NB Film Co-op

When did you start working with Tarkovski?

I got the chance to work with him in the mid-1980s which was a tremendous opportunity. I had seen his films earlier and was very impressed. Later when I was able to work with him myself I thought it would be interesting to take the process a step further. I had a sense of where he wanted to go but I thought his films we not properly executed perhaps because of the lack of resources in Russia.

What was your method of working with Tarkovski?

Andrei requested this long list of sound effects, page after page. There were over 250 different examples of sound effects he wanted to work with. I realized this was not going to be possible. There was no space left. The film was going to be crammed with a load of diverging sounds to begin with I cut out half. Then I started working on them. They were often spot effects.

In the dream, for example, he wanted to make the ice fall down from the roof. Then there was water dripping and various other ideas.

My contributions were the winds the atmospheres and the environmental sounds.

The effect with the airplane was also Andrei's idea and to make the glasses clink before the plane arrived.

Generally I set out with a rather naive attitude because I never really know when my work is actually started. It is not that I think it is difficult - I know what has to be done - but somehow I have to start and then realize: "This will turn into something. We can build upon this" But I could never begin by saying "This is really good - this is the way to do it". I have to put things into motion and the start working.

Could you describe the main components of the soundtrack starting with the woman's voice we hear in the background?

This idea about the woman's voice that permeates the film occurred to us early before the sound editing began. Tarkovski wanted to listen to some old recordings of cow calls. These herding calls were used to keep in contact with cows when they went grazing into mountain pastures in Northern Sweden and afterwards when they were gathered.

We thought of looking for these calls in the Swedish Radio Archives but did not fins many that were recorded realistically. There were those that had been arranged musically but Andrei rejected those - he wanted it to be real and then we came across a rather old recording that had been made via a telephone cable from Rättvik in the country side to Swedish Radio in Stockholm. It was mastered on wax cylinders. He listened to it - it was of very poor quality There was crackling and static. But he still thought it was marvelous. In the sound track, it was mixed into the outdoor environment with a certain amount of reverberation so the quality did not matter.

The important thing was that there was this woman and she comes into the film quite early and then she enters the dream and that represents a connection with human emotions which of course a contrast to the threat of war. Both Otto - the actor Allan Edwall - and Alexander are in contact with her Otto seems to receive her call when he suddenly collapses on the floor while walking through the house telling strange tales. One never really discovers what is going on. Somebody asked me long ago if this was a contact with God but I did not want to answer because I do not know - I do not think so.

Sadly our collaboration was slightly hindered by his illness which is why we never had many contacts during the filming. Andrei's principle was - and he told me from the start that during filming, his focus is always on the picture, while the sound comes later. I agreed with this completely but the producer asked that I still record usable sound on location, but when we arrived on the Swedish island Gotland, the set was built in a bird sanctuary - in the month of May, when all of Swedish fauna is breeding right there and the noise is overwhelming - it defies description. You could not use the sound from there.

During shooting, Tarkovski told me in passing: "You know, Owe, in the end we must hear no birds" And I thought to myself: "OK, fair enough". I knew I was wasting my time but I still wanted good location sound for post-synchronization purposes.

You seem to have paid unusual attention to even the smallest sounds - floorboards creaking footsteps..?

I watched the last film Tarkovski made just before The Sacrifice. It was called Nostalgia and shot in Italy. It, too is a very special film, but what irritated me, as is the case with other films is the way they treat natural sound - everyday sounds like footsteps and environmental sounds- It is very poorly done. Someone walking always sounds like "clic, clic, clic, clic" . On a staircase, it is the same, only faster. When we started work on The Sacrifice, we took an entirely different approach - not two footsteps would sound alike and they should have a life of their own.

Because the environment in The Sacrifice was recorded in this house situated in an exposed area on a seaside heath there are naturally many elements that make the house live. Those wooden house where many things happen, has floorboards. Floorboards which sound different depending on where on stands in the room. I decided to produce these sounds at my own country cottage. It is an old, turn-of-the-century house that has resounding walls and floors so all the footsteps were produced by med that is, I physically walked in different pairs of shoes even ladies' shoes, size 45. I did the foley in the film myself.

