I was drawn to the nostalgia of the project. That warm fuzzy feeling of looking back at old footage, relieving memories of a younger, more innocent time, even if those memories are tinted with rose. The cast of Ordinary has long since drifted away from my life. Tragically, one has passed away, and I'm uncertain if any continue to act. Yet, revisiting this footage creates a unique connection; each person is frozen in time, preserved in their youthful moments – whether it's an outtake, a laugh behind the scenes, or just a candid shot. This creates an illusion of a lasting bond, as if we still know each other and share those original dreams of living life as artists. Living life beyond the ordinary.
Read MoreReel Reflections: Success, Failures & Aspirations
The end of the year is here, and as cliche as it sounds, it is the perfect time to reflect. I think we all do it, and it is a healthy ritual for learning and growth. What did you achieve this year? What could you have done better? Did the year live up to your expectations? What do you want from 2024?
Read MoreThe Problem with Filmmaking Advice: Everyone's an Expert
What is it about filmmaking that attracts imposters and faux experts? Is it the allure of glitz and glam? Is it because the criteria for success and expertise is subjective? Or is it because this is an industry which has traditionally excelled at ego stroking, therefore attracting those personalities more prone to enjoy a good ego stroke?
Read More5 Reasons Why All Cast & Crew Should Promote an Indie Film
Any indie filmmaker knows what a struggle finishing and releasing a movie is. So imagine that you worked hard, single handedly sent hundreds of emails, knocked on doors for months to secure investors for your film or worked extra hours at your day job to be able to afford to pay your cast and crew a wage, only to have radio silence after the film is wrapped. Imagine that you’re the only one posting online about your film on release day and spreading the word at networking events and festivals.
Most of us filmmakers don’t have to imagine; it’s often a sad reality that many actors and crew members don’t promote the films they helped make.
Read MoreAnimating Realities: Elevating Documentary Storytelling
When my partner Ivan and I started diving into the world of documentaries as viewers we noticed many styles and multiple ways to film, edit, and present a documentary. From the talking heads interview style as seen in 13th (2016) by Ava DuVernay, which explores racial inequality in the American prisons; to personal point of view where the documentarian is the subject such as in Super Size Me (2004) by Morgan Spurlock or Tickled (2016) by David Farrier where he uncovers the strange world of competitive tickling; to investigative documentaries such as Into the Deep (2022) by Emma Sullivan which follows the murder of journalist Kim Wall on a submarine by eccentric inventor Peter Madsen – there are as many styles and techniques to present a documentary as there are stories waiting to be told. But one technique that stands out as a powerful tool to enhance your storytelling is animation.
Read MoreIndie Film Distribution: Why We Use Filmhub
Despite filmmaking being more democratized than ever before with readily available technology enabling almost anyone who wants to make a movie able to do so, film distribution remains somewhat obfuscated. They don’t teach you the business of selling movies in film school.
So many filmmakers are left naïve, confused on what to do with their completed film, and gullible to the sweet words and empty promises (and one-sided boilerplate contracts) of the many sharks out there also known as film distributors.
Here is a sad story we have seen play out time and again. Broke independent filmmaker finishes their first feature after many years of blood, sweat and tears. Broke filmmaker signs a contract with a shady distributor …
Read MoreWhy a 'No' is Better Than No Reply
Did you know that it took Melanie Perkins, the CEO of Canva, 100+ rejections over three years before someone actually said yes to investing in her tech idea? I can guess what would have happened to a then 19-year-old Melanie if she didn’t persist to see that first ‘yes’ response. We wouldn’t be talking about her.
I’m currently handling all the outreach for the Cats of Malta partnership campaign. Part of my duty is sending out personalized and well-researched cold call emails to companies and organisations which I think would align with the themes of the film.
During the first couple of weeks of February I sent just over forty emails using varied templates. Two weeks ago I got my first ‘no’. Last week I got my second ‘no’.
Read MoreStuck in a Creative Holding Pattern
Have you ever experienced the feeling – creatively and professionally – of being ‘on hold?’
You have done all the work. You have submitted, sold, pitched, put your ideas out into the world, launched projects and hit send on those important connection emails, but you’re still waiting for the date when all the hard work is released, seen, acknowledged, or accepted. Until then, all you hear is radio silence and you feel empty. You feel like you should be doing something – even when you have done enough. Even when you are not sure what else to do.
You are floating in limbo, waiting for something to transpire from all your work. Those quiet, inactive periods can cause creatives to feel lost, and they can stretch on for days or weeks. You are like that aircraft primed to land but waiting for permission to do so. You know you should chill out and take a moment, but it is hard, as forward momentum has ceased. Nothing is happening. Something should be happening.
The Older You Get, The Harder Micro-Budget Filmmaking Is
Micro-budget filmmaking is bloody hard work.
After wrapping production on ForeFans – our sixth micro-budget narrative feature – at the start of the month, I can feel that in my tired bones. And creaky knees.
We spent two weeks filming guerrilla style all over Zagreb and Paris, 18 different locations, a skeleton crew of only three or sometimes two (only Sarah and I), 12 to 14 hour days, 5 hours sleep a night.
To say it was exhausting is an understatement. We were stretched too thin, multi-tasking like mad, putting into practise philosophies for micro-budget filmmaking that we teach in our own educational courses: “Use a small crew to move quickly and keep costs down.”
But halfway through filming I realized something about this philosophy and perhaps micro-budget filmmaking in general: I’m getting too old for this.
Working through Anxiety to Find a Better Creative Process
As a multi-hyphenate creative within a tiny team, juggling multiple projects at various stages of production, my To-Do lists can quickly become overwhelming. The daily pressure, the demands of film after film needing my attention, can send me into a pit of self-pity, anxiety, and procrastination.
I fell into that pit this month. Checking emails first thing in the morning, last thing at night, stressing if things were not going to plan or tasks were not completed as quickly as I wanted, led to going to sleep with a racing heart, a self-induced state of constant pressure.
But with the support of meditation, yoga, and Ivan constantly reminding me to slow down and switch off, I was able to work through the pressure before it crushed me.
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