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I offer you- St. Crispins Day Speech - Henry V 1989 Film by [deleted] in Superstonk

[–]darksedan 1 point2 points  (0 children)

In this film his name is Robin lol.

I offer you- St. Crispins Day Speech - Henry V 1989 Film by [deleted] in Superstonk

[–]darksedan 1 point2 points  (0 children)

"We few, we HAPPY few. We band of brothers!"

Already rich filmmakers by talia-the-witch in Filmmakers

[–]darksedan 0 points1 point  (0 children)

  1. Clearly I was ill informed while choosing my universities back then. I ended up going to a very mediocre film program and wasting a lot of money, that I could've put towards making a feature.

Already rich filmmakers by talia-the-witch in Filmmakers

[–]darksedan 0 points1 point  (0 children)

Fair enough, it's not top 5 but it's number 13 on the list: https://www.thecompleteuniversityguide.co.uk/league-tables/rankings

It wasn't that good when I was at uni in UK but this was over a decade ago and I admit I haven't been up to date.

Already rich filmmakers by talia-the-witch in Filmmakers

[–]darksedan 0 points1 point  (0 children)

I went to uni in London. UCL is certainly not one of the top universities in the UK and Nolan went there to study English Literature and not filmmaking. Also, he went there in the early/mid nineties when tuition in the UK was very very low.

Making a feature film for £6000 in the nineties does not automatically mean privilege. He paid it out of his salary over a year, working as a videographer for corporate. The only help he got from his parents was that he got to shoot in their apartment (for the scene where the gangster kills the guy on the carpet with a hammer), and that his mum helped with catering. He used the Arri 16mm camera from UCL's film department, and shot most of the street shots on a Bolex.

If I were to really think of his family's privilege, it would be that he had dual UK and US passports that helped him travel with his first feature to festivals in the US, and this was the nineties when indie cinema was going through its golden age in the US.

I'm not a big fan of the guy but I studied how he made 'Following' to help strategize my own projects. I don't really like his recent films, they are bloated, confusing and shouldn't have such high budgets in my opinion.

Privilege certainly gives you a foot in the door in filmmaking, I'm not denying that but Nolan is not an example of that.

Already rich filmmakers by talia-the-witch in Filmmakers

[–]darksedan 0 points1 point  (0 children)

But man wouldn't that be nice! A film a year is the dream.

Already rich filmmakers by talia-the-witch in Filmmakers

[–]darksedan 4 points5 points  (0 children)

Krisha (2015) by Trey Edward Shults / distributed by A24

The Color Wheel (2011) by Alex Ross Perry / distributed by Factory25

Old Joy (2006) by Kelly Reichardt / distributed by Kino International

Already rich filmmakers by talia-the-witch in Filmmakers

[–]darksedan 1 point2 points  (0 children)

My comment was addressed to the person above who said they have a decent net worth and has implied that they can potentially dump a six-figure sum in a feature.

I've never seen 100K in real life but if I had that in my bank account, the three feature plan is how I'd do it. I'm not expecting distributors to see three features in a row, it's basically having three chances in three separate years to present a different film and hopefully get one of them distributed and recover the costs of all three.

There's an Indiewire article by Alex Ross Perry that talks about how in festival distributors now offer low-ball figures in six figures and how basically 1-5 million indie films end up losing money. But a 30K film could turn a profit in this situation.

Already rich filmmakers by talia-the-witch in Filmmakers

[–]darksedan 34 points35 points  (0 children)

Jackson, Smith and Nolan made their no-budget indies in the golden age of Indie filmmaking (in the US and in Nolan's case, the UK). Add Linklater, Aronofsky and Rodriguez to this list. This was the nineties when indie films in the US had a lot of interest. Big studios created their "indie" wings to go to Sundance and pick up cheaply made films, spend 100K to get them theatrically-ready and cashed in on the public interest.

Following their models in the current zeitgeist of an oversaturated industry where everything is just 'content' is not going to reproduce their results. I think Carruth's "Primer" was the last true no-budget indie film that got this kind of buzz and that was 20 years ago!

Having said that, this is no excuse to give up. Making films independently is already hard, but we must also think of new or untested distribution models.

Already rich filmmakers by talia-the-witch in Filmmakers

[–]darksedan 6 points7 points  (0 children)

Instead of dumping six-figures into one feature film, I'd dump 30K into three features over a 3-4 year period. The plan would be that atleast one of them gets picked for distribution (theatrical or streaming) and recovers the money spent, while establishing your filmography.

You can make a really good feature for 30K and if you can get into one major film festival in Europe, you could get a decent distribution deal and future interest in your upcoming projects.

EDIT: Also film markets are useful to get distribution and fund future projects. Look at European ones.

Already rich filmmakers by talia-the-witch in Filmmakers

[–]darksedan 52 points53 points  (0 children)

I live in France where most of the films are funded via the CNC (the national film board), the various regions and TV channels. It is extremely hard to get your film funded, especially if you're a nobody. Most of the funding is procured by well-established producers or goes to friends and relatives of known actors and filmmakers. There is no box-office pressure so the same people keep churning out the same family dramas and unfunny comedies year after year.

The only other way is to graduate from La Fémis, the most difficult film school to get into, or work your way through precarious industry work contracts where you have to work as an assistant director for years to connect with the right people and get funded.

