Thursday, July 30, 2015

Seeing the Light - Photographer Aaron Bellette

This week I'm writing about someone I work with - because he is doing such incredible things not only with his art, but with the sharing of this art. Aaron Bellette is a another lecturer in the Arts Faculty at Avondale College (Lake Macquarie, Australia) and he teaches photomedia and film. He is a talented photographer and his latest exhibition... well... take a look for yourself.



Aaron Bellette has just finished putting the final touches on his second Lake Macquarie City Art Gallery exhibition in as many months. It is a collection of photographs that he developed during his time as artist in residence at the gallery from May – July of this year.


It has been a busy year for Aaron, who completed an undergraduate degree at Avondale and his Honors program and Masters degree at Newcastle University, with the a six week emerging residence at Lake Macquarie City Gallery, a group show at University of Newcastle Gallery entitled “GIFTED 50: 50 Gifts to our University Collections” and his continuing study, a PhD dealing with the development of photographic visual learning in online environments.
Aaron uses medium format film and digital photography to record visual experiences. He distorts and layers photographic imagery to present his own interpretation
of time and space. A lot of his art takes place in camera, where he utilizes techniques such as double exposure, filters and intentional camera movement. Living by the lake on Bonnell’s Bay, Aaron is inspired by the local landscape and it features heavily in his work. His photography is also heavily influenced by his own struggles with dyslexia, which has makes his view of the world, and thus his photography unique. Aaron’s dyslexia means that there is a focus on the peripheral visual field and many of his works involved images overlaid one on top of the other to represent the blurred cognitive reality of the dyslexic photographer. He hopes his creative work will encourage his students to make that communicate more effectively with their audiences and inspire them to “develop a photographic eye that moves from taking images to making images that convey messages, ideas and emotions.”
The next stage for Aaron will be applying to a commercial gallery to represent his artworks and he is also in the planning stages of creating and curating work for a major exhibition, with Associate Professor Mark Roxburgh, examining abstraction in photography.
Aaron’s work can be seen at the Lake Macquarie City Art Gallery until the end of August , via his Tumblr and on Avondale’s travel blog Ytravel, where he presents a mini-masterclass in travel photography.

 If you want to purchase the digital file or a print of any of these photographs, contact Aaron here 
-The Scout





Saturday, March 22, 2014

Behind the Blog


This week's special interview guest is Gina Scarcella of the awesome blog Behind a Million and One pages, which features book reviews, questions and answers, interviews, bookmarks, giveaways and endless other cool things - all to do with the world of Young Adult fiction. I met Gina through Allen and Unwin and she was my first ever Afterworld interviewer. I thought I'd through some questions back her way, since she is clearly an expert in her field... L

Check out Gina's blog at http://behindamillionandonepages.blogspot.com.au/

1.     How and when did you start Behind a Million and One Pages?


I started Behind a Million and One Pages back in October 2011. At the time, I was really into Goodreads. Always talking on the discussions, and all I kept seeing and talking to were bloggers. I think that was the moment that I knew I had to start blogging, I was seeing blogs everywhere at that stage so it seemed like a sign to jump straight in! I asked a few of my Goodreads friends who were bloggers about it, and that just convinced me even more.

2.     What made you choose books and in particular Young Adult fiction? 

I've always had my head in a book, even learning to read back in school, I was always at the highest level I absolutely love YA novels, I tried so many others, but nothing could compare to reading YA. I think it's because it can easily appeal to a wider audience, and you can very easily relate to the characters. You become hooked and addicted without even realizing it! It combines a whole heap of different genres together, and I think that's what makes them so entertaining.

3.    What did you do to attract readers to your blog?

The biggest thing for any blogger to do to attract readers is to write reviews and posting them on numerous sites (Goodreads, BookLikes, Book Depository, Fishpond, Booktopia etc) and leaving the link to the review on your site. Other than that, there are a whole lot of other things that attract readers, such as blog tours (which show exclusive material from the author, such as playlists, excerpts, interviews and guest posts), weekly meme's and even something creative and new that you haven't seen before. 
I've always been obsessed with bookmarks, I've searched everywhere for a blog or a site that lets you download and print bookmarks of all my favorite series', but I never found one, so I decided to start it up myself. I've expanded it by letting authors know that I have made a bookmark of their novel (which they usually share on social media), as well as asking authors for their favorite quote to add to the bookmark! I share these on my blog, as well as link back to my blog with the new bookmarks that are added.

