What kind of film story can you tell with the limitations of six lines of random dialogue and a three-minute time limit.
What kind of film story can you tell with the limitations of six lines of random dialogue and a three-minute time limit. This film was recently shared with me, from a contest a couple of years ago. (Ridley Scott chose this winner.)
The contest, which received over 600 entries from around the world, invited aspiring filmmakers to create an original short film using the same six-line dialogue as the Cannes Lions award-winning Parallel Lines short films directed by RSA talents Carl Erik Rinsch, Greg Fay, Johnny Hardstaff, Jake Scott and Hi-Sim.
Commenting on his choice of winner, Sir Ridley Scott said: “I chose Porcelain Unicorn to be the winning film as it had a very strong narrative; a very complete story that was well told and executed.”
“…it’s easier than ever to make something. But it’s as difficult as it ever was to make someone feel something.”
Scott McClellan writes a good article in EchoHub this week. If you are creative person, it’s easy to get caught up in the creative act or even the technology that makes it easier/cheaper to create (a real tendency in the filmmaking world) but forget about the long discipline of learning to tell good stories.
So, it’s easier than ever to make something.
But it’s as difficult as it ever was to make someone feel something.
Our job as communicators is found in the difference between those two pursuits.
In other words, if I really want to be a filmmaker, I need to invest in more than just a camera. It’s easier than ever to make a video and publish it on the Internet, but it’s as difficult as ever to make a video that makes a difference.
The Hollywood Reporter recently highlighted the challenges of indie filmmaking on both sides of the Pond these days.
A Hollywood Reporter article recently highlighted the challenges of indie filmmaking on both sides of the Pond these days. In the US, the studios continue to look for ‘safe’ material. In the UK, even government financing doesn’t solve all of the problems for filmmakers wanting to create more challenging films.
From a panel on the state of independent film at Sundance London, it sounds like depressing days for filmmakers trying to get ambitious work made and distributed in the US, and the UK. However, if you can avoid the siren’s song of theatrical release, you may be able to find a home for your creative vision.
While several panelists highlighted that the Oscars of late have seen many indies with leading numbers of nominations, [James Marsh (Man on Wire)] said the studio system in the U.S. has in many cases stopped consciously pursuing indie-type projects. “Narrative risky work has moved to TV,” and great filmmakers are finding freedom on television, he said. “A lot of good writing is done in American TV, too. The studios have given up on this.”
He said while “there are great films being made even in that system,” great scripts often don’t end up making it to the screen – or only in weakened form. “The system is just there doing what it’s doing. Great scripts…they will either ruin them or never do them.”
We’re pleased to begin our film festival run with Street Language screening at the upcoming Green Bay Film Festival, March 23-25. More news coming. If you’re in the area, check out this great festival. [Better attitudes, and you won’t get smashed by paparazzi like that other fest in Utah!]