As I read “How Not to Make a Short Film” I felt more and more cheated, not by the book but by my film school. Why hadn’t my instructors taught me these things? This is a book that every film student, every filmmaker should read before writing, producing or directing a short film. It’s an indispensable resource that guides one through the poor decisions of filmmaking and shows how to avoid the many errors in judgment that characterize mediocre movies. Written by Roberta Marie Monroe, an award-winning filmmaker and former Sundance Film Festival short film programmer, Roberta brings a wealth of insight into each phase, from conception to production to distribution.
For filmmakers, film festivals are the main outlets and have become the judge, jury and sometimes the executioner when it comes to assessing the value of a short film. By knowing what not to do, you can greatly increase the chances that your work will be seen and appreciated. In this sense, the book takes you through the minefield of mistakes that aspiring filmmakers and seasoned professionals make, so you don’t have to make them yourself. Additionally, the book features interviews with many of today’s most talented writers, producers, and directors, as well as provocative stories from Roberta’s own experiences with short films.
The book is designed in the most pragmatic way and follows the steps one would normally follow when producing a short film. The first chapter on the history of the script talks about how to keep it fresh and lists a multitude of plots to avoid, plots that have become mundane due to overuse. When programmers say, “I was there, I saw it,” you lose them as much as your audience. I found this chapter more fascinating as it allows us to get inside the mind of the programmer and the main selection criteria, namely what is the story and why should I watch it? This chapter also covers script evaluation, how to hire a consultant, and the ins and outs of getting feedback from friends.
Another chapter discusses the length of the film and how it should match the story. Says cinematographer Geary McLeod, “Every frame has to work, has to move the story forward. ‘Budget’ is what short films have to remember.” The book goes on to point out that it’s also easier to find a slot for an 8- to 12-minute film than it is for a 28-minute play. Adds Meredith Kadlec: “Don’t fall into the trap of trying to show how much you can do, instead [show] how well you can do it.”
“How Not to…” covers a wide range of filmmaking considerations, from choosing a producer, knowing their duties, to budgeting, plus ways to save money and raise funds. The chapter on Crewing Up is more relevant to first-time filmmakers. He talks about the synergy of a film crew and how to guide their efforts and deal with the ever-changing dynamics. This chapter describes the key positions, the people you should consult before shooting, and the issues that need to be addressed. The chapter reiterates the need for harmonious collaboration and the fact that you can’t do everything alone.
All of these considerations may seem overwhelming at first, but if they’re not addressed, your film will suffer as a result. After reading this book, I felt overwhelmed by the multitude of responsibilities. But then I remembered Roberta’s mantra that she needs to have good people around her and this book provides guidance on selecting her support team.
Casting is another area in which the author suggests seeking help. She goes through the process of finding and hiring a casting director along with the reasons for doing so. One would assume that casting directors would avoid short films, but many see it as a way to provide work and exposure for their clients, especially those with high potential. This chapter also provides advice on auditions, rehearsals, and creating a safe space for your actors. Actor Chase Gilbertson talks about how neophyte directors sometimes get off track. “Obviously, if I’m making 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’ve got a lot of great toys.” but ultimately, what is the bottom line?
The production chapter discusses numerous precautions related to the on-set experience along with creative solutions to some of these issues. One of the best was using New York Calls to outsmart an innocuous business owner. Other problem areas covered include on-set etiquette and attitude, insurance and permits along with food and craft services. What was especially important is Roberta’s advice to have a good time, be prepared and enjoy the magical time of being a filmmaker.
Post-production is the love/hate relationship of cinema. All mixed together is the footage you love followed by the worst shots, lighting, acting and blocking of your life. Roberta repeats several times: “This is normal.” She also suggests reading Walter Murch’s book “In the Blink of an Eye” for extraordinary insight into the editing process. Knowing how editing works is critical to your success on set, she says, because then you’ll know which shots are most important in telling your story. The chapter also addresses how technology has made filmmaking less disciplined—that is, shooting more footage, cutting faster, and ending up with more versions while wasting work.
Roberta sees a report from the MPAA that only 2% of all feature films actually make it to a theatrical or DVD release. From this it could be deduced that in the world of short films distribution could be even more difficult. Orly Ravid of New American Vision points out that the distribution process begins before the film is made. He needs to have an idea of who the audience is, conceive of the film’s appeal in advance, and have compelling marketing illustrations or photography that will sell the film. Orly also advises budgeting funds for marketing and outreach. This chapter looks at numerous distribution channels, but establishes that your short film may also have value as a television pilot or when expanded into a feature film. Orly’s invaluable “Is Your Film Distribution Ready?” covers the most problematic and overlooked areas. Academy qualification information is also covered in this chapter. Roberta makes finding short-dealers easy by posting an up-to-date list of US and international companies on her website.
The chapter on the Sundance Film Festival provides insightful background as well as effective presentation strategies. Sundance Programming Manager Adam Montgomery’s list of do’s and don’ts will help move your film further up the selection ladder. The section on advertising and marketing tells you what you need, basically a solid website, a stellar collection of still photos, and a simple business card that directs people to your site. Also, posting a trailer will greatly improve your ranking on Google and give viewers a better idea of your work.
The rest of the book is allotted to sample budgets, best short film clichés, and an extensive resource guide. This guide includes listings for short film festivals, short film distributors, blogs, community organizations, databases, as well as online TV and broadcast companies.
“How Not to Make a Short Film: Secrets From a Sundance Programmer” vividly describes the daunting task involved in filmmaking. However, it shows how avoiding the many pitfalls can save time and money and create a short film that will stay memorable in the minds of the programmers and audiences. Well written and timely, I recommend this book as an addition to every filmmaker’s resource library.