4.     How often do you update and how do you share your updates?

For me, this usually depends on the kind of post. For spotlight posts and cover reveals, I try to keep one post per day. Other kind of promotional posts (interviews, guest posts etc), I will try to the two day mark, but most of the time these are one day posts. For reviews, I always plan to have these showcased for two days. Reviews usually pull in a bigger audience, and are reviews provided by a publisher, so I like to give them a big more promo space. I try as hard as I can not to double book during one day, if this happens then I reschedule. I want each post to get as much top-spot coverage as possible, this is especially important because of different time zones. 3pm Sydney time, is usually around 12 midnight in the US, I always keep this in mind so that all audiences, no matter where they are, will be able to see the top post of the day.

5.     You get a lot of ARC (Advanced Review Copies) books and giveaways from publishers – how did you establish those relationships?

Most publishers have a really good blogger programs. I've found that the look for the following in a blog: minimum 200 followers, regularly blogging (3-4 posts a week) for 6 months. Most of them also read some of your previous reviews for quality and duration. If you don't write a good review with a few paragraphs, then it doesn't really seem like you are doing this because you want to and not just for the perks of getting ARC copies. Once you've got all those ticked off, make sure that you go through some of the publisher's titles and upcoming titles, to see if you will be interested with affiliating yourself with them. All information from then on is found in their publicity section of their website. Sometimes they will have a form that you need to fill in, if you are interested in review copies or you will be provided a generic email address.

6.     You are obviously a reader, are you also a writer? In which case, what other sorts of writing do you do?

First and foremost I am a reader. But when you read as much as I do, I think wanting to write something comes as something you naturally want to try as well. I've written a few stories (nothing published of course) and have posted them on my Wattpad account and of course they are YA! My story titled, Anmon, is one that I have planned out in a notebook and want to continue, but the others were from writing groups on Goodreads with prompts etc. 

7.     Does blogging make you any money or is it a hobby for you? Do you want it to be a full-time thing?

This always depends. I've had authors wanting to pay me because they use my bookmarks as their official bookmarks, but I always refuse. Mostly of this because of copyright issues, I'm using the cover image of the book, the same font as the title and I don't include the publisher's logo on my bookmarks. This isn't breaching anything, but I never started it to make money from it. 
I get a small percentage from sites where you can purchase books from (Amazon, Smashwords, Fishpond etc) for including their buy link on my site, but that is only when one of my readers buy from my direct link. This money always goes into future giveaways for the blog, and the same as companies advertising on my site. It's the same concept, if one of my readers click on the link to an advertisers site, then I will get a small income from that for giveaways and exciting things for the blog. I never use the money on myself, I don't get much of it anyway, but it always helps because of international shipping etc.
I think I would always like for this to be my hobby, and not anything full time. I'm afraid that because I love blogging so much, that I will get sick of it if I go full time. I don't make any sort of valuable income from my site, so it's not something that I could make a living out of, even if I wanted to. I always enjoy doing this for fun, and I don't think I want it to be any other way.

8.     Tell us a little bit about yourself – who are you and what do you do and like?  

Tough question! I don't really like talking about myself, but here goes: I'm 20 and from south-west Sydney, I work full time, blog part time as a hobby, and read all the time. I've been a blogger for around 3 years now, and I don't remember not having some sort of book in my hand. I love to read all kinds of YA novels, and have to stop myself from buying books every week. 


Thanks for the interview Gina...  reviews and recommendations are always welcome (and thanks for popping my Afterworld interview cherry! You were very gentle...The Scout




Thursday, August 2, 2012

Talking Body and Soul with Gemma


  Ask anyone in Australia if they read the weekend paper and I bet they say to you "Uh... 

well, I always read Body and Soul...does that count?" That answer is because of Gemma 

Sutherland - editor extraordinaire. This week she talks to the Scout about what it takes to 

create one of the most popular insert magazines in the country and ask her for advice for

 other writer's trying to get work in the news and magazine world.

(This one's really great for all my writing students. Soak it up!)



 Photo care of Body +Soul

 How did you end up with the Body + Soul gig?



