Hi, I have a vod and theatrical version of the same written script. I'd love to work with you, if interested in checking it out just hmu and lets go further. Thanks
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About 8 months ago I viewed this video clip that was shared here on Stage 32 (https://www.stage32.com/blog/Coffee-and-Content-5-Huge-Filmmaking-Mistak...) and made a comment that I didn't agree wholly with what Creative North said were the huge mistakes to avoid in filmmaking. RB invited me to start...Expand post
About 8 months ago I viewed this video clip that was shared here on Stage 32 (https://www.stage32.com/blog/Coffee-and-Content-5-Huge-Filmmaking-Mistak...) and made a comment that I didn't agree wholly with what Creative North said were the huge mistakes to avoid in filmmaking. RB invited me to start a constructive convo here about it and so - here we are! Better late than never! sheesh - sorry totally didn't see this opportunity... (I'd say that could be one of the huge mistakes to avoid!) I have a little more experience now - so I feel I can start this convo...
The points that Creative North make are these - with my comments:
1. There is no such thing as a "Happy Writer" - which they describe as a someone who "waits for someone to come and save them." They're advice is to get out and make your own stuff.
- I agree with this. I think that waiting for your "patron" whether that's a studio, producer, etc. is not exactly the best way to get things done. Or to wait. If you are waiting, I hope at least you have sent out a query to a few good prospects... However, we can not ignore those times when that worked perfectly well for someone. IMO - the best approach is to try to be brutally honest with yourself. To know when the waiting is about: procrastination, or, fear, or, a false sense that something really will happen, and then it doesn't. That wall you've just hit can stop you in your tracks if you become too myopic in how you approach getting your stuff out there. It is crucial to reevaluate your thinking process. IMO - making sure you are always moving forward is key.
2. Find a good, entertaining story. No one wants to watch a bad story.
- I know what they are trying to say here and I believe we all know this. To me, all our stories have value - in some way to someone. I think here - if you want "success" in that big way, then you're stories have to adhere to, but not be defined by, the way stories are expected and accepted by the masses. That said, you have to define for yourself what "masses" you think you're speaking to. Some say that my stories are more "European" in flavor - does that mean that I will not find success in the N. American market - no. But I am aware of what that success might look like. IMO - awareness of your talents, voice, appeal and who is your audience, is the answer to "make an entertaining story."
3. Do your research. And do a lot of it before you go out and film.
- I find that sometimes "knowing" too much about your story will kill creativity. And you are left with a tight adherence to fact and not to story. Story, IMO, is when a Creative can take something that is common, something that is real and make it part of a greater language of identity, commonality and home. If you are telling a historical, period story - then yes do your research. Seeing beyond it into the humanity - our commonality - home, will make it your own.
4. Great film craft. Bad film, sound, editing is not good for anyone's career or for the story.
- I agree to a degree. We have come from making films that were black and white to color, silent to sound, film that could be overdeveloped to pristine color. From the timing being off to digital precision. And then we can actually be able to go back again. Sometimes the mistakes in filming can add to the overall feel/quality of the story - IMO. I don't think that we have to be terribly obsessed with perfection - in fact, I think that sometimes, as new filmmakers with digital equipment at our finger tips, need to learn that the story is key and the technology is second to that. I know a lot of techies will disagree vehemently and that's fine. We used to call it "happy accidents" when a color bled into another on a poster or when something was out of focus when you'd think it should not be (ok - this actually happened to me :), but honestly, I think the shot added to the story. Honest. ;) )
5. Don't do things the same way everyone else does to get your film out - it's too competitive.
- I agree with this somewhat. My take is that every project is different (which they say they approach their films differently each time) and I think that's the point. Each project has different needs. So to approach financing, marketing and producing in the same way as another - might not work. But I think, there is something to be said about finding a route that feels right to you. They say: "don't do what everyone else does" which IMO, is not exactly the way to phrase this - maybe it's about - sometimes we want to get advice, get hand-held, be shown how to get our films done because it can be so overwhelming and asking someone how they did it might not be the way you should do it. But I find that sometimes, when you start out doing it "the same way as everyone else" that avenues open that were not apparent early on. The best advice really to me is - try everything! And begin with the route that speaks to you for whatever reason - your situation, the kind of film it is, the people you are in contact with, what you're comfortable with. Small steps will build your confidence.
