Tales from the script
I’m interviewed in the new book Tales from the Script,
I just got a review copy, and I’ll confess that the only thing I’ve done so far is flip through to make sure my quotes are reasonably coherent. And they are — so kudos to the copy editor. As I turned pages, I noticed many things I want to go back and read, including bits by the always-entertaining Josh Friedman and Shane Black. The book also features Frank Darabont, Nora Ephron, Paul Schrader, David Hayter and more than 40 others.
The book is blurby and conversational, like listening to a film festival panel in which the microphone gets handed around a lot. That’s not a criticism, but an attempt to frame expectations. I think a lot of readers will like it, but it’s not a master class or anything.
The book is available in paperback
Prepping for the Directors Close-Up panels
Tonight and next Wednesday, I’ll be hosting the Directors Close-Up panels for Film Independent.
Tonight’s director is Jason Reitman, joined by cinematographer Eric Steelberg, editor Dana E. Glauberman and composer Rolfe Kent. We’ll be talking about Up In The Air, Juno and Thank You For Smoking.
Next Wednesday’s director guest will be announced tonight. We’ll be talking about casting and working with actors.
Word from the organizers is that it’s almost sold out, but “a limited number of passes” will still be available at the door if you want to try. It’s at the Landmark Theaters in West LA, beginning at 7:30pm.
Film Independent is recording these panels, so if you’re living outside Los Angeles, don’t despair: I’ll pass along the info when I have it. In preparation for the series, they shot a bunch of short interview pieces with me, which you can see up on YouTube.
The Twitter hashtag for the series is #DCU2010. If you have questions for anyone on the panel tonight, tweet it (@johnaugust) and I’ll try to ask.
10 hints for index cards
I’m outlining a project right now, and thought it would be a good time to review best practices for index cards.
Keep it short. Maximum seven words per card.
A card represents a story point, be it a scene or a sequence. You don’t need a card for every little thing.
Keep cards general enough that they can be rearranged. (“Battle in swamp” rather than “Final showdown”)
Horizontal (a table or counter) often works better than a vertical (a corkboard).
Post-It notes make good alternative index cards.
Consider a letter code for which characters are featured in the sequence. Helpful for figuring out who’s missing.
Most movies can be summarized in less than 50 cards.
Cards are cheap. Don’t hesitate to rework them.
Consider a second color for action sequences. Helps show the pacing.
Write big. You want to be able to read them from a distance.
On Amazon, Apple and dick moves
John Scalzi’s helpful write-up of this past weekend’s ridiculous battle between Amazon and Macmillan can be summarized quite succinctly:
Don’t pull dick moves.
It’s okay to play hard. As an Amazon customer and fan of the Kindle, I want Amazon to keep e-book prices low. As an author and Kindle self-publisher, I want writers to make money.
Conflict between these two goals isn’t a bad thing; it’s business. Business is good. I know Amazon is a huge and powerful retailer that can muscle around its suppliers. I also know the folks at Macmillan aren’t all rainbows and puppies. But as a customer, I should never be aware of their negotiations. I should simply buy books.
When Amazon suddenly yanked all of Macmillan’s titles, it not only exposed the behind-the-scenes conflict, but punished otherwise neutral parties, including customers and authors.
Dick moves, defined
A dick move is an action which to an outside observer appears excessive or petulant.
Or, more tautologically, a dick move is something which, when performed, leads observers to note: “Wow, what a dick!”
Last weekend, Amazon pulled a dick move. It then took too long to admit it was wrong, and finally had to accept Macmillan’s terms. It was a huge bundle of fail, and very much unlike a company that has done so much so well.
Many industry observers speculate that the announcement of Apple’s iPad precipitated this round of crazy. In the demo shots of Apple’s iBook store, book prices are significantly higher. Did Apple do this deliberately, trying to stir the pot? Maybe. And if so, was that a dick move?
Not really. Dick moves tend to be more obvious and punitive.1 But with the iPad, Apple is setting itself up for a series of awkward decisions, any one of which could easily become a dick move:
Will the iBook store include every book a publisher wants to sell? And if not, what will be Apple’s criteria? Will they review every book the way they review apps? Will there be age ratings? If so, how will they determine those ratings?
Will Apple let individuals publish to the iBook store, the way Amazon does? Trying to get an independent film sold through iTunes is tough. Apple will only deal with studios and aggregators, which not only minimizes its exposure to crazy filmmakers, but also helps ensure that copyright is valid. Getting an e-book sold through Amazon is comparatively straightforward.
