Filmmaking / Directing

Look here, or facebook groups.

I'm always looking for production assistants...but I'm in the Midwest so it might be too far for you.

thank you Stephen Folker definitely wish I was closer. Do you post them on here? in case I am ever in the area.

Tonnecqua Faleti I usually just ask around.

I'd check your state's Film Commission website. They usually keep a running list of projects in production and likely have connections/resources to put you in touch with the right people.

I noted this in your reply: “Art is exploration. Propaganda is concerned with change.” I agree with your first premise, but not the second. Propaganda is not about change, it’s about control; reinforcing the State’s ideologies and the status quo. As mentioned above, propaganda doesn’t give you time to reflect, it’s incessant. Reflection may engender change. We are not meant to change our minds about anything, we are meant to succumb to their Will to Power.

I am working with a former security driver/protector/chauffeur who was around everyone in Washington D.C., on a video game script. It is based on real places and people. I also worked with a former US Customs agent on a full feature script. Again, true stories with the names changed to protect him, and me. I also have a multipart series with a Phoenix cop turned anti-terrorist advisor turned anti-kidnapping expert turned anti-cartel expert. What I've been told about corruption and payoffs would make you cry. Those in power are often compromised, just like on THE BLACKLIST. That series was just a watered down hint of what really goes on.

I liked this thought from Ursula K Le Guin (my second quote of the day from her!) when she was visiting a school.

“The kids ask me, “When you write a story, do you decide on the message first or do you begin with the story and put the message in it?”

No, I say, I don’t. I don’t do messages. I write stories and poems. That’s all. What the story or the poem means to you — its “message” to you — may be entirely different from what it means to me.”

That for me is the rub. Even if we desire for this film to have an impact, that isn’t in our hands. We can’t manufacture such a thing. I’m a storyteller not a message-giver. Whilst we address a social issue, it is framed within a psychological thriller story.

I liked the question from the kids about putting something into the story, as if the message is an additive. I’ve never had that approach to storytelling; the idea has always come first - a character, a scene or a dream. For sure, my scripts are ABOUT something, but I have no message to give, one that has been added to the story. each will take from Seeing Rachel, what they will.

When I will discuss the film with people, then they may get me saying that I want to wake people up from their complacency and complicity, but that's not the ‘message’ of the film. My aim is to create something that doesn’t allow you to take your eyes off the screen. To get inside your head and deposit images into your imagination. That’s my job done. What you do with them then, is up to you. What we hope for, is that it will inspire you to take action.

The quote is from The Marginalian:

https://www.themarginalian.org/2017/04/25/ursula-k-le-guin-words-are-my-...

Long replies in this thread.

I have a short one. I'll watch it - looks interesting.

Stephen Folker thank you for your brevity, Stephen. I'm looking forward to talking with you soon.

Lovely!

Hi, Billy Kwack. I haven't seen Pumpkinhead in a long time. Cool. Let me know what you think of the Open House webinar.

Hi, Godswill "Izu" Ekwunife. Welcome to the community. I suggest adding more information to your profile bio. It’ll help you build relationships/network on here. You could add things to your bio like why you became an author/cinematographer/etc., your accomplishments, your goals, and what books, movies, and shows you like.

Thanks Maurice Vaughan, I will do just that. Looking forward to meeting you all!

You're welcome, Godswill "Izu" Ekwunife. I also suggest introducing yourself to the community in the Introduce Yourself Lounge (www.stage32.com/lounge/introduce\_yourself).

What really surprised me was how much emotional support actors need, not because they’re weak, but because they’re carrying the emotional weight of the story. My job wasn’t just to say “stand here” or “say it like this.” It was to help them feel where the character was going, so they could sell it without forcing it.

I never thought about that, Chris Thane. That's something new directors should definitely know before going on set for the first time. Thanks for sharing.

Agree@Scott Yes “Time” is the pearl of great price. Aside the emotional bond/connect director needs to give actors psyche V characters psyche & preciseness for visual mood in Indie I learn new strategies for coping with time restraint every set. Really one can never stop.

I keep an open mind on every set despite major prepping beforehand. Same as any character in script can throw a curveball in story so can any crew member. Applies to both Indie & Studio albeit the latter has more safety net but money is not a pre requisite for character. Never under estimate the next social stage, a director needs to navigate everyone on the day, a surly gaffer can ruin a scene just as a problematic actor can. Albeit I majorly do thoughts & feelings to portray script to actor to visual screen I crave the whole show to be a success.

Great advice and insight, Debbie Croysdale! I think keeping an open mind on set despite major prepping beforehand can be helpful. What an actor or crew member suggests might be better for the scene than what was planned, and it might save time, money, and headaches.

Really looking forward to another great session and to meeting everyone!

Thank you Heath! We are so lucky to have you back again for this lab! Everyone is in for a treat!

Hey, all! Only a few spots left, can't wait to meet everyone on Wednesday for the lab! Email edu@stage32.com to grab your spot!

Nothing happens without finance. You should have a properly broken down schedule and budget before you have a target shoot date. Does that exist?

It's a bit the chicken-and-the-egg. Sometimes casting helps you get funds and vice-versa. But as Shadow mentioned, you can't do anything without money. Have a solid budget ready to go, a potential shooting schedule and locations ready to lock but don't sign anything until you can proceed. There are great classes in the Education tab about indie filmmaking.

Hey Max Z S Thank you for bringing up this important question about regional representation. As someone working with filmmakers across various markets, I can definitely provide some insight.

Being based in Minnesota doesn't necessarily limit your representation options. Many successful filmmakers work with agencies outside their home state, particularly as the industry has become increasingly remote-friendly. There are several considerations worth exploring:

Regional Expertise: Some agencies specialize in representing talent in specific regions like the Midwest. They maintain relationships with local production companies while also having broader industry connections. Sure, it's mainly for commercial work but many directors cut their teeth on ads.

Digital Representation: Post-pandemic, many agencies now operate virtually, making geography less of a barrier than ever before. Virtual meetings, electronic submissions, and remote collaboration have become industry standards.

Strategic Considerations: The key question isn't necessarily where your agent is located, but rather: Do they have connections in the markets where your work is likely to find traction? Do they understand your creative vision and local filmmaking ecosystem?

Dual Representation Strategy: Some filmmakers maintain both local representation for regional projects and coastal representation for broader industry access.

Many Stage 32 members have found success with representation outside their home states. The platform's pitch sessions and consultations provide opportunities to connect with managers and agents regardless of location.

Would you mind sharing more about your specific filmmaking focus? Knowing more about your work would help provide more tailored guidance on representation options.

Pat Alexander Thank you so much for your answer. This is all very informative and helpful, and I do not mind at all sharing such information regarding my filmmaker focus.

Absolutely, Joshua Young, well said! Adolescence is such a masterclass in restraint and precision. I can’t wait to hear how Sarah Lucas and the AD team managed to coordinate that kind of invisible choreography on such a large scale. It’s going to be such an inspiring deep dive for any filmmaker or storyteller.

So glad you will be attending Joshua! Ashley love your note on invisible choreography on such a large scale. ... beautifully said!

Also, you're welcome to put any questions here before the webinar for the live q + a section for Sarah!

I'm so new to all of this, I am practicing the two ears, one mouth process...listen, listen, and then listen some more.! However, I will venture to say that, as a consumer, I was totally captivated by the main actors believability. I watched it three times so far. Once before this webinar became available, and twice since.

Can't wait to watch this! I am obsessed with well-executed long takes, and I can't wait to hear what the process was like.