The best thing, I think, will help you get your work out there, off the ground and into the can - is to be patient. With yourself. With the work. With the story. Don't rush it if it isn't ready to happen. Then all the advice you got will make sense for you and your instincts will kick in. Patience is the best way to stay creative. And getting a film off the ground takes a lot of it.
What say you, fellow filmmakers!? What is it that helps you get stuff going and done?
Good luck. Have fun.
Third Eye of Love
K V Mohan Kumar, IAS
Translated into English by
Is Buddhism a cold religion, which is insensitive to the finer aspects of life and the myriad shades of sensual pleasures? “Pranayanthinde Moonam Kannu (The Third Eye of Love), the novel in Malayalam written...Expand post
Third Eye of Love
K V Mohan Kumar, IAS
Translated into English by
Is Buddhism a cold religion, which is insensitive to the finer aspects of life and the myriad shades of sensual pleasures? “Pranayanthinde Moonam Kannu (The Third Eye of Love), the novel in Malayalam written by K.V.Mohan Kumar, IAS, begs to disagree.
The novel, a lyrical exploration of the journey of protagonist Rahulan in search of Buddhahood asserts that the sensual beauty and pleasures of the world are not something that needs to be renounced for the soul to attain nirvana and that salvation is possible even while people are engaged in their day to day activities with undivided attention and focus. To drive home this point, the book discusses in detail the spiritual side of ‘love’, at the divine moment of the physical union of a male and female body which ultimately leads the soul to ‘nirvana’.
‘Vajrayana’ sect emerged within Buddhism as a protest against the highbrow variety during the third or fourth century AD. Stressing on what Lord Buddha told to his disciples towards the end of his life, Vajrayana or Tantric Buddhism exhorts us to drink the nectar of unqualified love to reach Buddhahood even while keeping a detached position, says the novel.
Dropping off his education, in search of 'nirvana', the ultimate truth, Rahulan starts his journey away from his dear and near. He needs to find a Guru, who could guide him to the path of 'nirvana'. Back home, in Mucheeri, the preparation for his return, as a 'graduate' is in full swing at the initiative of the richest trader in the village to whom his late father was employed till his death. Upon the death of Rahulan’s father, the trader had taken over the responsibility of looking after Rahulan and his mother.
Jabala, the daughter of the trader is pursuing her love for Rahulan and their wedding is on the cards, awaiting the triumphant return of the boy after his studies. He is expected to lead the member traders and the grand merchandize ship on its scheduled journey to foreign countries and Jabala is, preparing to join him on his right side. However, the wait is of no positive consequences. Rahulan had different plans. He is now wanderlust, in search of the path to 'Buddhahood', seeking a Guru’s direction on his path to nirvana and looking for someone who will lead him there.
In his protracted search for a guru, Rahulan encounters countless difficulties, temptations and confusions. But the most important one was to release himself from the bondage of the barren knowledge piled up in his mind during the study at the Vishwavidyalaya(University), the Vedas, aranyakas, samhitas, Upanishads, puranas….and so on.
His journey ends at a 'black-smith' girl, who takes him through a spiritual journey of 'ultimate love and desire' interpreting this as the union of souls and bodies in the supreme coherence of power, through which one approaches the divinity and 'nirvana'. In completion of her prescribed task of guiding him through this phase, she returns to her folds, saying all that is to be learned in the 'path of 'tantra' has now been imparted to him and he has to fend for himself from now on. Rahulan continues his travel across the world for the final salvation and oneness with the universe. In this phase of his life, he continues to meet people who were close to his heart in his pre-yogic days, including his mother ( who dies in his hand, savoring the last drops of water poured by him) and finally his soul mate, Jabala herself, Captaining the ship on his absence.
