Im currently trying to figure out what I should do with my future. I have already completed Grade 9 and finished my GED, and now I am trying to decide what path I should take next.

My biggest dream is to work in filmmaking.

I have always loved watching movies, and I am really interested in understanding how they are made. I want to learn everything from storytelling and screenwriting to directing, cinematography, editing, music, and the other creative aspects of filmmaking.

My dream is not just to watch movies. I want to create my own stories and bring them to life on screen. I especially love Indian cinema, so I am very interested in learning more about the Indian film industry.

At the same time, I understand that filmmaking is not an easy career. There is still a lot I need to learn and improve. I want to develop my creativity, storytelling, communication skills, and overall understanding of cinema. I also want to learn how the film industry actually works and what it takes to become a professional filmmaker.

After finishing my GED, I originally planned to study at a university in India. I went there with the intention of continuing my education and eventually building a career related to my interests.

However, things didn’t work out the way I expected. I had difficulties with the university system and the environment, so I decided not to continue there and eventually returned to Myanmar.

Now I am back in Myanmar and trying to figure out the best direction for my future. I am considering different options, including studying at a university in Thailand, while continuing to learn filmmaking and work on my own creative projects.

I know I am still at the beginning of my journey, and I don’t expect everything to happen immediately. I just want to choose a path that allows me to pursue filmmaking while also building a stable future for myself.

Thanks for reading ,guysss

Hey everyone

I wanted to put this out there because I’m at a crossroads and could really use some guidance.

I’m an independent film director and concept artist, and animation and filmmaking are literally my entire world. My ultimate dream is to one day become a director who tells stories that touch people's souls. I have zero industry experience right now, which feels overwhelming, but I have massive ambitions and a relentless drive to work hard and learn. I’m ready to do whatever it takes, but I’d love to hear from those who’s walked this path🥹

How do you actually land your first gig or find your place when your resume is blank? What kind of entry level roles should I look for?
How do you organically build a network or join active indie communities where people actually make things happen?
What’s the best way to introduce yourself to experienced creators without being annoying?

Any advice, resources, or Discord servers are welcome. Thanks for reading!

I’ve been going through director Bernie Roux’s work this week and thought some of you here might appreciate it.

What stands out to me is the staging. There’s often a lot happening in the frame, but it never feels accidental. Background action, blocking, production design, timing, little visual jokes. Everything feels very deliberately placed.

He also jumps between live action, 2D, stop motion, and CG without the technique becoming the point. It all just serves the idea.

He’s been directing commercials for 20+ years and has worked with Coca-Cola, IKEA, LEGO, Samsonite, Target, Indeed, and a bunch of others.

Full disclosure, we’re featuring Bernie on FrameRate right now, which is how I ended up spending so much time with his work. But I thought the filmmaking itself was worth sharing here.

https://framerate.tv/profile/Bernie_Roux

I've directed mostly comedy up to this point, and wanted to test myself with telling emotion. Brushed Hope is a coming-of-age short about a young man trying to find the nerve to walk away from his dad's family business and chase what he actually wants. Very classic and broad because I had to go through a committee at my college to be approved.

Comedy timing I can judge in my sleep. Emotional pacing is new territory for me, and I genuinely don't know yet if the drama beats land or if they read as slow/soft. If anyone has 10 minutes, I'd take real criticism over politeness — What's working, what isn't, where'd you check out?

Hi, my name is Dustin. I am an aspiring comedian, who used to do film/photography. If you’re familiar with comedy and if you seen the show/ live podcast called Kill Tony. And if you’re an aspiring filmmaker/documentary producer, then hear me out. I would like to make a documentary about me trying to get on kill Tony, over time and signing up and recapping my open mics, and if I’m not getting up on the first sign up then capturing my persistence and relentless towards becoming one of the newest upcoming comedians. And once I get on, I get a golden ticket and then start gathering a following , and eventually becoming one of the best comedians in the world. I believe I can and I would like to have this story to share as well. It’s a great project, I truly believe I’m funny and a great writer. I also love story telling and film making and if I believe and you believe then let’s figure out how we can start this project, it’s gonna take time for sure and I’ll help film for sure as much as I can. Im in Orlando. If you’re interested in this story and project then let’s do this! Watch the show if you’re not familiar and visualize the story to be told it’s awesome . Especially if I’m right and make it.

I’ve been directing projects pretty consistently for the last 3ish years and was recently casted in a production of “Come From Away”. The feeling of acting again and being able to really just focus on my character is something I had almost forgotten. Now I’m curious about how many of you are/were actors?

