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.

Sign up now for your own FREE monthly subscription to “The Director’s Chair” filmmaking ezine and get the first 30 pages of my 220 page Film Directing Multi-Media Online course, “The Art and Craft of the Director Audio Seminar.”

This article was written by Todd Gilchrist.

Whether by accident or design, filmmakers develop trends and throughlines during their career that come to define them. In some cases, it’s a certain technical flourish or style; in others, it’s a particular subject matter. But there have been a handful of directors in film history who are basically defined by being undefinable – in other words, their work spans too many genres, styles or subjects to be categorized as anything other than the work of a cinematic chameleon.

With the release of Rabbit Hole this coming weekend, it appears that director John Cameron Mitchell has joined that rarified group. The director of Hedwig and the Angry Inch and Shortbus has abandoned all of his previous stylistic choices to make a raw, stripped-down domestic drama.

Read the rest of this article from Box Office Magazine.

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This inquiry is from a subscriber of my film ezine, “The Director’s Chair.”

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My name is Tor Rayne and I am in independent film producer and founder of Over the Edge Pictures, which I have created as a vehicle to make revolutionary motion pictures that are not only artistic, but profitable as well.

I am currently looking for an experienced feature film director for a project I have in development titled BAD MEDICINE.  The loglines for the film are as follows:  “When evidence of a national conspiracy falls into the hands of a cancer stricken Super Bowl hero, new teams take the field with the lives of 11 million Americans at stake.”  “When the medical mafia tries to stop a football star from beating cancer, a small Kansas town must band together to save his life.”

The purpose of the film is to tell a great story and raise awareness of promising alternative cancer treatments that have been suppressed.  The film website will be created as a hub for info on alternative cancer treatments, blogs for survivors to share their stories, and links to alternative clinics, doctors, and supplements.

A portion of all sales from the website will help fund cutting edge cancer research at the Kanzius Foundation and help provide financial assistance to children seeking treatment at the Burzynski Clinic in Houston, Texas.

This project is in the 2 million dollar range and will be shot on location in Kansas.  Preliminary shooting schedule is around 30 days.

Potential directors must have feature film experience and I would like the director to be able to bring an actor on board with a recognizable name, although this is not a necessity.

I can be reached at overtheedgeproductions@yahoo.com or by phone at 620-687-1308

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 by Josh Minter.

“Now, with the imminent release in the United States of her first film, “Great Directors,” a documentary featuring conversations with 10 film directors — Bernardo Bertolucci, David Lynch, Stephen Frears, Agnès Varda, Ken Loach, Liliana Cavani, Todd Haynes, Catherine Breillat, Richard Linklater and John Sayles — Ms. Ismailos, 42, has made the transition from aspiring arts student to accomplished documentarian striving to get to the heart of the creative process, one that has at times challenged her in her endeavors.”

Read the rest of this article from NY Times.

This article was written by Chelladurai C.

“A film director, or filmmaker, is a person who directs the making and/or the production of a film.[1] Many people also consider film producers, cinematographers, film editors, and special effects experts to be filmmakers.

A film director is a person who visualizes the screenplay, controling a film’s artistic and dramatic aspects, while guiding the technical crew and actors in the fulfillment of his or her vision. In some cases, film directors do not have absolute creative control. The director can also be selected by the producer. The producer in this case very likely has veto power over everything from the script itself to the final editing of the film, often in anything from slight to extreme opposition to the director’s vision.

When directing individual episodes for a television show, a director’s responsibilities are somewhat diminished, since the visual look and emotional impression of the TV series has already been established, usually by the person billed as the show’s creator, executive producer, or producer. Those directors who choose or are chosen to work in TV traditionally have had to accept that they will not be as lauded, or as well-paid, as their big-screen counterparts.”

Read the rest of this article from Vkschellam.

The Ten Commandments of Filmmaking
How to Work (and Survive) in the
Film and Television Industry
by Peter D. Marshall

This article was written by Elizabeth Guider and Matthew Belloni.

“When six A-list directors — Kathryn Bigelow (“The Hurt Locker”); James Cameron (“Avatar”); Lee Daniels (“Precious”); Peter Jackson (“The Lovely Bones”); Jason Reitman (“Up in the Air”); and Quentin Tarantino (“Inglourious Basterds”) — gathered recently for a candid discussion of filmmaking, hilarity ensued immediately as they swapped war stories.”

Read this article from Reuters.

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“Tomorrow’s directors face a struggle for cash and the whims of commissioning bodies, who might demand a certain actor or a popular theme. One answer is to use digital technology to hone skills in miniature as a showcase for talent, says Killian Fox.”

Read this article from The Guardian.

“Once upon a time in Hollywood, the man behind the camera was king. Today, studios are more interested in blockbusting franchises and big bucks than in nurturing new voices and visionaries – and our screens are suffering as a result, says Kaleem Aftab.”

Read this article from The Independent.

“Most Film Directors have elected to stay away from film budgets and production costs. The heavy grinding SHOULD be left to accountants – but, let’s lay it on the table:

The Film Director is at the helm of a big money-burning machine. It is the Film Director’s job to produce his/her vision of the script – on time and on budget. At his service is a team of film production experts (the Line Producer, Unit Production Manager, the AD team, Production Accountant, etc.) all there to assist the Film Director to do just that.

Film Directors make it their business to understand the basic functions of on-set filmmaking, without being able to fully light a set, or operate a crane, or focus a steadicam. In the same spirit, the Film Director must understand the basics of Budgeting and the extremely important Weekly Cost Reporting process. Every creative decision involves money. It’s only good sense to learn to translate creative ideas into costs.

Experienced Directors know of The Weekly Cost Report. If you’re not yet familiar with it, let me introduce it to you…”

Read this article from John Gaskin.