Clipomatic. Ripomatic. Sizzle reel. Pitch trailer. Tone poem. Call it what you want. In Los Angeles, clipomatics are as ubiquitous as Starbucks. But, for some strange reason, Aussie filmmakers haven’t embraced them. I’m not sure why. I think clipomatics are a succinct and evocative creative expression of the film you want to direct. Given that my co-screenwriter, Gabe Dowrick, and I have almost completed the clipomatic for The Control Room, it’s a good moment to share a collection of my favourite clipomatics. Each of these convey the film which was subsequently financed and produced. Or in the case of Joe Carnahan, the films he really wanted to make:
Daredevil (NC-17 version) from Joe Carnahan
Daredevil (PG-13 version) from Joe Carnahan
Looper from Rian Johnson
Ironically, there’s a clipomatic by Joel Carnahan for Gemini Man which has a story that’s almost identical to Looper. It’s called Gemini Man:
It’s been way too long since my last post. So I thought I’d write about a screenwriting habit I’ve recently adopted.
Inspired by guru screenwriter, John August, I’ve been working at a standing desk in my day job over the last couple of months. Just a few cardboard boxes stacked on my regular desk. It’s been fantastic! I feel more tired in the evening because it’s more physical activity than being tethered to a chair. As a result I’m sleeping better.
Inspired by my experience at work, I recently adopted the same set-up at home for my passion – screenwriting. Better still, my partner built a DIY standing desk for $22 using IKEA furniture for me. I’ve been writing before dawn when it’s dark outside and – man, oh man! – standing up helps keep me awake. Try standing up for screenwriting. It’ll keep the blood and the creative juices flowing at the same time.
Now, this is an interesting. We only need 1,000 true fans to finance ourselves as artists:
I am suggesting there is a home for creatives in between poverty and stardom. Somewhere lower than stratospheric bestsellerdom, but higher than the obscurity of the long tail. I don’t know the actual true number, but I think a dedicated artist could cultivate 1,000 True Fans, and by their direct support using new technology, make an honest living.
Actually, it might a few more True Fans to support filmmakers:
Lastly, the actual number may vary depending on the media. Maybe it is 500 True Fans for a painter and 5,000 True Fans for a videomaker. The numbers must surely vary around the world.
Another interesting blog about a filmmaker’s journey – to release festival or online?
One of the key aspects of my work, at this stage, is building an audience, some might call it a tribe. I think it’s essential for the modern day indie filmmaker. The unique way in which I’m doing this is by sharing absolutely everything I am going through as a filmmaker online. Through my film website, Twitter, Facebook, YouTube and Vimeo. Note, building up an audience takes time, often years and it’s a great way of attracting talent to your projects as they can see quite clearly just how serious and professional you are.
… film-going in America is not a growth business, especially now that people have so many media to distract them at home. The share of Americans who attend a cinema at least once a month declined from 30% in 2000 to 10% in 2011…
Interesting article about the strategy that went into the creation of House of Cards. Big brother is… programming.
The company financed “House of Cards” after seeing many subscribers watched Oscar-nominated director David Fincher’s movies and that others are fans of its protagonist, Spacey. It resurrected the canceled series “Arrested Development” after similar analysis.
An inspirational video that Chris Jones drew my attention to:
Youtube is filled with videos that routinely get millions of views, videos that are remarkable back flipping cats, remarkable idiots jumping off walls and breaking a leg or remarkable weddings with families dancing down the aisle. In of themselves, certainly not great art, but they are ‘remarkable’.
And to be clear, remarkable does not mean amazing or wonderful, it means, does it warrant ‘remark’.
AFTERGLOW, our teaser for the Blackmagic Cinema Camera. Shot with a guerrilla crew in a few hours. Colour corrected in Resolve. Cinematography by the incredible John ‘JB’ Brawley. Featuring the stunning Casey Burgess and multi-talented kingpin, Jim Medcraft. Directed by me. The shoot was a fantastic opportunity to test the camera for an indie project JB and I are collaborating on. We had a blast! Read about the shoot at JB’s blog.