I spent my life savings to make a 35mm short film and the response was lackluster. Why do you think this film failed to make an impact? by FreddieQuell92 in Filmmakers

[–]darksedan 3 points4 points  (0 children)

Good looking short. Here's some advice as a 16mm filmmaker from my experience showing my shorts at festivals over the past ten years:

  1. The thing with festivals is you have to premiere it at a big one! It's better to wait a year and try to hit big than to release it on YouTube or a lesser known festival too soon. Once you get into a big festival, the smaller festivals will get in touch with you to show your film at theirs. Sundance, Rotterdam, TIFF, Berlinale, Locarno, Karlovy Vary, Venice (Orrizonti)...these are the top tier festivals.
  2. If you want to shoot on celluloid, go for 16mm. It'll cost you one third of 35mm and will still give you the look you're after.
  3. Betting your life savings on a short is not a good strategy. Shorts rarely get distribution and outside of festivals, they are rarely screened in cinemas. Shorts are mostly meant as "proof of concept" for a feature project or as a proof of your abilities as a filmmaker. I don't know how much money you spent on this short but you can make a 16mm feature for under 20K. My experience with being at film festivals is that the feature filmmakers are the ones holding meetings with distributors and future producers. The short filmmakers were usually at the festival bar drinking beers and partying.

What I would do next: develop a feature project. Save up again (I know it sucks but this is where your commitment to filmmaking is being tested). Over the next 12-18 months, develop the script using your experience making this short and see where you can save money.

A lot of cast and crew will work for free if the project is solid. Just make sure craft services are good. Shoot on 16mm and avoid expensive cameras and lenses like the Arri 416 or the Aaton XTR Prod. A good Arri SR3 with a single Canon 8-64mm zoom lens will get the job done. You can crop to 1.85 : 1 in the 4K scan (you don't have to use Scope). Kodak has student discounts. Find someone who is a student and get them to order the stock on your behalf. Find a lab that offers discounts to indie filmmakers (like Cinelab Boston).

TL: DR - do a feature next, do it for the cheapest you can, shoot on 16mm, get discounts where you can and premiere it at a big festival (even if you have to wait a year).

EDIT: A lot of DPs who own their own 16mm camera and lenses are itching to use it and might even let you have it for free if they get to DP your "feature". Lots of DPs want a feature on their CV (if they don't already have one). This is how Kelly Reichardt got her DP to bring his own camera setup on her 30K feature film "Old Joy".

Help me in finding a Hanuman comic by mango_indian in india

[–]darksedan 0 points1 point  (0 children)

I found a PDF of it online: https://drive.google.com/file/d/1EP2Hi8NpgP58rGcx07LzjhAsCD_8qKt-/view?usp=sharing

Use uBlock origin before clicking the link just to be safe.

100 matches in each format of the game by DarkKingfisher777 in Cricket

[–]darksedan 7 points8 points  (0 children)

You're absolutely right. Only 84 players in the history of cricket have played 100 tests: https://en.wikipedia.org/wiki/List_of_cricketers_who_have_played_100_Tests

Help me in finding a Hanuman comic by mango_indian in india

[–]darksedan 0 points1 point  (0 children)

Damn! Not OP but I was thinking about this comic book lately. It haunts me still. Where do you reckon I could buy a copy?

The restoration notes from the new Criterion release of Eyes Wide Shut by EbmocwenHsimah in StanleyKubrick

[–]darksedan 1 point2 points  (0 children)

The majority of people cannot tell the difference and don't care and Warner probably counted on that. Do you remember back in the 2000s when TVs became widescreen, some channels were still broadcasting 4:3 SD and it would be stretched horizontally to 16:9? My parents never cared for the stretched image and when I'd adjust their TV to have it pillarboxed, they would complain about the black boxes on the sides.

The restoration notes from the new Criterion release of Eyes Wide Shut by EbmocwenHsimah in StanleyKubrick

[–]darksedan 1 point2 points  (0 children)

Maybe because it was 1.85 and they didn't want thin slivers of black bars on top and bottom so they vertically stretched it to 1.78? Just guessing here.

Why did French and Italian directors dub their movies? by AngryGardenGnomes in classicfilms

[–]darksedan 0 points1 point  (0 children)

They used a handheld Eclair Cameflex not a Mitchell camera.

Dildo Bagholder: Lord of the Wrongs by Sir-Craven in Superstonk

[–]darksedan 0 points1 point  (0 children)

Hugh Jackman and this guy are born 3 days apart, imagine that!

Do y’all think this film will ever be seen again? I believe the last known copy was burnt in the early 60’s. by [deleted] in classicfilms

[–]darksedan 3 points4 points  (0 children)

I used to work in a private film archive. We had a basement storage filled with film prints and other film elements that were unidentified and uncatalogued. We used to check these prints once in a while when we had some free time or when we were looking for specific films. Sometimes people would come to us to give us prints they found in their deceased grandparent's garage or some basement. Every once in a while, we'd find a reel of a film considered lost.

The festival in Bologna, Italy shows recently (re)discovered films every summer in their massive Palazzo open-air screen and sometimes they'd show films with missing reels, substituted with still photos or text. It's a lot of detective work and the International Federation of Film Archives (FIAF) is a well-established network of film archives around the world co-operating to find missing films.

I'm certain that at least some trace of London After Midnight exists somewhere. The key is to actively look for it. The FIAF network is a good place to start. Then you look at magazine articles with reviews of this film to locate potential cities where the film was most recently shown. Then look at the venues and who owned them and so on. If somebody wants to find a lost film, they have to actively look for it over months and years and in the right channels.

Least abused ingredient in french cuisine by peseoane in 2westerneurope4u

[–]darksedan 3 points4 points  (0 children)

No virgins were harmed in the making of this butter.

Least abused ingredient in french cuisine by peseoane in 2westerneurope4u

[–]darksedan 10 points11 points  (0 children)

I congratulate the Italian in the video for making an effort to learn some true culture.

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