Well, I started my first job when I was in Uni, I got offered a job a day a week just doing copywriting for a local paper. So I took that, and then I filled in any vacancies they had and eventually I got offered a full time job. By the end of Uni I was working full time and studying full time. From there I met a contact who offered me the job of sports editor of a local paper. I took that job as well. I kind of got lucky after that, I got a job offer in London and moved there. I had a weeks trial and happened to nail it,  so I worked there on the tabloids for a couple of years. And through the contacts I made there I got another offer back in Australia. I got a job here editing one of the Telegraph's insert magazines and when they relaunched another one  of the magazines I was responsible for that. I guess I got a reputation for relaunching so when Body+Soul needed a relaunch and re-energise, I was asked to take it on, and that's how I ended up there.


What does your job entail?


Ooh, a lot of political land-mine avoiding! Ha. I commission work. I decide what's going to go in the magazine. So I get a flat plan every week with the ads in place and I decide what will go where, what the content will be, what the cover will be. Then I make sure we've got everything that we need. My art director chooses the pictures and then she gives me a few choices and I pick the ones that I think choose the page the best. I make sure the headlines are right. I make sure the copy has the right flavour to it. Yeah - there is a lot of juggling of different things and often when I think things are going smoothly, something will go completely wrong and then there is a lot of managing to be done. There is a lot of advertising and marketing issues I deal with as well. It's all part of the job.



What sort of deadlines do you face?


We are a national magazine so we have a unique situation. In a week we shoot three issues off. On Fridays, its our absolute deadline when I send them off to print. This means there are deadlines every day. Our book size is 32 pages and we only have four full time staff so we need to stay right on the ball all the time. 


How do you choose your freelancers?


I hire people who pitch well to me. A very specific pitch with a suggested headline, an introduction and then a really specific outline as to what the story will be. We, being a health magazine, have to run the same content over and over again, so we need to find a new twist on it. I will hire people who know the product well, know what we need, are creative and have really good ideas and know how to sell me the story succinctly. And of course, people who are easy to work with: they file their invoices on time, their copy is on time, it doesn't need a lot of work, and they have gone to an effort to give me interesting information. If I have to go back to them and say, "Look its not quite right, can you fix this?", then I'm less likely to work with them in the future.


What sort of pitches do you ignore?


I ignore pitches that are a bit vague, or if they are too informal or don't hook me right away. And if its really quite long and waffly, then I just don't have time to read it. I need to be hooked within the first two lines or so. I generally get about twenty pitches a day, probably close to one hundred a week. I have to ignore those that just don't suit. And I pick the specific ones that suit the magazine.


How do you manage the freelancers you hire?


If I like a pitch I'll write back to the writer and ask them and ask them to flesh it out a bit more or just say " I love your pitch, can I have 800 works and can you include breakouts and I need by... whatever the deadline is." I usually give people two or three weeks to write a story. I have great people on board who can turn stories around quickly. We pay about 65 cents a word depending on the story, some stories take more work so they may get a package. We often need an online story as well so our online editor will often commission an extension article as well.


What do you love about your job?


I feel really lucky to have my job. I love editing magazines and I think things will be much easier to do if you love your job. I have a passion for it. I do have many things that frustrate me, but I love getting a raw product - a piece of paper - and filling it so that at the end of the week we have a magazine that is hopefully very informative and entertaining and well followed. People really love Body+Soul as a brand and we get a lot of feedback. People look to us to improve their lives and its a privilege to work in something that makes people's lives better.




Follow the Body+Soul team blogs here:






What about you, what do you love to read?


I love writers that make me forget where I am and take me somewhere else. I love J.K. Rowling - I love Harry Potter, it transported me. I tend to read a lot of autobiographies but I also enjoy chic-lit books. If I writer uses their words well and takes me to another place for a while, I love that.


What is the next step for you as writer and editor?


I think probably a foray into the online world. Probably still involved with the magazines in newspapers. Something digital, but I'm not sure what yet...


What is your advice for writers trying to get into the newspaper and magazine world?


Do work experience. Its a very hard field to get into and its hard to just finish Uni and apply for a job these days. We need people who have experience. I wouldn't hire someone who was applying fresh off the boat because I don't have time to train them. So someone who has done work experience who can prove that they are determined and keen and willing to work as hard as they can. And those who have earned some good referees and contacts, that's they sort of person that we look to hire. In my class - sports journalism - I was the only one who got a full time journalism job and I think that was because I was doing so much work experience. In the general journalism course, which had a lot more students, there was only two or three of them that got jobs. Its a very hard field to get into, but if you get your foot in the door with some work experience, you're on the right track. It's very rewarding for me, so I think its worth it.