Post-sync dialogue is often very flat, lacking in personality - but in this film the voices have a remarkable dentistry ..?

The voices must be given their own character so that you can experience them in their own personal environment. When you move in a room, especially when you move three-dimensionally that is, into the picture you experience a different reverberation. The voice must develop, it must change. If you are speaking up or down sideways or back the character of the voice changes constantly. Even if the location recording is 100% and sounds even. you would still have to work with spatial dimensions and reverberation in the mix. So if people are at different points in the space every voice must have its own distinct character its own reverberation. That is really to create the sense of credibility and the right emotion. There are many ways to achieving that.

Actually it is more difficult to achieve the same variety outdoors because there is not as much reverberation in the voice. But still, one experiences it as if there was a distance. Sometimes it is a bit like magic - in am not always sure how to do it but you have to do something and it does not really take too much extra time to create a good dialogue mix. I would rather spend more time on the dialogues than on other sounds because you gain so much from it. Some things you can do routinely and it can be a fast process but dialogue is no routine job - it is difficult.

The experience of a dream is central to The Sacrifice - how does the soundtrack articulate this feeling?

In the case of the dreams, it was all very evident. The main component is, naturally, the overhead flights in order to conjure up threats of war, we had to crate a sense of great anxiety as if a war was actually going on It is a composition of many Swedish jet fighters with added bits of rumble and a few other things.

Another sound component is the Japanese flute. It is a kind of a long tube. we transferred it from a vinyl recording. Strangely enough, Tarkovski wanted us to do a mix of the woman's voice in combination with the Japanese flute and remarkably , it worked.

Music was made out of two seemingly unrelated components and there is another ingredient . There were ships' horns in the distance that sometimes reach the pitch of the Japanese flute. There is a number of different ships' sirens as well as lighthouses that sound foghorns. So in the end, the dream is heard as a combination of woman's voice, the Japanese flute and various ship sounds.

The filming took place in the summer and autumn of 1985 and I was aware that Andrei wanted us to dub to revoice all the voices, even those recorded in the studio because he could not concentrate on the dialogue on location. He was only thinking in the terms of visual composition. That was "OK", but later I realized how much dialogue there would be in the post-synching and I knew that the actor Erland Josephson, for instance found it very difficult to re-record his lines He hates it. Allan Edwall, who had a large part and said earlier when they were recording the individual lines that post-synching is like having to eat one's own womit so he hated it too.

I wanted to make life easier for these actors so that the rec-recording of their voices would remind them of the original filming. I thought this would work out better on a sound stage where there is always a good atmosphere It is quite the opposite in the dubbing theatre where everyone just wants to get away and you can not concentrate. I suggested to the producer that we should do something different: Actually post-sync on the sound stage. We were lucky, there were not many bookings in the Stockholm studios at the time. Instead of having to work in a mixing or a dubbing studio we did it on a film sound stage. We set up a microphone, some lamps and some TV monitors. I had a video playback deck with the film. We started rehearsing the lines Josephson being the first. I got him to repeat his lines over and over, even before we recorded. A couple of hours later he became quite relaxed.

There is a prayer in the film a rather long monologue and he said "I would rather not redo it because I can never improve on it". We persuaded him to try and the final version was even better than the original.

Compared to Tarkoivski's other films the soundtrack of The Sacrifice is very spare ..?

We all work in such different ways. If you look at Russian cinema at the time The Sacrifice was made is was so incredibly stripped down. There was this weighty story, music and then, heavy effects. They did not use small effects to create an atmosphere I understand what you are saying. You find this approach in other countries as well, like in Italy.

Russia and Italy, for me at that time were exactly the same. They post-synched all the voices and did not really bother too much about the sound - It all sounded rather the same. There were extremely few sound effects and then there was music. In the The Sacrifice there is no music only the S:t Matthew Passion at the beginning and the end. There is this woman's voice and the Japanese flute. Which is why all the other sounds functioned as music instead. So it all grow into something quite natural.

