Filmmaking Week

I did a commercial once and it took us 3 days, each day about 12 hours of shooting for the end result of 10-15 seconds of a commercial. This is because you do each scene as many times necessary to get at least a few good ones. Not to mention when something goes wrong.

It happens you have to shot 10 or more times to get 1 5 second scene done. And preparing and changing... this all takes time. Zox Pro

Like watching paint dry, true.

Multiple takes + fuckups + changing composition choices
+ set up + tear down
+ talent wrangling.

Imagine a play - having lights and sound set up usually takes a week, then there's dress rehearsal and tech rehearsal, getting used to the space, waiting for paint to dry, etc etc.

Now imagine trying to do that all from the back of a grip truck, on location in a living, breathing city where the scene/costume shops, the power supply even, aren't always readily accessible.
...For EACH scene (or few lines) of the play.

No one 'supporting' art in seattle seems willing to say the dirty truth:
Because in Seattle, actors are still a dime a dozen.

And Seattle crew that are worth a damn... are often union. Also: they have a fair number of other, non-film/stage PAID gig options (so many can actually make their living off their skill). The talent? Not-as-much.

Big fancy Scenography degrees can be had at certain european/german colleges... otherwise, get your hands dirty with theatre and with indie/college films. www.Productionhub.com isn't a terrible place to surf for art dept jobs (in events, TV and industrials especially), and www.backstagejobs.com can occasional throw you a bone too. Both list internships that might be right up your alley.

Sometimes yes, sometimes no. The thing about webisodes is that they bring the term "shoestring budget" to a whole new level. In the past, filmakers at the very least needed to drum up the money to make copies of their films for distribution-- now they just need to stay below YouTube's bandwidth and length requirements.

If you're watching a web series and you want to know if they have a corporate sponsor, they will probably flat-out say "Thanks to blah blah corporation for being our sponsor" (like in the old timey days of radio and television). If there's no such message, then you can safely assume that they're paying out of pocket.

If you're a content producer who is looking for funding? Your best bet is to create something on a shoestring first, and THEN hope it goes viral. If your idea is awesome, you'll have sponsors just like "Where the Hell is Matt?" (sponsored by Stride Gum) or Eepybird (sponsored by Coca-Cola, Mentos, ABC Family and OfficeMax).

That’s funny. I’m doing a film where the talent is getting paid but not the crew.

I'm available, but it'll cost you.

What Charles said. Actors are looking for exposure, and will work cheap - free on sub-SAG projects - in order to get it. As a writer, I have come to refuse to work for free, though I'm always writing one script or another 'on spec'.

Offer to pay them for their time.

Take an acting class. Take a few. Find out their side. Learn what to expect from a director as an actor and that will go a long, long way to making you effective at directing an actor.

Not sure which films you are referring to, the SAG has a minimum and the union crew has a minimum.

I don't work on projects where talent or crew are not paid; even interns get something.

Small independently, individually, financed projects often don't have money except for the bare essentials. The Director and Talent, maybe the DP, usually have the most to gain from their efforts, therefore are more willing to invest their time. Professional crew can't afford to invest their time, they don't make enough to begin with.

Not sure if the crew is really paid that much. Also, the talent at least gets direct exposure (if the film does well), which has a value in itself, and crew does not. Awards and praises can be easily attached to the actress and not the gaffer.

Kubrick is absolutely right. There's nothing worse to hear as a writer than "I've got a great idea - for YOU to write!" You can certainly find a writer willing to do it, but unless you want to pay someone for the job, you're not going to get quality work.

Why not check the resources Madzola mentioned and look for a screenwriting class? You can also find tons of screenplays and scripts at the library or online. The more you read, the more you'll understand what you're looking for in a script of your own. Even if you do decide to hire someone, you'll have a better idea of what to ask for from a professional (i.e., PAID) collaborator.

If you're new to the business, I recommend you try to get some work as a Production Asst. From there you can move to different jobs. Let the production staff know you're interested in the Art Dept and they may have you help the Art Dept when needed. This gives you a chance to work with those crews. The other thing is, look up Art Directors and Prop Masters in the Index and start calling them.

You could also start as an art intern for any movie looking for one. On the low budgets the interns often are the swing gang.

You could also look into interning in a theater art department.

There are hundreds of really talented art people in Seattle, get out there and meet some of them (see other comments below about the monthly happy hour and the NWFF board).

Once you meet them, offer to take them to lunch or coffee. Always pay for the lunch or coffee even if they try to split the check. You will have earned the right to keep in touch when they need someone one their next project.

Do you have a reel? Have you directed theater? Do you have anything other than a desire to direct?

If you meet and like a producer you should have something to show them.

All of them.

But only in my dreams.

What Sean wrote.

I am a new actor and recently worked with SCCC film school second year students and was quite impressed with the respect they showed us actors along with how well they all worked together. I sent the school a letter to tell them what a great program they have. The students have to do all parts(director, grip, art, script supervisor, filming, lighting and others I may have forgotten) and in doing so learn respect for the others work.

No.

3 things:

Placate, placate and placate.

James Keblas and Amy Dee worked tirelessly to bring this show here and they got close. They did make us competitive.

Ultimately, the bean counters in charge decided to go with a market they knew and understood.

Many Hollywood/TV producers are like lemmings and they follow everyone else instead of trying new things. Indie producers are brave enough to come.

- Santa Fe or Alb, NM,
- Shreveport, Baton Rouge or New Orleans, LA
-Detroit or Grand Rapids MI.

They all have HUGE tax incentives and more work than crew by a lot.

No.

The Seattle indie model is outstanding and we do it as well as any other American city.

I hope we can continue to have both smaller and larger films. For many of us film work is our day job and sadly the indies don't pay our bills.

I'd rather more big films came here as I'm sick of working out of town.

I have absolutely no idea but wish you well.

Any misc on-line situation is risky. There are a lot of hucksters out there.

Personal references are EVERYTHING in our business. If you do click with someone, please check their references.

I agree with Adam about the local options, I know the most about The Film School. I recommend you take the course and learn about writing yourself (it's the most intensive option). It's pricey, but everyone loves it.

http://thefilmschool.com/

You might try contacting Northwest Screenwriters Guild, The Film School, or Seattle Film Institute. These organization may be able to turn you onto an up-an-comer. I'm not certain these organizations can help but chat them up and see what they recommend.