing a short film.

Enjoy the journey. I sure will!

(1) OVERVIEW

The Compendium Series is a major part of the EBM program where students are divided into 5 producing groups. These students work on Compendium non-stop throughout the year and are ultimately responsible for the success of the films: from creating the concept through production and post-production and into the final launch and promotion of the series.

All five directors are VFS staff (or former VFS staff.) Three of us are directing instructors in the VFS Film Program: Roy Hayter, John Pozer and myself. Michael Chase (Head of VFS Entertainment) and Nick Humphries (former VFS staff) are the other two directors.

As directors on this series, our roles are unique in that we not only have to fulfill the normal duties and responsibilities of a director, but also teach the student producers how to be our bosses! Which means that as we work on this film with the students, we will also be responsible for “teaching moments.”

Compendium is a fabulous opportunity for VFS students to learn how a professional film is made by working side by side with industry pros. It is also a high end production that will showcase the efforts and talents of many VFS students and graduates: writers, actors, makeup artists, producers, film students, editors, digital designers etc.

Please continue to:
(2) “Steampunk Neverland – Forever” Pre-Production

STILL PHOTOGRAPHS: By permission of Chara Berk Photography, Samantha Green and Trilby Jeeves.

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This article was written for DigiPile.

“Please place away any initial view of the way you reckon a real movie director should sound and act responsibility their job. It’s tough not to want to emulate directors you respect both in style and attitude.

I learned with the intention of all through the self-determining film shoots for Consignment and In With Thieves with the intention of were produced below the standard of Slice Of Americana Films and are available worldwide.

Who can not remember how hardcore of a director Robert Rodriguez looked on the cover of ‘Radical without A Crew’. Rodriguez’s tale inspired guerrilla filmmakers everywhere with the intention of they could shoot an ultra-low fiscal statement action movie like ‘El Mariachi’ with the intention of was entertaining, while charitable the finger to the traditional way of getting a movie done.

Quentin Tarantino is a cool as they come. His style is often ‘borrowed’ from in view of the fact with the intention of he knows how to tell a excellent tale using pictures. Tarantino has creative influences like all directors who grew up watching movies. The difference is Tarantino turned those influences into his own unique style.”

Read the rest of this article from DigiPile.

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This article was written for Americana VOD.

“Please put away any initial thoughts of the way you think a real movie director should sound and act doing their job. It’s tough not to want to emulate directors you respect both in style and attitude.

I learned that during the independent film shoots for Consignment and In With Thieves that were produced under the flag of Slice Of Americana Films and are available worldwide.

Who can forget how hardcore of a director Robert Rodriguez looked on the cover of ‘Rebel without A Crew’. Rodriguez’s story inspired guerrilla filmmakers everywhere that they could shoot an ultra-low budget action movie like ‘El Mariachi’ that was entertaining, while giving the finger to the traditional way of getting a movie done.”

Read the rest if this article from Americana VOD.

This article was written by Jeff Rivera for the Huffington Post.

“I had the opportunity to speak with the director of the film, Alan Poul about challenges of going from television directing to film directing, his advice for aspiring directors and what he really thinks of Jennifer Lopez.”

This article was written by Bob Tourtellotte.

“Want to be an actor, but you are beyond your 20s. Perhaps a career as a screenwriter, but you heard about age discrimination. Try directing, filmmakers are having all the luck these days — at any age.

“Shutter Island” from 67-year-old director Martin Scorsese, reigned atop U.S. box offices for the second straight week this past weekend. It dethroned former champ “Valentine’s Day” from 75-year-old Garry Marshall, and 76-year-old Roman Polanski’s “Ghost Whisperer” is performing well in art houses.”

Read the rest of this article from Reuters.

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This article was written by Eric Stanze.

“It’s an old rule of thumb for indie film screenplay writing:  Include in your screenplay what you already have access to.  This saves you money and streamlines your shoot.  Robert Rodriguez cites this decree as a major contributing factor in his pulling off the micro-budget El Mariachi.

I think S.F. Brownrigg, director of Don’t Look In The Basement, explained it best when he spoke of his “three legged dog” low budget filmmaking tactic:  If you discover a three legged dog on set, put it in your movie because that’s production value.  But never, in pre-production, write a three legged dog into your script, because then you’ll never find one.”

Read the rest of this article from Fearnet.com

Filmmaking Quotes

A Collection of 470 Film Quotes
from“Twitterers” Around the World