If we had not arranged the sound like that we would have lost the strong emotions of the story. It would have been much colder and less meaningful.

It also normal that composers and musicians want me to mix their music. They do not want me to get something ready-made, that could be session as a pre-mix. That is only right since the sound consist of so many parts - each component is directly influenced by something else in the film. It is like different musical instruments: different sound effects and different atmospheres. It is precisely their interplay that you want to project.

Can one actually work with all that at the same time? You can not always keep everything together you may have to work separately on the music but from my experience I know what is effective - what one should be wary of what has to be emphasized. Primarily, how to achieve the dynamics, this change, the feeling that something is happening. I see film as a homogenous product and none of the components can live on their own. They are all interdependent. Film in its highest sense, is a total experience of sound and vision.

I have tried to take away the picture completely and listen to the sound through headphones It is very interesting
It is not something you would expect
It is not at all pointless
It is contrary
It is fascinating

Is there a recognizable "Owe Svensson" style?

Yes it does actually exist even if I find it a bit difficult to describe it myself. There is this guy in Sweden who does the optical sound transfers he has told me many times that you can tell even if one does not know when a mix is done by Owe Svensson. Personal, I think the secret lies in this dynamic curve - the sound is never the same. It is always changing and when it comes to transitions they are often soft and suggestive. I strive for an emotional experience. It is really about feeling but I can say that my way of working with sound does not differ from the way other people work.

I have noticed one thing, which can be quite irritating. Mixers tend to work with quite general levels where you have dialogue at one level, music at one level and effects an often very loud level but he sounds are always separate at different levels. I think that in mixing, sound must always progress. Levers should never be pre-determined. A voice, if you are talking one way - you should hear it in one particular way. If you are louder, then you hear it louder and so on. In my way of working, the sound must always live. Sound should keep changing. It should feel obvious and interesting without being aware of it.

When you watch a film, you are not supposed to notice the sound?

The sound should just be felt. It is not about pausing for a second to contemplate the sound. The film is an emotional experience where the sound comes at you. The valuable part of working with sound is the very process, the development. As I said earlier, I work very naively - when I am presented with a film first I strip away everything and then start from the beginning identifying the elements that will work effectively. If you are to create something with sound I increasingly believe that it has to be achieved through experience that is, normal social experience. The things that affect you in everyday life.

I come across many examples of sound that I find increasingly worthless because they do not give you anything. I appreciate a good sound editor by his awareness of reality. Not all of them are aware.

Sound varies from situation to situation. One has to think of how to achieve the right atmosphere. For example, when it comes to different seasons: - if it is afternoon or forenoon, - if it is evening or morning.

What is it that makes you recognize the differences between these specific times?

This is what I mean by having an awareness of reality. It is not something you can learn, you are born with it. Of course one can always gain more experience but feeling is a question of talent.

Interview with Owe Svensson, Swedish Sound Mixer -

Recommended reading:
And Then There Was Sound: The films of Andrei Tarkovsky
by Andrea Truppin
Recommended link:
The Andrei Tarkovsky home page
- a site dedicated to the great russian director

Festivals

"COME TO THE 2007 NB SILVER WAVE FILM FESTIVAL-  NEW SPONSOR OFFERS NEW SCREENING VENUE!

The Silver Wave Film Festival is very excited about a new major festival sponsor which has come on board recently. 

Centre communautaire Sainte-Anne is very excited to be involved with the Festival and looks forwarding to assisting it in becoming fully bilingual by 2008. Along with the Centre's very generous offer to translate the Festival's website, part of it's programme and other promotional materials, the Centre will be swinging open it's theatre doors to the Film Co-op's Silver Wave.

The Fredericton Playhouse will no longer be a screening venue at Silver Wave as the Centre will now be housing the Film Co-op's festival centerpiece instead - Shorts I & II as well as the big Latino Fiesta afterwards which will be just downstairs from the theatre! 

There will be some workshops and other screenings events at the Centre, most notably, a strong French Screening Program for people of all ages put together with the assistance of the Centre's staff.

This one stop shopping set-up is extremely helpful as people will be able to attend a reception before Shorts I & II and then the screenings followed by a party, all in the same building! 