Thanks Gemma, we love Body+Soul and your advice is priceless.
 - the Scout

Thursday, July 26, 2012

Crafternoon Tea with Eliza Muldoon



Eliza Muldoon is one of those brilliant people who does....well...everything. She is an Arts lecturer at COFA, curated this year's ArtMonth, is the co-ordinators of Arts Interview (I've added a link to this amazing series - worth a read) and is about to take on the role of  Blue Mountains Cultural Centre Public Programs Co-ordinator in Katoomba, where she currently lives. She is a mum, a film wife (we are a breed of our own!) and just an all round cool girl. And to top if off she has a craft book coming out this year... So we had cyber coffee (complete with imaginary hot waiter) to talk about her new book and how the whole thing got made…


How did "Lazing on a Sunday Crafternoon" first come about?

Lazing on a Sunday Crafternoon started with the realisation that although I promote the importance of art making to our wellbeing when lecturing I hadn't made time or space for making things in my own life. Then I added some guilt to that realisation when it occurred to me that I reflect on the enormous impact that making things with my parents has had on me and I haven't been making things with my own daughter. So, I committed to making something with Lotte every Sunday - this came to be known as Sunday Crafternoon. The reason it is Lazing on a Sunday Crafternoon is simply because I never wanted our activities to be too demanding so we made things that were easy and often made with things that we already had on hand.


How did you get a book deal for the project?

I'm not exactly sure of the process but I think it started with a conversation about our crafting activities with a woman that had a daughter the same age, she happened to be my husbands' book publisher. I was convincing her how easy it is to make things and how much fun we've had. Before I knew it she had put me in touch with another publisher, who I had actually met previously, as she thought this could make a cute book. A couple of weeks later I bundled up the goods we had made so far and took them into the office for a meeting. Between the suggestion that this could be a book and the meeting I developed an instruction formula, the title and started taking photos of the processes we used to make each item.

What is the process for writing a craft book?

It was quite a bit more labour intensive than I expected, but the support from the publisher has been great and they have been incredibly patient with me while I have worked out what the dickens I am doing. Developing the craft project ideas was the easiest part, by the end of our 12 month adventure we seem to have made about 107 things and so all I needed to do was select which of those would be most suitable. I then had to develop a consistent voice for explaining how to make them, as Allen and Unwin were happy with my very conversational style. This wasn't particularly difficult to do either. Detailing the steps was a bit time-consuming though and often involved me remaking the items to work out how we had made them. The instructions benefited enormously from a magnificent editor who specialises in craft books. 

The final stage is the design stage, which we are in now, I had some ideas that the design team have completely respected and they have knowledge of what works in this style of publication and I completely trust them on that, and so this stage has been going very smoothly. I'm rather keen to see what it looks like all done! Nearly there.

Did you take the photographs yourself? What was the process like?

Taking the photos proved to be the most labour intensive aspect. In total we took about 4 500 photos in order to get 52 process sets that I was happy with. I love taking photographs and Allen and Unwin seemed to like my rustic, rough style but I would never consider myself a photographer and so I had a lot to learn- I made a LOT of mistakes. I had to pull apart a few of them and re-enact others because when we started we had no idea that this would be a book and so we didn't have any photos of the processes. Lucky for me I have a gorgeous, young photography-loving neighbour as well as a French-Canadian student that was staying with us and so between the three of us we muddled through. Lotte started to find being photographed a bit tiresome and so I started bribing her.

How long will the project have taken from start to publication?

The first email was sent in September 2010 and so almost two years from idea to book. I thought I could do my part in about 3 months! Oh how wrong I was.

What have you enjoyed the most about the process?

Definitely making the actual objects with Lotte. It was so great. Sunday crafternoons have been on hold lately as we haven't been home much but I am keen to get started again next week. Op shop outings for supplies is a close second.

What sort of books inspire you?

I love design books. My favourite book is 'Tibor' about Tibor Kalman, the Hungarian/American Graphic Designer that started colours magazine. It is a beautiful mix of pictures and politics. I bought it when I was a student and it was rather expensive so I had to lay-buy it. If I sit down to read, rather than just look at pictures it will be inevitably be a psychology based book concerned with neuroscience, organisation or creativity. 

How do you promote your book and get publicity for it?

I actually don't know how it will be promoted. Hopefully I'll get to just make more craft and somehow use that. Having just worked as the Artistic Director of Art Month Sydney I learnt an immense amount about both marketing and publicity processes. I guess it is probably time to start thinking about how it all applies to '...sunday crafternoon'.

And of course - when is it out and how can we get it?

