When I read How Not to Make a Short Film I felt more and more deceived, not by the book but by my film school. Why didn’t my teachers teach me these things? This is a book every film student, every film director should read before writing, producing or directing a short film. It’s a must-have resource that guides one through perilous filmmaking decisions and shows how to avoid many of the errors in judgment that characterize mediocre films. Written by Roberta Marie Monroe, award-winning filmmaker and former Sundance Film Festival short film programmer, Roberta brings to the table a wealth of knowledge about every stage, from idea to production to distribution.
For filmmakers, film festivals are the main outlets and they have become the judge, jury, and sometimes executioner when it comes to evaluating the value of a short film. By knowing what not to do, you can greatly increase one’s chances of seeing and appreciating your work. In this regard, the book guides you through a minefield of mistakes both aspiring filmmakers and seasoned professionals make, so you don’t have to make them yourself. In addition, the book features interviews with many of today’s talented writers, producers, and directors, as well as provocative stories from Roberta’s short film experiences.
The book is laid out in a pragmatic manner and follows the steps one usually takes in making a short film. The first chapter of the script’s story talks about keeping it fresh and lists many storylines that should be avoided, and storylines that have become mundane through overuse. When programmers say, “I was there, and I saw it,” you lose them as well as your audience. This chapter I found even more fascinating because it allows us to get inside the programmer’s mind and the basic selection criteria, i.e. what is the story and why should I watch it? This chapter also covers script evaluation such as hiring a consultant and the pros and cons of getting feedback from friends.
Another chapter discusses the length of the film and how it should fit into the story. DP Geary McLeod comments, “Every frame has to work, it has to move the story forward.” The Economist “is what short filmmakers need to remind themselves of.” The book goes on to point out that it’s also easier to find a slot for an 8-12 minute movie versus a 28 minute opus. Meredith Kadlec adds, “Don’t fall into the trap of trying to prove as much as you can do, but [show] How well can you do that?”
How Not to… covers a wide range of filmmaking considerations, from selecting a producer, knowing their duties, to budgeting, as well as ways to save money and raise funds. The chapter on Crewing Up is most relevant to first-time filmmakers. He talks about the film crew’s synergy and how to direct their efforts and deal with the ever-changing dynamics. This chapter describes the key situations, the people you need to consult before shooting along with the topics that need to be addressed. The chapter reiterates the need for harmonious collaboration and the fact that you can’t do it all on your own.
All of these considerations may seem daunting at first but if not addressed, your film suffers as a result. After reading this book, I was overwhelmed by the many responsibilities. But then I remembered Roberta’s mantra that you need to have good people around you and this book provides guidance on how to choose your support team.
Acting is another area in which the author suggests seeking help. You go through the process of finding and hiring a director along with your reasons for doing so. One would assume that casting directors would shun short films but many view them as a way to provide work and exposure for their clients, especially those with breakout potential. This chapter also provides tips on testing, rehearsals, and creating a safe space for your reps. Actor Chase Gilbertson on how novice directors sometimes veer off track. “Obviously if I was shooting your movie, the story was good enough in the first place but now instead of just telling a good story, you’re trying to make a Hollywood blockbuster. Yeah, you have a lot of great games but in the end what’s the end result? What happened to the story?”
The chapter on production discusses many of the precautions put into practice along with creative solutions to some of these problems. One of the best was using New York calls to beat a harmless employer. Other problem areas covered include etiquette, attitude, insurance and permits along with meals and craft services. What was especially important was Roberta’s advice to have a good time, prepare and enjoy the magical moment of being a director.
Post-production is the love/hate relationship in filmmaking. All mixed together are the shots you love followed by the worst shots, lighting, performance and blocking of your life. Roberta repeats several times, “It’s normal.” She also suggests reading Walter Murch’s “In the Blink of an Eye” to gain some unusual insights into the editing process. Knowing how editing works is critical to your success on set, she says, so you’ll know which shots matter most to tell your story. The chapter also looks at how technology has made filmmaking less disciplined, i.e. shooting more takes, cutting faster, and ending in more releases with wasted labour.
Roberta sees an MPAA report that says only 2% of all feature films actually secure a theatrical or DVD release. With this in mind, one would imagine that global distribution of the short film could be more difficult. Orly Ravid of New American Vision points out that the distribution process begins before you make your movie. You need to know who the audience is, visualize the film’s appeal upfront and have compelling marketing illustrations or photographs that sell the film. Orly advises also budgeting for marketing and outreach. This chapter discusses the many channels of distribution but states that your mansion may also have value as a TV pilot or when expanded into a feature. The invaluable Orly survey “Is your film ready for distribution?” Covers the most problematic and overlooked areas. Academy qualification information is also covered in this chapter. Roberta makes it easy to find shortlisted distributors by posting an updated list of US and international companies on her website.
The chapter on the Sundance Film Festival provides illuminating background as well as effective presentation strategies. This list of do’s and don’ts by Sundance programming director Adam Montgomery will help you move your movie up the casting ladder. The advertising and marketing section tells you what you need, which is basically a solid website, a nice set of still images and a simple business card to direct people to your site. In addition, posting a trailer will greatly improve your ranking on Google and give viewers a better insight into your business.
The rest of the book is dedicated to sampling the budgets and cliches of the best short filmmakers and a comprehensive resource guide. This directory includes listings of friendly short film festivals, short film distributors, blogs, community outreach organizations, and databases, as well as IPTV companies.
“How Not to Make a Short Film – Secrets from a Sundance Programmer” vividly depicts the enormous task that filmmaking entails. However, it does show how by avoiding the many pitfalls one can save time and money and create a memorable short film in the minds of programmers and audiences. Well written and timely, I highly recommend this book as an addition to every filmmaker’s resource library.
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