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Venez assister au festival de film Silver Wave 2007 - Nous avons un nouveau commanditaire qui offrira un nouveau site pour la projection des films

Le festival de film Silver Wave est très heureux d'accueillir un nouveau commanditaire majeur.

Le Centre communautaire Sainte-Anne est fier de s'impliquer auprès du festival et de travailler à en faire un événement complètement bilingue d'ici 2008-2009. Le Centre communautaire Sainte-Anne sera responsable de la traduction du site web du festival, du programme officiel et des divers outils promotionnels.

Le Playhouse de Fredericton ne présentera plus de film durant le Festival Silver Wave. Le Centre communautaire Sainte-Anne sera maintenant l'hôte d'une composante majeure du festival soit les courts métrages I et II ainsi que la soirée culturelle Latino.

Divers ateliers ainsi que de nombreuses projections de films seront aussi présentés au Centre communautaire Sainte-Anne particulièrement une programmation francophone qui sera plaire aux gens de tout les âges.

Ce site permet d'avoir tout sous un même toit. Les participants pourront assister à une réception avant la projection des courts métrages I et II et par la suite faire la fête lors d'une soirée culturelle.

DEADLINE FOR FILM SUBMISSIONS IS AUG 3RD.

Contact Cat at info@nbfilmcoop.com

Register Online to be a Festival Volunteer Today by Clicking Here!

2007 SILVER WAVE FILM FESTIVAL, November 8-11, Fredericton, New Brunswick www.swfilmfest.com


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Call for Submissions

Deadline: Postmarked by July 3, 2OO7

In partnership with Reel Youth, the Silver Wave Film Festival is screening a youth program at the 2007 Festival! The program is about empowerment. It is about young people reclaiming the media to express their creativity, originality and vision.

The screening will showcase the richness and diversity of a new generation of films while discovering and promoting young local filmmakers. This program of youth films is touring Canada and the USA and will screen 25% locally made films at the Silver Wave Film Festival Screening!

The submissions are youth juried based on entertainment value, technical merit and the message they portray. To submit your film: mail a mini DV tape or high quality digital data file on DVD or CD, along with your application form and $20 submission fee to:
Reel Youth
c/o Sage Centre
680 – 220 Cambie ST
Vancouver, BC V6B 2M9

Visit www.reelyouth.ca for application forms, tour locations,
prize categories and more information. Submissions fee scholarships are available. Do not hesitate to ask!

Need a scholarship or have a question?
Write us at submissions@reelyouth.ca

NOTE: Filmmakers must be 19 years old or younger as of June 15, 2OO7. Films must be under 10 minutes in length (including titles & credits) with permission for all music and footage not created by the filmmaker.

Arts in NB

NB ACTS last call for Twelfth Night & Season Subscription tickets
Hi NotaBle Acts Supporters:

This is just a friendly reminder to let you know the Bard in the Barracks production of William Shakespeare's TWELFTH NIGHT has only three performances remaining - June 28th to 30th - so if you have not seen it yet check out this fun and entertaining production. Tickets are only $12.50 for adults, $8 for students, children under 12 get in free. Presented at 7pm at the Historical Garrison District in Downtown Fredericton.

As well, you only have until JUNE 30th to buy a season subscription to the NotaBle Acts 3 Mainstage productions plus Twelfth Night. At 18% savings off the regular ticket price a subscription will also guarantee your seats to every play. One of this year's Mainstage plays includes the World English Language Premiere of New Brunswick's Lt. Governor's, Hermenegilde Chaissons play, LIFEDREAM, starring Fredericton's own Caleb Marshall, Wally MacKinnon, Rea Nolan and Moncton's Melanie LeBlanc.

To order tickets or get more information please visit www.nbacts.com or call our NB ACTS telephone hotline 506-458-7406.

See you at the show!
Len Falkenstein and Colleen Wagner
Co-Artistic Directors
NotaBle Acts Theatre Company
717 Aberdeen Street,
Fredericton, NB
E3B 1S7
http://www.nbacts.com

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FREDERICTON - Free screening of “Seabiscuit”


Sunday, July 1
9pm, Barrack’s Square.