It should be ready before Christmas. Maybe as early as September.

Thanks Eliza... my children and I look forward to being up to our eyeballs in glue, string and glitter...
 - The Scout



Sunday, July 15, 2012

Jim Lounsbury: Shooting the Breeze






About 15 years ago I met brilliant, independent film maker Jim Lounsbury. So impressed was I with this man and his talent that I married him. As he is currently producing, not one but two, indie feature films, I asked him to talk about independent film and how people nowadays get a film into production without studio money. He replied - "I wrote everything I know down in an essay on the topic. Will that do?" I know this essay has done the rounds all over the net, but in case you missed it, and are interested in indie film... I'm reprinting it here.   You can follow Jim's work at www.eponine.com.au


How Budget Strangulation in Independent Cinema can Create Orgasmic Returns

Jim Lounsbury - Eponine Films and Policy Pictures.




Independent film, for generations, has been built at the crossroads of financial limitation and innovation. One could argue that somewhere in the interdependence of this relationship is found the mysterious alchemy that good art makes. This assumes that financial limitation creates innovation, in the way that erecting walls around a prison drives the creative thoughts of convicts. At the very least, financial limitation is one factor that can lead to innovation, and innovation can lead to great art. I have been party to their manifestation enough times to believe in these principles, but more importantly curious enough to ask the question, "Why do these principles exist, and how can we embrace them to independently create moving pictures that are truly moving?"

Of course, financial limitation can be measured in degrees, and I am engaging in this discussion on the basis that a $1M+ film has both enough resources to fund the practicalities of making a film in the current climate, and limited enough resources to inspire innovation, allow liquidity in the creative process, and aid in the formation of a tight family of filmmakers united by a singular vision.