Will Apple let users read any ePub file through the iBook reader, or does it have to be bought through Apple? The iPod and iPhone will only run apps bought through Apple, but they will play any mp3 file you throw at them. Book files feel more analogous to music files than apps. Let’s hope Apple agrees.
Will Apple give third-party readers and sellers (such as the Kindle app and Stanza) equal access? A book-reading application doesn’t seem like it would require magic and undocumented access to the iPad’s hardware. The iBook app should compete on a level playing field.
How will Apple set prices on books? Apple has two basic philosophies on pricing: the App Store model, in which publishers have wide flexibility in setting price, and the iTunes model, in which tracks and albums are strongly pushed toward fixed price points.2 Will Apple allow free books? Kindle doesn’t, except through special arrangement with publishers.
For Apple, the best way to avoid dick moves on these five points is to allow robust competition. Apple doesn’t need to worry about selling every book to every customer as long as third parties can bring them to the iPad.
- Same with the exclusion of Flash on the iPad. You can be sure Steve Jobs knew there would be a blue lego popping up during his demo, but let it go undiscussed. ↩
- The App Store model has resulted in a race to the bottom at 99 cents. One could argue that price floors rather than price ceilings might better support the publishing economy. ↩
Update on the job
I’ve gotten a lot of terrific candidates for the Director of Digital Things job. I’ll be narrowing down my top choices beginning Thursday, so if you’re considering applying, make sure I have your stuff by this Thursday morning, February 4.
Are online film classes worth it?
I’m 22 years of age and I’m currently an online student at the Academy of Art University based in California. (I live in Florida.) I am majoring in Directing and Producing.
I’m doing very well with school but I feel I’m not getting anywhere in the process. I mean, the way school is going I’m not going to graduate until I’m around 25 – 26 years of age which is just absurd especially since I’ve been in school already for a year & a half. I may not even finish my online schooling because it’s a bit pricey for the cost per class. I’m also not able to truly associate or really affiliate with anyone through the online program. Online schooling is just not good in that matter since everything is through a message board. You’re also not able to get hands on with anything. I’ve even looked on transferring but the situation is just not presenting itself well.
I’ve talked to a few people and even read some things on if schooling is needed for this industry and some say yes and others say no. It’s a guessing game from where I’m standing.
I’ve even looked around on ways to get noticed or recognized as many have said film festivals, film schools and so forth but that’s nothing new and I didn’t already know. But in order to enter a film festival, I need a film and that takes a lot of money to get a film made and I just don’t have the resources either. I’m really just looking for answers on what do and how I can get my foot through the door but then again, I’m still looking for a door.
I can’t just up & move to California even though I do plan on going out there sometime down-the-line (when? Who knows at this time) but I wouldn’t know where to begin or let alone look, on how to get some kind of acknowledgment or advice. My folks and I are just trying to find some answers for me or a path of some sorts. It’s just becoming frustrating. My folks are questioning on what to do as it’s a dead end on every corner and opportunities are just not coming about.
I hope that maybe you could provide some answers or something.
– Scott
Florida
I think online classes are a great option for many topics, but basic filmmaking isn’t one of them. Drop out and save your money.
Yes: a class that was purely about screenwriting could be taught online, but almost every other part of filmmaking is physical and collaborative. You need to be setting up lights and comparing angles and figuring out why the sound isn’t recording right. An online session might offer a master class with Robert Elswit talking about composition. It would be fascinating. But it wouldn’t be the practical information you need right now as an aspiring filmmaker.
Make short films. Find little movies that are shooting in Florida and work on them for free. Take local classes in the things that interest you.
You’re 22 — you don’t have to have your whole life figured out. But you owe it to yourself to pursue every interesting thing with every bit of energy you have. And if you still find filmmaking is your number one passion, move to a place where they make movies. That’s Los Angeles, New York, and (recently, thanks to tax credits) Louisiana. Get yourself there and get hired on a movie. You’ll learn more your first week as a PA than you have so far in your online classes.
Read what Adam Davis wrote about his experience moving to LA to get started. It’s not easy, but it’s not overwhelming either. Every young actor you’ve seen on TV has moved to Los Angeles, and trust me, many of them aren’t that smart or confident.
Your parents are nervous because they don’t see a clear path ahead for you. My mom was the same way. But once I was here, working 16-hour days on a hundred different things, she could at least see that I’d found something that really engaged me. I was making things, even if I wasn’t making enough money to buy a bed.
It’s okay to struggle. It’s okay to have doubts. But don’t let them paralyze you. You don’t have much, but you have your youth. There are many folks reading this blog in their thirties or forties with a marriage and mortgage who don’t have options you have. Embrace your freedom and explore.
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