- Race themed night under the stars
- Hay bale seating
- Live race horse on site with driver to get pictures taken with, chat with driver about horse racing and pet/feed the horse.

- Free authentic race horseshoes for kids
- Introduction by the mayor
- Free popcorn

Come early to get a good seat and meet the horse

The movie is being sponsored by the Fredericton Raceway and the Walter Dale Memorial being held on July 2nd in honour of the 70th anniversary of the historic race where a horse named Walter Dale set a national record at the Fredericton Raceway.

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FREDERICTON - MIDDLE SCHOOL FILMMAKING SUMMER CAMP!
On July 2-6, the New Brunswick Filmmakers' Co-operative is hosting a Filmmaking Summer Camp for middle school students, coordinated by Co-op member Filmmakers Jonathan Collicott and Jeremy Robinson. Cost is $150 per student with some subsidies available to students who require financial assistance.

Camp runs from 10am - 4pm daily and kids should bring a lunch each day although there will be light snacks and liquids on hand.

Program Outline
script writing
production management
directing
shooting and recording sound
picture, sound editing and music placement
distribution of your finished project 

Only 25 spaces available and registration is open now! Don't miss out on this incredible experience! Please contact Cat Leblanc at: info@nbfilmcoop.com or (506) 455-1632 to register.

INSTRUCTORS PROFILES

Jonathan Collicott has been working in the NB Film & Television industry since 1997 and has worked with such organizations as History Television, The National Film Board of Canada, CBC Nature of Things, Bravo! and SCN. He also does freelance work for various independent production companies such as Egg Films, Hudson Design, Atlantic Media Works and Outreach Productions.

Jon produces documentary and dramatic films, with a strong focus on Writing, Directing and Shooting. He has also been a member of the NB Filmmakers' Cooperative since 1995 and has taught workshops on cinematography and editing.

Jonathan is also very busy on the independent filmmaking scene with his production company Dark Blue Horizons. As writer-director, he is currently in Post Production on a period musical fantasy entitled A Song for the Home Front for which he received a Short Film Venture grant from New Brunswick Film and the NB Film Co-op.

Jeremy Robinson graduated from the Video and Television  Production program at NBCC Woodstock in 2000 and then went on to work at the Film and Television Workshops in Rockport Maine as a teaching assistant and a member of the tech crew. He returned to New Brunswick in 2001 and joined the NB Film Co-op where he has worked on numerous productions doing everything from sound recording, editing, camera work, and lighting. 

Jeremy is an instructor at The Centre for Arts and Technology where he teaches Video and Film Techniques. He will also be graduating from the University of New Brunswick this winter with his BA/BED. Through the NB Filmmakers' Cooperative he has taught workshops on location sound and post-production sound editing.

Jeremy is currently co-producing a documentary on the history of Blues Music in the Maritimes as well as preparing to direct a short film entitled Misdirection for which he received a Short Film Venture grant from New Brunswick Film and the NB Film Co-op. Misdirection is a comedy about an actress who does not trust her pretentious high art theatre director. 

Biz News

Indie Film Cliche
by Peter John Ross

ACTORS POV
CASTING CALL
Here's a story that will probably sound familiar.

You hear about an audition. Someone posted a flyer that said something about a short that's in the Sundance Film Festival. This sounds interesting.

You, the actors & aspiring actors go to a cattle call for a no budget DV short. You wait in line, although the people sitting around at the public library is hardly organized enough to be called a "line". After you get asked to read sides and this first time director doesn't know what a "slate" is, and he isn't taping the auditions anyway. You leave wondering what kind of movie this could possibly be given that you read a fragment of a script that had dialogue as interesting as an Insurance Actuarial Table. After your call back a week or two later, you read the lines again, and talk about other stuff with the director and any cronies they have about your dreams an aspirations.