The book is presented in two parts presenting the two parallel tracks Rahulan is trying to pursue with a possible and predictable convergence. The first part vividly presents his earlier life in Mucheeri, with his ever waiting 'soul mate' Jabala, his mother and the port and trading community in general. We are also told about Rahulan’s quest for 'nirvana' and the resulting spiritual 'endeavor' in general. His inner turmoil, the constant doubt on himself and the path he has chosen, and the uncertainty regarding the 'Guru' and 'karma' ( in the real sense of work) oriented learning of the 'truth' instead of 'dhyana' oriented approach, are discussed in detail through a metaphor of the mystical 'sensory love', the oneness of body and soul, the spiritual emancipation of the desires, living the physical and sensual life to the extreme under the guise of mystical reunion of ‘the plough and the land’.
The second part discusses his monk-hood, meeting with the rich wife of the trader who now owns the ship Rahul is to travel, who was his ‘karma-sathi’ in one of his previous births, (and regretfully turned down in this birth by Rahul for pursuing his path to nirvana) and now with whose help his grand journey by sea is made possible, to spread the new message of Buddha in foreign countries
The novel opens the windows on the luscious world that needs to be experienced through all the five senses; the delirious visions, the intoxicating scent of woman, the warmth of touch, the music of waves and the taste of the delicious nectar.
The synopsis ot 3rd Eye of Love is here. Anyone who is interested to produce this film the subject is available. We as service providers in India can assist the Producer and Director for further research and help them with all logistics. Any other information needed please do not hesitate to contact us
I've always wondered what the relationship between a director and a casting director is? Does the director hire the casting director or does the casting director work more with the producer and script writer? I love love love casting directors, the choices they make in the audition room is next leve...Expand post
I've always wondered what the relationship between a director and a casting director is? Does the director hire the casting director or does the casting director work more with the producer and script writer? I love love love casting directors, the choices they make in the audition room is next level but I've always wondered who their buddies or overseers are in the casting room?
So we just completed our indie film, Crime Squad The Movie a salute to Leslie Nielsen here in TN. It now goes to post for Film Festivals late this Fall into next year. This is my 3rd indie project and each one is a learning experience. You get good and negative feedback each time you do one of these...Expand post
So we just completed our indie film, Crime Squad The Movie a salute to Leslie Nielsen here in TN. It now goes to post for Film Festivals late this Fall into next year. This is my 3rd indie project and each one is a learning experience. You get good and negative feedback each time you do one of these things. The bottom line which I do not agree with is the more money you have in these projects, the better your film is going to be. My defense? How many big budget major films have been done and they have flopped at the box office? While we did pay our DP and MU girl, most of our talent were up and comings and worked for film credit and meals as well as our extra casting. We had one no-show on set and our DP reminded us "Well if you had the budget to pay these people, this would not have happened" He was used to working on productions with thousands of dollars. He was good at his craft but he also knew coming in what we were doing. Regardless, we worked around the situation and got our shot and scene done with someone else. I have been on set as an actor many times with paid no-shows so the argument to me went on deaf ears. As a director and producer, here is how I get around doing films when you wished you wish you could do a big budget film but in reality you have less than half of that dream to work with. You market, you promote, you network, and you find people who will help you with supplying the things you need that you can not buy. We did just that. We got it done. I spend a year in advance marketing and paying for what had to be paid for that you can not go with out such as music rights, insurance, and our studio set. Also paying the main crew. Everything else done on trade-out, product placement, and those "thank yous" on the screen including all food and most props. When you do indies and do not have the backing of the big Studios, life can be tough and you need to have creative out of the box thinking of getting things done you can not realistically pay for. Don''t let your dream project die because not everything is dollars and cents. Barter, market yourself and your project and when people do not have cash, ask for tangible things instead. We even got our lodging traded out for our Crew that was out of town. I am happy and also our DP when it was all done calmed down and came down to earth a bit with his ego.
So I had a pitch with an exec a couple of months ago. Even though they really liked the idea, and thought it could be successful, they turned it down because they thought it wouldn’t be as successful if it didn’t have an overseas version first. HOWEVER! I’m extremely confident that it would be an en...Expand post
So I had a pitch with an exec a couple of months ago. Even though they really liked the idea, and thought it could be successful, they turned it down because they thought it wouldn’t be as successful if it didn’t have an overseas version first. HOWEVER! I’m extremely confident that it would be an enormous success. The problem is that I have no connects to put this into action at a local level. Any ideas on how I can get sponsors to help with the production at a local level?