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AGGIELIFE
THE BATTALION
Page 3
The future of film
Insight on independent films found in new technology and old resources
yj£ iuikii
BY MATT MCCORMICK
The Battalion
I ndependent filmmaking
has become a big and,
some might say, not so in
dependent process. By defi
nition, an independent film
is one which is made with
out the resources or back
ing of a Hollywood studio.
However, in recent
years, films that have been
considered independent
have ranged from the star-packed Pulp Fic
tion to the shaky The Blair Witch Project. In
dependent films are increasingly becoming
more powerful in the film industry whether
to become serious Oscar contenders or to
rake in the box office bread.
Many independent filmmakers start out
with only a love for movies and the desire to
make one. But through the years, independent
filmmaking has become increasing commer
cialized, due to events such as the Sundance
Film Festival. What started as a small celebra
tion of the independent spirit has now become
one of the major events in the movie industry.
Every year, studios around the world
send scouting parties to Utah, hoping to
find the next big hit. In fact, there is
even a Sundance Film Channel avail
able in addition to the Independent
Film Channel.
The growth of interest
generated by festivals
cannot come close
to what has hap
pened since the ex
plosion of the Inter
net. There are now a variety of Websites
which showcase independent short films,
giving filmmakers and audiences alike the
chance to view films online. Such sites as
Ifilm.com and Atomfilms.com give film
makers who use digital technology a forum
for their wares.
The advent of digital cameras and the
editing software available on computer sys
tems has made it possible for anyone to di
rect their own film. The new iMac has given
filmmakers the capability to edit together
films with the greatest of ease. This technol
ogy offers an attractive alternative to film
makers who are dismayed by the astronom
ical prices of film. Due to the low prices of
digital cameras, some have predicted that
digital cameras could, for the most part, re
place film in future years.
Books remain one of the best resources
available for people interested in filmmaking.
Books about all aspects of filmmaking, from
lighting and cinematography to screen writing
and producing are available. There are a few
books that anyone serious about independent
filmmaking should consider reading. The
American Cinematographer Manual explains
nearly everything one could ever want to
know about cinematography and cameras.
One of the most informational and enter
taining books on the market is Robert Ro
driguez’s Rebel Without a Crew, in which he
discusses his experience making El Mari-
achi. Funny and easy to read, this book cov
ers the whole film-making process, from sto
ry conception to the film’s release by
Columbia Pictures. Along the way, Ro
driguez gives several nuggets of information
which are well worth remembering.
“You really have to look at why you want
this. Is it for the fame and to see yourself on
the cover of Entertainment Weekly Dr is it be
cause of a passion, a desire to touch some
one?” said Derik Wingo, writer, director and
star of The Waiters.
Scott Barlow, writer and director of The
Last Late Night, said lack of experience is not
necessarily the end of the world for a film.
“I had never touched a 35 mm camera be
fore this film and I had never worked with a
cameraman,” Barlow said. “1 had a great di
rector of photography, though, and I trusted
him to set up the shots for me and then I
would make any changes I might have.”
Their advice to people interested in mak
ing films:
“Find out what is in your heart and go for
it. Go for your dreams and don’t ever stop be
lieving,” Wingo said.
“There comes a time when you have to
quit talking about making a movie and start
doing it,” Barlow said.
“Find people who are good at what they
do and are fun to get along with. You need
people who will support you in what you do
and will pull you back when you have over
stepped your boundaries. The best story in
the world, the coolest shots — all of that stuff
doesn’t matter if you don’t have an army of
people around to help you,” said Stu Pollard,
writer and director of Nice Guys Sleep Alone.
Perhaps the best advice comes from the
introduction to Rebel Without a Crew where
Rodriguez writes, “First step to being a film
maker is stop saying you want to be a film
maker. I had been a filmmaker ever since the
day I had closed my eyes and pictured my
self making movies. So you don’t want to be
a filmmaker, you are a filmmaker. Go make
yourself a business card.”
ittni Molmiddin
Editor in Chief
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