Last night I signed up for a 100 days of writing challenge with my writing group. However, the challenge began the night before a 6am work start at my day job. The irony was not lost on me. I finally committed to writing daily, something I had been telling myself I wanted to do for a long time, but the night I committed was the night I badly needed to sleep so I could be rested for work.
Read MoreThe Balancing Act: DIY Filmmaking vs Public Funding
Recently, we attended a screening of our short film Roniti at the 21st In the Palace Film Festival in Bulgaria. Being part of this Oscar-qualifying festival for short films was an honour, and as we watched the other entries, we were struck by their high quality.
However, a trend quickly emerged. As the credits rolled on these films, nearly every one boasted logos of funding bodies from countries like Spain, Italy, and across Asia, alongside sponsorships for camera packages, color correction facilities, and extensive crews.
In stark contrast, our short had a 30-second credit sequence. Our crew of seven managed both production and post-production, with most of us juggling multiple roles. I served as the writer, producer, director, cinematographer, and editor — typical of micro-budget filmmaking.
It made me question how much more viable it is to have funding support for your work. And do films with public funds actually perform better?
Read MoreReviving 'Ordinary': A 16-Year Journey to Complete an Unfinished Musical
I was drawn to the nostalgia of the project. That warm fuzzy feeling of looking back at old footage, relieving memories of a younger, more innocent time, even if those memories are tinted with rose. The cast of Ordinary has long since drifted away from my life. Tragically, one has passed away, and I'm uncertain if any continue to act. Yet, revisiting this footage creates a unique connection; each person is frozen in time, preserved in their youthful moments – whether it's an outtake, a laugh behind the scenes, or just a candid shot. This creates an illusion of a lasting bond, as if we still know each other and share those original dreams of living life as artists. Living life beyond the ordinary.
Read MoreReel Reflections: Success, Failures & Aspirations
The end of the year is here, and as cliche as it sounds, it is the perfect time to reflect. I think we all do it, and it is a healthy ritual for learning and growth. What did you achieve this year? What could you have done better? Did the year live up to your expectations? What do you want from 2024?
Read MoreThe Problem with Filmmaking Advice: Everyone's an Expert
What is it about filmmaking that attracts imposters and faux experts? Is it the allure of glitz and glam? Is it because the criteria for success and expertise is subjective? Or is it because this is an industry which has traditionally excelled at ego stroking, therefore attracting those personalities more prone to enjoy a good ego stroke?
Read More5 Reasons Why All Cast & Crew Should Promote an Indie Film
Any indie filmmaker knows what a struggle finishing and releasing a movie is. So imagine that you worked hard, single handedly sent hundreds of emails, knocked on doors for months to secure investors for your film or worked extra hours at your day job to be able to afford to pay your cast and crew a wage, only to have radio silence after the film is wrapped. Imagine that you’re the only one posting online about your film on release day and spreading the word at networking events and festivals.
Most of us filmmakers don’t have to imagine; it’s often a sad reality that many actors and crew members don’t promote the films they helped make.
Read MoreAnimating Realities: Elevating Documentary Storytelling
When my partner Ivan and I started diving into the world of documentaries as viewers we noticed many styles and multiple ways to film, edit, and present a documentary. From the talking heads interview style as seen in 13th (2016) by Ava DuVernay, which explores racial inequality in the American prisons; to personal point of view where the documentarian is the subject such as in Super Size Me (2004) by Morgan Spurlock or Tickled (2016) by David Farrier where he uncovers the strange world of competitive tickling; to investigative documentaries such as Into the Deep (2022) by Emma Sullivan which follows the murder of journalist Kim Wall on a submarine by eccentric inventor Peter Madsen – there are as many styles and techniques to present a documentary as there are stories waiting to be told. But one technique that stands out as a powerful tool to enhance your storytelling is animation.
Read MoreIndie Film Distribution: Why We Use Filmhub
Despite filmmaking being more democratized than ever before with readily available technology enabling almost anyone who wants to make a movie able to do so, film distribution remains somewhat obfuscated. They don’t teach you the business of selling movies in film school.
So many filmmakers are left naïve, confused on what to do with their completed film, and gullible to the sweet words and empty promises (and one-sided boilerplate contracts) of the many sharks out there also known as film distributors.
Here is a sad story we have seen play out time and again. Broke independent filmmaker finishes their first feature after many years of blood, sweat and tears. Broke filmmaker signs a contract with a shady distributor …
Read MoreWhy a 'No' is Better Than No Reply
Did you know that it took Melanie Perkins, the CEO of Canva, 100+ rejections over three years before someone actually said yes to investing in her tech idea? I can guess what would have happened to a then 19-year-old Melanie if she didn’t persist to see that first ‘yes’ response. We wouldn’t be talking about her.
I’m currently handling all the outreach for the Cats of Malta partnership campaign. Part of my duty is sending out personalized and well-researched cold call emails to companies and organisations which I think would align with the themes of the film.
During the first couple of weeks of February I sent just over forty emails using varied templates. Two weeks ago I got my first ‘no’. Last week I got my second ‘no’.
Read MoreStuck in a Creative Holding Pattern
Have you ever experienced the feeling – creatively and professionally – of being ‘on hold?’
You have done all the work. You have submitted, sold, pitched, put your ideas out into the world, launched projects and hit send on those important connection emails, but you’re still waiting for the date when all the hard work is released, seen, acknowledged, or accepted. Until then, all you hear is radio silence and you feel empty. You feel like you should be doing something – even when you have done enough. Even when you are not sure what else to do.
You are floating in limbo, waiting for something to transpire from all your work. Those quiet, inactive periods can cause creatives to feel lost, and they can stretch on for days or weeks. You are like that aircraft primed to land but waiting for permission to do so. You know you should chill out and take a moment, but it is hard, as forward momentum has ceased. Nothing is happening. Something should be happening.