CALL BACKS
At this point, they tell you the game plan for this incredible movie. It's a 10-20 minute opus about an everyman that is in some kind of struggle and it's completely original. The goal is to shoot the movie on DV, send it to film festivals, and then get the money to reshoot it on film. Of course there's no pay. We can't afford it. But this is a Unique Opportunity because the script and idea are just that good. You ask about distribution and you are assured that after the film plays at several festivals, it will have a distribution deal. At that point, everyone will get paid. They say this with such conviction that you buy into it.

THE SHOOT
You work on your weekends for 12-13 hour days, this first time director is giving you line readings and there is barely any craft services to munch on while everyone stands around. Eventually you finish, and you wait to see the movie. Over the next few months you try calling, then emailing the director and get a status report. It's still being edited. Eventually you may or may not ever see a finished product, but waiting for that film festival screening seems to be as likely as finding weapons of mass destruction in the filmmakers basement.

If this has happened to you more than 5 times, then you are an ideal candidate to attend an Amway meeting with me. I have just the right opportunity for you.

And now for the flipside...

DIRECTOR/FILMMAKER'S POV
You rent movies all the time. You go to the movies all the time. You have always loved movies, and you just saw the latest Steven Seagal movie that went direct to video on Showtime at 3:30AM, and you say to yourself "I can do better than this piece of garbage!" and you have this idea that has been brewing for at least 5-10 minutes. You download the latest freeware plug in for screenwriting for Word and start banging away. The story unfolds and the dialogue sounds really good in your head.

Now what?

I read about Soderberg and George Lucas using home camcorders to make their movies, so all I need is a Sony Handicam and I can become the next Kevin Smith ! Because it's a camcorder, all I need to do is point & shoot. No need to know anything about lighting or cameras. I remember seeing something about Kevin Smith and the Sundance Film Festival, so when I finish the movie, I'll just send it there, it will be accepted, and I'll get signed to my 3 picture deal at that point. Should take about 2-3 months.

Now I need to get people to be in the movie, my masterpiece. I can hold a casting session !

Casting Notice reads "Actors Needed - Short Film for Sundance Film Festival"

AT THE CASTING CALL:
I can't believe these people want to be in my movie. Look at all of them. I want to savor this moment. See each actor one at a time. She looks really good, so screw first come first serve, jet that girl Jennifer in here NOW. I want someone here to look and act exactly as I pictured the movie in my head. With 14-16 people waiting to see me, at least 5 of them should be perfect.

AFTER THE CASTING CALL
Why isn't anyone exactly as I pictured in my head ? That Jennifer was really good looking, and she really seemed to like me. Should I cast her solely based on looks ? She can't act her way out of a paper bag.

THE SHOOT
Nothing is as good as I thought it would be. The actors aren't doing exactly what I want and I even tell them how to deliver the lines. I know I wanted to do more camera angles, but we were running late. Everybody is mad at me, and we can't seem to get it right. I can fix this in editing. I can't afford to buy another pizza, so whoever is late, is just out of luck. No food for you.

THE EDIT (day 2)
This is fantastic, this is great. I mean, there are warts, but the core of this - the idea, it's so good. I can't believe I made a movie !

THE EDIT (day 30)
I don't feel like editing today. I just worked a full shift at the store, and I'm tired. Let's see which rerun of Seinfeld is on.

THE EDIT (day 66)
Finally finished. I can't believe I edited the whole thing myself on a home PC with my bootleg copy of Adobe Premiere. Every word of my script is here and it's perfect. Let's show it to my friends and family and maybe the cast. They'll tell me if anything's wrong because they are completely unbiased.

SCREENING DAY
I can't believe it ! My mom, my best friend, and the lead actor loved the movie ! I was right ! This IS a masterpiece. I wonder what time the limo will be here to pick me up. Hollywood can just somehow smell talent, and they'll find me. When they do, I'll hire all my friends and all these actors to work with me and Tom Cruise as we make Mission Impossible 4.

SCREENING DAY+11

It's been almost 2 weeks, and still no limo. Maybe they people who smell talent have a head cold, or there was a flight delay in Chicago for the connecting flight. SCREENING DAY+17
I got an email today from one of the bit part actors, what's-her-name, and she had the gall to ask me if I had submitted to any film festivals yet. She doesn't understand that I am an artist and I have a day job too. I’ll et on this soon.

