I say it every year, THE best single blog for film-makers and screenwriters is nofilmschool.
Only ones in the same ballpark are John August, Indiewire, Script Magazine and Go Into The Story. Do yourself a favor and check them out. Funny name considering the free education they provide. I could spend a full week on that site (and probably have). Here’s a sampler of some of recent articles and links they published that you might want to know about.
- 20 LIFE-SAVING TIPS ON INDIE FILMMAKING
From Dan Mirvish, co-founder of Slamdance, comes this funny and excellent article giving some tips for making your own low-budget Indie. Plenty on the business side which is essential. Great, unconventional list…
“1. Always prepare a Chain of Title agreement
Use the WGA’s free collaboration agreement on their website. You don’t even have to be a member of the WGA.
Even if you don’t have a contentious relationship with your co-writer, at some point you might. (Think of the Stairway to Heaven lawsuit: your co-writer might die in 30 years and her kids might sue you.)
But more practically, you’ll need a proper Chain of Title if you ever hope to sell the film, since all distributors require Errors and Omissions (E&O) insurance, and all E&O insurance requires a proper Chain of Title.
11. Find the goat
Find the most annoying person on your crew…and don’t fire that person. You want the crew to hate/cringe/eye-roll them rather than you.
15. Arrive early, bring donuts, and wear tape
On an indie shoot, be sure to be the first one on set in the morning and last to leave. From time to time, bring donuts (or more efficiently, donut holes) even before craft service gets set up. Wear a role of tape on your belt to say to the crew that you’re willing to work with them, not above them. (Even if you never use it.)”
Who doesn’t need free money? Check out this can’t miss list.
“I need money, you need money, we all need money for our films. Below find all the cash that autumn has to offer. As usual, for scriptwriters, contests reign supreme; documentary is abound with funds for socially relevant stories; and narrative film funds lean heavily on pitches and labs (If you’re a narrative filmmaker, don’t forget to follow this up with our breakdown of where to shoot for the best tax incentives to boot!)
The following grants, labs, and pitch opportunities are organized by deadline from September through early December, and by category for documentaries, narratives and screenwriting. If you’re looking for a head-start on a different granting season, we also have our most recent spring grants here, summer grants here, and winter grants here.”
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