By Helmut Kobler
"Anatomy of a Guerrilla movie: The Making of RADIUS," does anything that no different how-to filmmaking e-book does: it teaches filmmaking ideas through taking readers in the course of the means of creating a real-world guerrilla movie after which enables you to watch the ultimate movie - incorporated on an accompanying DVD - so readers can really see the result of all of the judgements, compromises, setbacks, and victories. First-time filmmaker and writer Helmut Kobler believes that how to study is by means of observing other folks do whatever after which studying from their successes and error. That philosophy is the concept that in the back of this booklet. Written in transparent, user-friendly language for the first-time or starting filmmaker, "Anatomy of a Guerrilla movie: The Making of RADIUS," serves as a case-study for brand new filmmakers, letting them see the teachings and ideas offered within the publication come to existence within the real movie. From begin to end, each step and procedure that encompasses making an autonomous movie is roofed, together with preproduction, creation, submit construction, and advertising and marketing and distribution. assorted ways to every step and strategy are coated, not only the technique utilized by the writer. Behind-the-scenes photos and statement by way of the writer at the integrated DVD essentially illustrate the stairs making this ebook the main targeted and hands-on consultant to guerrilla filmmaking.
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Additional info for Anatomy of a Guerrilla Film: The Making of RADIUS
The reason: The original Vesay backed out the day before production started. He had just been called to do an audition for the hit TV show Ally McBeal—a big opportunity for actors just getting their careers off the ground—and the audition was scheduled right smack in the middle of our Death Valley shooting. Sufﬁce it to say that this felt like a huge blow at the moment. Andy Trapani, our producer, broke the news to me just as I was getting ready to drive out of Los Angeles with the rest of RADIUS’ cast and crew.
Writing in a cool, limited role for a marquee actor is great start. Also, perhaps you have access to some unique props or set pieces that are a bit out of the ordinary—you know, a friend who works at an ice rink or funeral home, or someone with a boat, jet ski, and so on. If so, build a story around those elements. A few written scenes were never ﬁlmed. As we got close to shooting the script, we tried to make it as tight as possible, so there were no scenes or smaller moments that weren’t absolutely necessary.
CHAPTER 2 Writing the Script M ost ﬁlms start with the script, except for guerrilla ﬁlms. A guerrilla ﬁ lm really starts with the budget; then the script has to be tailored to whatever money you think you can raise. What kind of story should you choose? ) And should you write the script yourself? If not, where do you ﬁnd a writer? Also, how do you work with that person so that he's motivated and working at his best, while delivering exactly what you’re looking for? I chose to do an action sci-ﬁ ﬁlm because it played to my tastes and strengths.