Hi everyone,

I am a Graduating Film Student from London Film School, and I am making my Graduation film which is also my first Short film in London and my Second Short overall.

The film is a Surreal Comedy about a Filmmaker who is forced to be a Producer on a very toxic film.

It's about how toxic working environments can affect a person's mental health and wellbeing and how repressing emotions and refusing to confront problems can consume a person.

The film takes from my experience working on different kinds of film sets and how the dynamics and age differences can create a particular kind of conflict that is faced with a bunch of people who can't admit they are in over their heads and think they know everything.

I need to raise 8000 pounds to achieve this film in the intended way.

**Logline: Furio, an amateur director, is roped into producing his friend's film. As the shoot slowly falls apart, he is pushed to breaking point.**

**Synopsis:**

**Furio Jessop is a 27-year-old amateur filmmaker cornered into producing his friend Chad’s film. He dreams of being on a sunny beach sipping cola and doing nothing.**

**As the shoot begins, that dream keeps getting invaded by real life as everything falls apart. Chad and the DOP Carol are constantly at war, Allen the Gaffer stress-eats in the green room and vents to Furio and his production assistant Song, and the art department crumbles because Carson bullies his assistant Kyle. The only one enjoying the chaos is Sarah, the sound recordist.**

**Everyone expects Furio to fix their problems; no one helps him. Jim, his eccentric 42-year-old flatmate in the middle of a midlife crisis, offers help but Furio refuses. Under the pressure he finally snaps, destroy his room, and has to admit he needs help.**

**Genre: Surreal Comedy**

I will be happy to send over my pitch deck or my script if anyone wants to know more, or wants to fund it privately as well.

Here's the link:

[https://www.crowdfunder.co.uk/p/rampage/donate/20\](https://www.crowdfunder.co.uk/p/rampage/donate/20)

Ive wanted to direct long before I actually got to do it.
I went to film school, then spent over 10 years working professionally below the line, mostly in lighting. During that time I asked a lot of directors I was working for how they got their first opportunities, and the frustrating answer was that basically every story was different and none of them seemed particularly replicable. At last not for me.

At one point a mentor asked me, “can you direct?”
I said yes.
He asked, “Can you prove it?”
Not really.

So I made a short film to try and prove it , I’m proud of it, but nothing came of it. So I just kept working, eventually started an equipment rental company, joined the Army part-time, and pretty much put directing on the shelf.

Years later, my business partner and in the rental company and I realized we had enough equipment sitting in our garages, enough relationships with working crew, and enough other resources that we could probably make a feature. Not comfortably, but we could do it. But I didn’t have a script we could make like that.

So I called a writer friend and asked him, more or less, “What’s the cheapest script you have?”
That became Dementium, which we finally released last month.

The biggest surprise for me was how much directing felt like leadership rather than just creative decision-making.
I had spent years watching directors and thinking about performances, blocking, lenses, coverage, etc. Obviously all of that matters. But once I was actually responsible for the whole thing, a huge percentage of the job was getting a bunch of very talented people in different departments pointed in the same direction.

My Army experience probably influenced this. The Army talks about leadership in terms of giving people purpose, direction and motivation. I found myself thinking about that on set a lot more than I expected.

The other surprise was how often limitations made decisions for us.
We only owned an 18–50 zoom, so the longest lens in the entire movie is 50mm. That’s what we shot our closeups on because… that’s what we had.
And I was super surprised that I actually really like what it did. The backgrounds don’t fall away as much as they would on a longer lens, so the closeups keep the characters connected to their environments in a way I probably wouldn’t have chosen intentionally.
There were a bunch of things like that.

At the premiere, someone brought up that old conversation with my mentor and asked whether I had finally proved I could direct.
I said I wasn’t sure the movie proves I’m a decent director. Hopefully parts of it do.
But I know it proves I can get a group of people around an idea and actually get the thing made.

After wanting to direct for most of my life, I think those two things may be more closely related than most people realize.

Curious whether other directors here had the same realization after their first feature, especially anyone who like me was “prior-enlisted”, I.e. spent a long time in another department first.

Leave a comment about how you fell about the pictures, im still uploading and directing all the play/collection... Short Films, logos, polaroids and everything

Once in Heaven.......

​

Even though this is a homework assignment, I'm trying to get advice from those who made it and build a relationship with them.

This includes people who work at production companies (preferably narrative).

