As camera resolutions improve and file sizes increase, filmmakers need more and bigger hard drives. But we have a variety of requirements of a device to store our media, for example: It needs to have the capacity to hold a lot of very large files. It needs to have a fast read speed, so […]Read More PRODUCT REVIEW G-Drive mobile SSD Rugged
In Which the Writer has a Kodak Moment ☛ Film is dead. It was coming for a time: when I left film school I got a lot of work as a 1st assistant editor because I was good at hand-holding editors who were being forced to stop cutting on 35mm. That was the late 90s. […]Read More The Return of the Reel
…and When You Should Stop ☛ One question that I’m often asked when interviewing for a low-budget feature is: “how long do you think you’ll need?” The answer is… it’s complicated. There used to be a rule of thumb for feature films: 1.5 times the length of the shoot. This was based on the assumption […]Read More How Long You’ll Need to Edit…
When is a good actor not a good actor? ☛ A weird thing sometimes happens when two or more people sit down in a cutting room and look through takes. They will agree on which take has the smoothest camera move or focus pull, there’ll be little disagreement about whether the shoot looks better with […]Read More Brando recognition
How Did Harvey Happen? ☛ It should go without saying that I deplore those incidents of abuse against women that Harvey Weinstein’s admitted to, and those of which he’s been accused, but it’s gone without saying by too many people for too long, so I feel the need to add my voice. What does it […]Read More The Hateful One
Invisible vs. high-profile editing I started in the cutting room at an exciting time for editing. The high-octane style popularised by music videos shown on MTV and made possible by editing on computer rather than on celluloid, was starting to filter through to feature films. In some cases it led to the sort of […]Read More The Invisible Art of Editing?
How to Make your Protagonist Engaging I don’t think I’m the only screenwriter to be frustrated when I’m given the note “Couldn’t the main character be… just a bit more likeable?” My frustration comes partly from the fact that a lot of my protagonists are intentionally not conventionally likeable, and partly from the note having […]Read More The Root of Rootability
Covering how to found a country and the devastating power of the ordinary. In the light of recent and possible future events I have been doing some soul-searching about my filmmaking. The not-so-gradual rise of the far right, both in Europe and America, has lead me to question whether there’s more I could be doing […]Read More Can movies cause political change?
Writing Movies Within Your Means, pt. 3 ☛ Previously I’ve looked at how locations can bring down your budget and how to justify shooting on cheaper cameras, but you can also save money through clever use of writing itself. Dialogue When asked why his movies were so dialogue–heavy, indie auteur Hal Hartley quipped “Talk’s cheap”. […]Read More Conversations with the Invisible Man
How to Work with an Editor ☛ I wrote some time back encouraging directors to work with editors, rather than cutting their own material. My colleagues in the cutting room report that they are working with an increasing number of directors who are using an editor for the first time. Needless to say these first […]Read More The Way of the Scissor People