It is easy to find examples in history where films with limited budgets far exceeded the reach and cultural impact expected, not to mention the financial returns, dollar for dollar, they represented. It is much harder, however, to wade through the considerable and tragic pile of independent films that did not 'break into' the zeitgeist, for they are lying half assembled in boxes, gathering dust in basements and - after having been through the trash compactors of funding bodies, financiers and distributors - have now become decaying, albeit passionately conceived, landfill.
SIDEBOX Easy Rider - Under $400,000 Vanishing Point - Just over $1M Two Lane Blacktop - $875,000  American Graffitti - $700,000 Mad Max - $400,000 Samson & Delilah - $1.5M Sex, Lies & Videotape - $1.2M, Swingers - $250,000
For this reason, we will look at examples from successful independent films that were made for less than $2M, to determine from a creative perspective the rule book, tool box and leadership strategy for creating an independent film in this budget range that has the best chance of connecting with it's audience.
One day Alice came to a fork in the road and saw a Cheshire cat in a tree.
"Which road do I take?" she asked.
His response was a question: "Where do you want to go?"
"I don't know," Alice answered.
"Then," said the cat, "It doesn't matter."
Lewis Carroll, Alice in Wonderland
As independent filmmakers, it is our responsibility to develop a clear idea of where we are going, and actively search for an innovative path to get there.
1. Embrace Chaos
From Swingers, to Blood Simple, to Pepi, there is a level of chaos that comes from working with smaller budgets. A level of energy. An organized chaos that becomes the template for the creation of the work. For instance, in Swingers, Doug Liman chose to shoot the bar scenes in an actual bar while it was open, because he didn't have money to build or rent the venue. He pre-lit the seat where Heather Graham was going to sit, and then shot it from across the room… Many of the patrons of the bar didn't even know a scene was being shot, and by embracing the chaos, Liman gained a sense of authenticity in the scenes.[1]
Even in larger budget films, such as Iñárritu's Babel, or Coppolla's Lost in Translation filmmakers reach for the authenticity of documentary style acquisition, opting to shoot the contextual underpinnings of their films in the actual environments, cinema verité.
Rather than trying to control everything, it is essential to allow a level of chaos to infuse the filmmaking process. Capture reality wherever possible.
"It was really Doug's (Liman) idea to use this documentary cinema vérité approach. His whole approach was, "Don’t make Party Girl with half as much money, make Clerks with ten times as much money." He was taking all these chances. Of course, to us at the time it looked like he was kind of flying by the seat of his pants, but ultimately the movie looked really good and we couldn't have gotten that kind of energy or authenticity if we had done it any other way…"[2]
John Favreau re: Swingers
2. Form a Tight, Small Crew
There is not only a level of mobility and flexibility that comes with a smaller production team, but a level of intimacy and connectedness. In order to create an environment where actors can settle into their characters, and the crew can be mobilized to take advantage of opportunities that arise, a small, close-knit yet independent production team can be more productive, and more resourceful than a larger, and more dependent, team.
This is never more apparent than in the recent Australian success, Samson and Delilah, the recent Australian feature, shot and directed by Warwick Thornton, who shot with a crew as small as 6, and rarely more than 12 throughout the shoot.
"There were no grips, no gaffers, no cranes and not too many lights on set… Money creates problems. You know, films turn into these sort of big circus and clown shows in a sense and it was important for me just to have that sort of personal space with the two actors and be able to direct that way. Not to direct through a crew."[3]
Warwick Thornton re: Samson & Delilah
According to sociologists Jon Katzenbach and Douglas Smith[4], there are six fundamentals of collaboration that are necessary for high performing groups:
- Small numbers of people -- Typically less than twelve
- Complementary skills in group members
- Common purposes for working
- Specific performance goals that are commonly agreed upon
- Shared working approaches
- Mutual accountability amongst all members
Their study extends to the differentiation between "real teams" and "extra-ordinary teams" citing that a "real team" is a group with complementary skills, equal commitment and who are mutually accountable, and an "extra-ordinary team" is a real team that also has a deep commitment for one another’s personal growth and success.
It could be quite useful to have cast and crewmembers, prior to the formation of the team, write a one page outline of why they want to be involved in the film, and how the film will benefit them, professionally and/or personally. This exercise would provide a strong platform for leadership, as it would ensure that there are fewer unspoken expectations from the process, and will give insight into the potentially lateral skills that might be available within the team (ie. the sound recordist might have a witty and ironic writing style that could be utilized to blog about the production while on the road).
3. Develop a Style Born of the Limitations
In a vast majority of independent films done on low budgets, the style was innovative due to the filmmakers embracing the limitations of lower budgets. Using the challenge as a point of stylistic innovation.
"As we got closer to production, I said, 'we should shoot colour, because nobody is going to watch a black and white movie.' But Scott said, "If we shoot colour we are going to have to rent an entire light package because we can't use the store's fluorescent lights.' And I said, 'So if we shoot black and white, we can just us the store lighting and some keys? Fuck it - shoot in black and white!"
Kevin Smith, re: Clerks
In the case of creating films that would typically require more resources, such as road movies or action films, rules must be put into place that will serve the dramatic purpose of the film, and will keep the production within the available budget. For instance, a road movie is typically about upsetting status quo, and the need to escape, so the choice to shoot the majority of dialogue from within the car, to emphasise the confinement of the characters, could serve the dramatic purpose of the film, and therefore magnify the themes.