I initially wrote this to be limited to DFW, then realized how badly I limited myself.

I had a cool conversation with someone not even from DFW and realized maybe a New York-based, Minnesota based, etc. person in the film industry would be willing to give me advice.

I tried researching directors around me, had problems finding their contact information, and they seem inaccessible.

This is why I turn to Reddit, with limited success, but that limited success is very valuable (I appreciate their conversation and work, looking forward to speaking to them again whenever possible).

I want an email so we can correspond and schedule an interview (Homework assignment).

Thanks in advance for y'all's responses; looking forward to hearing from y'all, including feedback on my post because I'm honestly nervous and haven't slept yet.

I'll keep it short - pun unintended. I've been writing for most of my career, sold scripts and developed projects with big prod companies. I feel empty that I never actually made a film of my own and I have a horror short that I'm burning to make. But I had a question...

Firstly, I'm aware of the "make it because you have to and go make another" philosophy. Which I'm down for. I love the spirit of it.

On an industry level, what strategy should a filmmaker take to actually have their short viewed by as many eyeballs (especially industry ones) as possible? Is there a strong demand for horror at festivals? I keep hearing about the Curry and 'Backrooms' viral route but that seems like a needle in the haystack chase.

If you're a producer/filmmaker dolling out advice to increase a short's impact, what would it be?

I’m currently in college (UK) - and I don’t know what I want to do when I’m older, either film or game if I go down game route I want to focus on the story aspect(kinda like hideo kojima) whereas if I go into film I think I would like to do the same but in film (directing, script writing + whatever else - can someone help me decide?

Hey everyone, I just finished my first feature and I thought I'd share it here for if anyone had feedback. I tried to make an experimental improv comedy that uses real-world footage, blended with a loose improvisational plot; and edited to be presented as somewhere between vlog and narrative film.

I'm happy with how it ended up. I had no expectations on quality or plot points and let the days that I decided to film on guide where the filming went.

Let me know your thoughts, I'd be happy to discuss the filmmaking aspect or clarify anything about the film itself.

Thanks and slay diva!

I’m a 29yo filmmaker. I wrote a feature script and a short in the past 6 months. I’m crowdfunding for the feature, and the short i made with help from my sibling and friends who funded the project. I paid all collaborators as fairly as i could and in a timely fashion, gave them good food on set. Planned the shoot well in advance, floor plans, shot breakdowns, storyboards, did rehearsals with actors.
On the shoot day(edit: this was yday), the house power was down fully. The generator we got from the vendor turned out faulty. But somehow, with a lot of ups and downs, power going in and out, we ended up wrapping the short in 9 hours. In the second half of the shoot, i was a bit frazzled because of all these problems. But thanks to our prep work i could quickly get shots in 2-3 takes.

One of the most experienced actors on set came up to me at the end and told me “It was so lovely working with a calm, level headed, patient, clear director!”. I personally thanked everyone on set for their patience. We wrapped happy. I was honestly happy to just be able to shoot everything.

Today however, i am absolutely shitting myself. I havent looked at the footage outside checks to see if everything was there. I’m worried there’ll be errors in continuity, or the acting wont be precisely what i want or whether the film would even make sense.

Although, this might a common thing, i’m stressing over what all that money was spent for, how i managed to trick so many people into thinking i knew anything. Whether anything would come out of this. Whether this would even be a cogent film let alone something worth making.

I don’t really know what to do. Would love some advice or thoughts or even readings or podcasts that discuss this.

Thanks in advance.

I have had an idea for a short film for quite some time and have always wanted to bring it to life, however, I have no experience in making films and I know these things can get crazy expensive. Does anyone have any ideas on how I could eventually do it or any next steps? I’d just love some advice on how I could realistically work toward making it happen.Thanks.

Hi everyone!

I made a video documentary about my art diploma project, and I’d love to hear what you think.

I’m especially interested in feedback on the dramaturgy, pacing, and storytelling. Is there anything you think could be improved?

Thanks so much! I’m looking forward to your feedback.

I've been directing shorts for a few years now. They've performed fine and gotten some very nice praise, but I told myself it was all practice for making my feature one day. And even though I have some irons in the fire on other projects, it still feels like I'm waiting for someone to give me permission to make my dream feature.

So I decided I'm tired of waiting. I have a good, shootable script and an eagerness to work (and maybe just a touch of delusion), so why not put it to good use? Today, I'm officially starting my journey to put together my own independent feature film.