SCREENING DAY+24
I looked into submitting to Sundance and it costs $25 ! Jumping Jesus on a pogo stick, all of these film festivals want money. What kind of sick bastards charge filmmakers money to submit their movies ? How many submissions can they possibly have ? I can only afford two, so I will definitely send to Sundance, because that's the big one. For some reason I was under the assumption that either the film festivals were free or that the entry fees wouldn't apply to me. I guess I should have done the math ($25x18 film festivals = $450 - that's more than my Sony Handicam Camcorder !).

REJECTION DAY (late November every year)
I got a letter in the mail today. I can't believe they didn't pick my movie. I went to the Sundance page and looked at the movies that did make it. Why would they pick movies directed by Matthew Modine, Danny Glover, or What’s THIS ? Kevin Smith got in too ? I thought these people were already famous. Why are they premiering these Hollywood movies ? Why didn't hey pick my mediocre movie with no stars shot on DV ? I better avoid all contact with any associated the movie. I'd rather them not know than have to tell them.

I guess I won't be able to make another movie....

How to avoid this very common scenario....

ACTORS
- When you audition, ask about the plan and distribution. If they can't afford to pay you, but plan on sending to several film festivals.... then something is wrong. Do the math. Each film festival costs $25-50 whether the movie makes it in or not, and because of simple odds (thousands of submissions, tens of slots....) the movie won't get into a lot of film festivals. If the filmmakers can't afford to pay for decent meals, how in the hell can they afford to submit to film festivals ?

Now I'm not saying you shouldn't do the movie. That's not my point at all. I guess my point is just BE REALISTIC. Know that you are doing it for the experience. There are pearl's in the clams occasionally, and you won't find them if you don't look. There are some good movies and good directors, but it may take time and a few movies before this first time filmmaker becomes one.

There are other options that can make the experience and work worthwhile. Don't be afraid to suggest :

DIRECTORS
- Plan for the entire movie. Budget for the entire movie. That includes money to MARKET the movie. There is this common mistake that you spend all of your money MAKING the movie, and then it sits & collects dust because you find out that everything costs more than you thought. Plan for it. Whatever you THINK it will cost, have double the money. Did you really think that because you shot your "film" on Digital Video that it would be that much cheaper ? That's insane. Be Realistic. The chances of getting INTO Sundance are slim, and winning anything or getting distribution is a pipe dream. First of all, DV shorts with no stars are generally as valuable as rat feces. There is no real distribution and short films, even with stars, have very few outlets for display - and even more rare are places that pay for them.

Film Festivals are great, but they are expensive. Plan ahead for the money you will spend on submitting to film festivals, and know that you may not get in. They don't refund your money when you don't get in. And also as an FYI - audiences at a regular film festival average about 12-75 people, most of them the other filmmakers and casts and crews who got their movie accepted. Unless your movie is about filmmaking, this may not be the best audience or judge for your work.

Make movies for the experience to start. Don't be delusional. Want to help yourself, your movies, and the actors who starred in it ? Get some exposure. Get your work seen by as many people as possible. Put your shorts on the Internet, Public Access TV, or anywhere you can. Get your actors seen by as many people as possible. That's the least you can do.

You have to ask yourself why you made the movie or got involved with a movie.

Was it to get famous or make money? HA! You're better off buying lottery tickets. You'll have better odds in a casino.

Did you make your movie to tell a story? GREAT, now share it with people, in as many venues as possible. Film Festivals are good, but expensive. Have options.

About award winning filmmaker Peter John Ross & Sonnyboo Productions – Founded in 1999, Sonnyboo short films have played on 3 continents and at over 50 film festivals world wide. Projects directed by Peter John Ross have appeared on Tech TV, National Lampoon Networks, Movieola the short film channel, The “U” Network, and Vegas Indies TV. Sonnyboo films have been noted in such publications as RES Magazine, Ain’t It Cool News, Camcorder & Computer Video magazine, Film & Video Magazine, LA Weekly, Film Threat, the Village Voice, & Internet Video Magazine.