During the production of Easy Rider, most of the film was shot outside with natural lighting. While this can be attributed to the film being a road movie, at the time Hopper said all the outdoor shooting was an intentional choice on his part, because "God is a great gaffer." The production used two five-ton trucks, one for the equipment and one for the motorcycles, with the cast and crew living out of a single motor home.[5]
In contemporary filmmaking, there are an increasing number of tools available to the modern filmmaker. It is in the creative and innovative use of these tools that can create a seismic shift in the possibilities available on a modest budget. A great example is Slumdog Millionaire, during the chase sequence at the beginning of the film, Danny Boyle opted to use a combination of traditional film cameras and stills cameras with HD capturing capabilities, to capture the dynamic coverage needed to create a muscular, fast paced action sequence. These cameras also allowed Boyle to capture footage in a surreptitious and non-invasive way within the slums of India in a way that didn't draw attention to the filmmaking process, using passers-by as extras, which added to the authenticity of the film.
"We just wanted to get in the middle of everything, while preserving a natural, unscripted energy: If people see a stills camera, they don't think it's recording live action."[6]
Danny Boyle, re: Slumdog Millionaire
4. Cultivate Ownership and Shared Risk/Return
There is a spirit that exists within the fabric of successful independent films, a cohesion of purpose, a relentless ambition and a shared passion by the cast and crew.
According to author and sociologist, Dan Pink, people in the work force are looking for ways to invest themselves into what they do, and are increasingly willing to give up the "security" of a regular wage, for the freedom of working as free agents, on projects they are passionate about. Furthermore, people are given the opportunity to share in the rewards of their own efforts, whether in personal or entrepreneurial endeavours, they are more productive and more heavily invested in their work, creatively and emotionally.[7]
It seems rational to deduce that in "independent" cinema, this trend is also occurring. Therefore I see a need to create models where cast and crewmembers alike share in the relative risks and rewards of creating an independent film.
Robert Connelly, in his white paper, Embracing Innovation: a new methodology for feature film production in Australia, states that, "In order to negotiate a workable industrial model for wages on lower budget films we need to find a reasonable combination of award minimums and a meaningful share of the film's income," and while this is a common contract arrangement for 'above the line' creatives, this structure could be implemented for 'below the line' crew members as well, and fits the road map for independent film creation.
5. Plan to Involve the Communities in which you Work
It's hard to place a price tag on the value of community involvement in a film project. In my own short film, Echo, we approached the Ku-ring-gai Council to help us with permits and access to the National Park for a sequence we were filming, which involved a young boy falling from a small boat and drowning.
To shoot the sequence, which involved a dialogue scene in a vehicle as well as underwater photography, we also needed a small boat and permission to close down one of the roads leading into the park. One of the workers for the Council became involved in the film, and helped us with all manner of things. If I were to tally up the dollar value of her contribution, which included running food to the crew, standing on the road holding a stop sign, standing in as an extra, getting us a discount on boat hire from the local marina, and coming to work two hours early to open up the gates to the park for us, it would have run into the hundreds, if not thousands of dollars.
In the end, all it cost me was a thank you letter and a copy of the DVD, sent to the Council. Her reply to my thank you letter was "no… THANK YOU! I never knew what went into making a film, and now I've had the chance to see what goes on behind the scenes. It was such a great experience. We just watched it in the office here, and everyone loved it… Well done!"
This is just a small example of how community involvement can be a mutually beneficial addition to any film's resource base, particularly if shooting in rural or small communities where a film can make a big impact, socially, culturally and economically.
6. Make Use of Available Resources
With all the social networking, and Internet connectivity at the fingertips of the contemporary filmmaker, it opens up a variety of ways to source things you may need for a film shoot. From props to wardrobe to specialty vehicles, it can often be easier to find things within your social network than it could be to go out and buy them.
One advantage that Independent productions have is time. Without the typical constraints of more commercial productions, Independent films often have more time to, say, spend on pre-production, the editing process, or to build a groundswell of market support online. Filmmakers, Joel and Ethan Coen, while making Blood Simple, discussed the process of using people who were committed to the process and the film saying:
"We didn't pay anybody anything. Well, we paid them the minimum. That’s the one thing I always say when people ask about this type of thing: it makes more sense to find people who don't necessarily have the experience doing what you want to do, but who you think are ready to do it and shoot for longer, than it does trying to find some four thousand dollars a week DP who you think is going to save you time and allow you to shoot for a week less. It doesn’t work like that. That was the philosophy that he [Mark Silverman, line producer] brought into the movie and it was really helpful for us."[8]
7. Create a Process that Aligns with the Tone of your Film
This is a relatively esoteric concept, but I believe the emotional context of a creative endeavour directly feeds the outcome of that endeavour. As a director, you begin to see that creating a tone in conversation with your actors, a dialect you use with your crew or a way of phrasing things to a cinematographer effects the tonal outcome of the film you're creating. This is why you try to keep actors a safe distance from crew chatter to reduce the consciousness of artifice, and why you may give a cinematographer more or less direction about coverage in a scene if you want a corresponding amount of chaos in the capturing of that scene.