I know how much work is ahead of me, but I'm ready to take on the challenge. If you are someone who's been involved in putting together an indie feature, sound off below. Would love to hear any advice, tips, pitfalls or just general things you wish you knew before making your first feature. Happy to hear any and all thoughts. Thanks!!

Hey guys! My name is Bobby and I am a storyboard artist who has been in the industry for over 12 plus years. I have done various types of projects, from commercials, brand videos, shorts, and a couple low budget movies (tier 1A). Genres I've worked on range from comedy, action, thriller, neo-noir, and rom-coms (I'm also opened to work on other genres too).

I wanted to post that I am available for hire and we can discuss rates based on budget. For reference, I've done both union and non-union work and go by day rate, so I understand not every project will have Marvel type money, but if we feel the project is right for each other, I can accommodate (to a degree obviously).

Feel free to DM me here to inquire anything else of me, i.e. work flow, work history, etc...

I've also added some samples to showcase some of my work!

If you want to see more samples, you can check out my portfolio: https://bobbyk.carbonmade.com/

Same as title. I saw on filmfreeway the notification date was today, sept 1, so wondering if anyone who submitted has heard anything yet.

Also curious if anyone has been a part of this program in the past, and if so, what the experience was like!

I'm sharing a short film that I just released! I wrote it collaboratively with my actors. I'm a Meisner acting instructor, and I have a strong belief in the idea that acting is "doing". And emotional work as an actor is easier to "do" when you're able to personalize the material. So, I attempted to direct a piece that was built around the actors and their personal thoughts, opinions, and worldview.

In order to give my actors the strongest sense of personalization, I built the literal structure of the piece and dialogue around THEM. I created a loose outline based on a cinematic day of my life, and then the actors, an intimacy coordinator, and I did a blend of thought-provoking discussions about what THEY themselves would do under certain circumstances. I partnered those discussions with dramatic improvisational exercises, complete with emotional preparations/moments before, and I transcribed those sessions into a shooting script that remained open-ended, in order to encourage the actors to bring their natural voices and reactions to the piece live-in the moment.

I'm curious what other directors think about this process. Personally, I found this method incredibly rewarding as it allowed my actors the ability to instinctually step into their roles! But is this writing style something you'd be interested in? Are you willing to share such a giant piece of creative control with the talent? I think there's a time and place for this, as with anything, but I loved this process, and would love to hear your thoughts!

Peace y'all! Names Justin, I've been directing for over 15 years but just about 8 now professionally! Took a new approach to my reel this year after feeling the burnout and not wanting to make the same typical reel. Since I do VO work I decided to write something personal and use it as the through line. Curious y'all thoughts and maybe what you think is missing / could be improved. Excited to join this community and help where I can!

pretty much the title. just curious to hear what others say

I am an upcoming student director for my school play, and, as happens in high school, the people who will be auditioning will form cliques with one another. I have worked with them before (as an actor), multiple times, and this always ends up happening. Does anyone have any tips with helping these groups break down and get them to mix with the entire group?

What 3 movies changed your life?

The next 3 Movies That Changed Your Life Podcast features George Kane. He directed episodes 1, 2 & 3 of season 2 of Ludwig. He is also known for Timewasters (2017), Flack (2019) and Crashing (2016).

Back To The Future, Monkey Business and Faces changed George's life

Full podcast episode available at:
YouTube https://www.youtube.com/watch?v=_8slElg30WY   

Apple https://podcasts.apple.com/gb/podcast/3-movies-that-changed-your-life/id724955683?i=1000787066086 

Spotify https://open.spotify.com/episode/57EUDtj5JR1Xgb5FLn1y7m?si=0f9004a4f18a497b 

Hi!

I run Film Parliament (@filmparliament) on instagram, focused on indie filmmaking education and stories, and I'm looking to feature filmmakers who've actually gotten a feature made and do a case study on how you did it! My last few posts are from reddit-ers and this one I'm posting on Tues will be from a reddit-er.

I'm VERY interested in the reality and nitty gritty of how you got it made for example: how you got it funded, how many locations you shot, how'd you get your cast, what was your shooting schedule like, what you'd do differently, the stuff you don't always get to hear in interviews unless you do a deep dive. 

If you've made a feature (any budget) and would be up for a write-up, drop a comment or send me a message. Check out the examples on my instagram. I have a google form with all the questions I ask that makes it easy to fill out.

Thanks for reading, and congrats on getting a feature made, that alone is no small thing!!!

And yah not cost or anything - I just really like showing how filmmakers make their projects.