From the start of the pre-production process to the final day in post, it is important to realize that the choices you make affect the tonal outcome of the film. It's a natural process of human creativity to match the emotional and psychological tone of our deepest creative investments and It's not uncommon for filmmakers to discover parallels between what's happening on screen and what occurs in the lives of the cast and crew.
The important thing is, to understand that this occurs, and to be aware of your power to choose what tone or approach you are going to take in the creation of your film. For instance, if you're creating a road movie about taking risks, challenging status quo, and embracing adventure, then you would create a context for the cast and crew where you would expect them to take risks, embrace adventure, and exhibit a level of anarchy at times.
8. Implement a Marketing Plan From the Beginning
Marketing an independent film in the current climate can be heartbreaking, as filmmakers, film festivals and studios alike are increasingly forced to embrace a commercial model if they are going to survive. This form of big-budget advertising has been met with diminishing returns over the past number of years, with an increase marketing budgets required to capture the same market. But yet, on the other end of the spectrum, there are incredible opportunities for 'cut-through' in niche markets. Jeff Levick, AOL's president of advertising and strategy, says of the Internet market, "niche is the new mass," and even big business is trying to find out how to engage the market by appealing to small pockets of people around similar interests.
In other words, they're trying to implement what the Independent's do so well…. Match a production with a niche market and build a relationship with that market around the film.
"Today’s audiences say that online word of mouth has become one of the most important elements of their movie decision-making, and Paranormal Activity is certainly benefiting from that shift in behavior," said Amy Powell, senior vice president of Internet marketing at Paramount Pictures.
Find ways to interact with your market from the beginning. Develop a following on Facebook, on blogging sites, get someone to twitter about the production. Start a behind the scenes video diary, get people to engage with the filmmakers about the making of the film. Tap into an existing market for your film online, and in interest groups that exist in the real world, ie. create an awareness about your road movie within collectors groups.
One marketing idea that is being implemented for rock concerts and bands by Posse (www.posse.com) is to allow members to earn a commission for each ticket they sell to concerts or merchandise that is sold through links from their website or Facebook page. This and other similar engines exist to raise awareness, promote and spread the word about your film, but a strategy needs to be started as early as possible.
9. Get it Done
Creating a film is better than not creating a film, so never stop energizing the process. Don't let a week go by without achieving something, no matter how small the victory. Call a production designer. Go to a bookstore and collect reference images. Watch films that move you and break them down. Read the script. Make notes. Read the script again. Map the emotional arc of the film. Find the drama in every scene. Take photographs of things that inspire you. Go to an art gallery and find an artist who makes you feel like you want your film to make people feel. Read the script. Buy a box of crayons and find your colour palette. Find musical references for your film. Stop people in the street and pitch your film to them. Call an editor and get their perspective on pacing. Read about independent filmmakers who are making films and how they are doing it. Tattoo the title of your film on your arse. Get inspired.
I am an independent film-maker first and foremost. I have always cut my own cloth.
Mira Nair
It doesn't matter what you do. Just keep building momentum for the project.
Find a way. Get it done. No excuses.
And Finally…
Filmmaking is an art form that is a natural extension of our need to communicate through stories. The films we choose to embark on must be personal and grounded in our own personal ethos. It follows that they will be crystallized through our increased understanding of the world.
By expanding our experiential database, even in non-film related endeavours, we inform the stories we tell. Sometimes the best thing for the creative process is to step aside and refresh our creativity. Obsessions cannot often be controlled, but they can be held at arms distance for a few minutes while we gain perspective.
There will be setbacks. There will be triumphs.
Feature films are often born through a persistence of vision, a determined and dogged resistance to compromise, and a knowledge that the film you are making is an essential volume in the lexicon of stories that "must be told".
My view is that limitations are a necessary evil in the creation of moving art. There is a gutteral resourcefulness that comes from the exhaustion of creating. Reaching for that last piece of inspiration is the key to finding the inspired thought, the right shot, the perfect tone. The job of a director is to limit his choices, after all, to choose the correct way to illuminate the story, capture the emotional moment, create a reality just as vivid as what is going on around us. Film is reality too, and the experience an audience has is real. It's tangible. And if you embrace the limitations that come with Independent filmmaking, and look at them as empowering, there is inspiration there for the taking.
There are more stories that must be told. It might as well be you telling them.
[1] Horowitz, Josh. The Mind of the Modern Moviemaker. New York, NY: Penguin Group, 2006.
[2] Lowenstein, Stephen. My First Movie: Twenty Celebrated Directors Talk about Their First Film. New York, NY. Pantheon Books. 2000.
[3] ABC News Online "Low-budget masterpiece pulls focus on Indigenous problems" by Rebekah van Druten Posted May 12 2009
[4] Katzenbach, Jon R., and Douglas K. Smith. The Wisdom of Teams. New York, NY: HarperCollins, 2003.
[5] "Easy Rider: 35 Years Later" Moviemaker.com
[6] Mackay, Mairi. Shooting 'Slumdog' in Mumbai, City of Extremes. 12, January 2009. CNN.com/entertainment
[7] Pink, Daniel H. Free Agent Nation : how independent workers are transforming the way we live, 2nd Edition. New York, NY. Warner Books, 2007.
[8] Lowenstein, Stephen. My First Movie: Twenty Celebrated Directors Talk about Their First Film. New York, NY. Pantheon Books. 2000.


Watch the short film "Possessions" directed by Jim Lounsbury.



...found by The Scout.