Ep 53 Part 2 HOW TO MAKE AN INDIE CRIME THRILLER & GET A STUDIO ATTACHED with Trish Rybarczyk & Sacha Bennett

Part 2 of our chat with indie filmmakers and the team behind ace action thriller Tango One, Trish Rybarczyk & Sacha Bennett who sit down with Giles Alderson (The Dare) and Dan Richardson (Retribution) in Just Voices Studio to chat about how they made it.

*We have an exclusive on their new film Ethel with a CAST announcement.

 

Trish and Sacha discuss the makings Tango One. How the investor/producer came to him and how Universal came on board. Only issue with having a big studio behind your film is having to wait in line behind the big releases, watching them come out first and hoping yours is next. But hearing the universal theme at the beginning of your movie is incredible.

How adapting a book can be difficult and how turning away from the novel and changing the characters can be very beneficial. And changing the dialogue to fit help massively but also adapting the script the script to make it work within the budget.

How they didn’t want Tango One to be a gangster film. Making it more international, thriller-esque and less London drug dealers.

They also talk about Sacha’s latest feature Mid Summer Nights Dream which is now in post.

It’s all about prep. If you want something done do it yourself.

LINKS

Buy the film https://www.amazon.co.uk/Tango-One-DVD-Vincent-Regan/dp/B078XY2JL9

Watch the trailer https://www.youtube.com/watch?v=LRXiDGtg3vo

Follow Ethel progress here http://www.ethelshortfilm.co.uk/

Follow the guys here: www.threewisemonkeys.com

Twitter @trish_ster & @SachaBennett

Support Dan’s crowdfunding campaign ‘Roar 4 Lions’ here: https://www.bornfree.org.uk/roar-for-lions

Listen to our other podcasts here: www.thefilmmakerspodcast,com

Follow us: @filmmakerspod @gilesalderson @Dan710ths @TheDareMovie

Ep 52 HOW TO MAKE INDIE FEATURES and THE BENEFIT OF SHORT FILMS with Trish Rybarczyk & Sacha Bennett

The team behind ace action thriller Tango One, Trish Rybarczyk & Sacha Bennett sit down with Giles Alderson (The Dare) and Dan Richardson (Retribution) in Just Voices Studio to chat about how they made it.

Trish started out working on Scorsese’s The Departed and American Gangster and Spiderman3. Got to see how a huge company worked on set. She wanted to learn the craft of film-making and not jump into it. So did loads of jobs in film to get the experience.

Sacha “Id still argue being on set, watching a film play out is the best film school”

How Sacha worked as an actor on Blackadder and the amazing learning experience  he had from that. “Even if it’s you going out with some mates and an i-phone, by doing some acting you’ll become a much better director that way”

If you’ve been a runner and had to mop up the toilets you understand the vitals of how important it is to be a producer.

If you are making a short, just ask actors. They are always looking for work and you have nothing to loose.

After Sacha made Devilwood, the investors asked if he could make a feature for 150k, so he quickly went through the scripts he had and made it work with Tuesday his bank heist film

Getting his cast of John Simm, Kevin McNally and Ashley Walters.

 

This is Part 1. Part 2 out on FRIDAY

LINKS

Buy the film https://www.amazon.co.uk/Tango-One-DVD-Vincent-Regan/dp/B078XY2JL9

Watch the trailer https://www.youtube.com/watch?v=LRXiDGtg3vo

Follow the guys here: www.threewisemonkeys.com

Twitter @trish_ster & @SachaBennett 

 

Support Dan’s crowdfunding campaign ‘Roar 4 Lions’ here: https://www.bornfree.org.uk/roar-for-lions

Listen to our other podcasts here: www.thefilmmakerspodcast,com

Follow us: @gilesalderson @Dan710ths @TheDareMovie

Inspiration for Filmmakers – ‘The Filmmakers Podcast Present’ with Giles Alderson & Christian James

You wanna be a filmmaker? What you doing about it?
A short motivational chat about getting off you ass, being in the right mindset, working hard and making your film happen with Giles Alderson (The Dare) and Christian James (Fanged Up).
If you are a screenwriter, director, filmmaker or all three. Listen to this. Then go out and make your script, film or project.

There is no excuse not to. #MakeYourFilm

Follow us at www.thefilmmakerspodcast.com
Twitter: @filmmakerspod
@GilesAlderson
@CJamesDirect
@TheDareMovie

Ep 51 HOW TO TURN YOUR ROM-COM SHORT FILM INTO A FEATURE with MODERN LIFE IS RUBBISH director Daniel Jerome Gill

Or how to go from being a Assistant Director to directing your own feature film. Giles Alderson (The Dare) and Christian James (Fanged Up) chat with director Daniel Jerome Gill about going from an AD on many big movies to turning his award winning rom-com short of Modern Life is Rubbish into a feature film.

After University and his gap year Daniel made a pact to make it in the film industry and sent 100s of emails our to productions companies asking for a job. He got a few responses but that is all he needed to start work as a runner

To get a AD job with need perseverance. First job taking rushes at end of night. Making Teas. Doing a few unpaid short films you will eventually meet somebody who can take your career to the next level.

First paid job on the worst film ‘Sex Lives of the Potato Men’ then that team brought him in on Matthew Vaughn’s Layer Cake.

Standing by monitor on Danny Boyle’s Sunshine and he learnt loads. And then started make short films from the crew he had met. He made Modern Life is Rubbish as a short film with no intention of making a feature, He got camera kit for free, begged borrowed and stole. Amazing how many people will help you.

He tells us how he got actor Rafe Spall into that short film. “Fortune favours the bold and you have to brave and ask”.

Learning while working as an AD from successful directors. The main lesson he learnt was planning. Plan your shots. But be able to adapt.

How to turn to short film into a feature.

After getting into the Cannes short film corner. Mapped it out with the writer Phillip Gawthorne. Then after the success of the short he got an agent (42 Management) who sent the feature off and Universal liked it. Eventually he attached producer Dom Norris who raised the remaining funding to match Universal. How having a sales agent on board helps your investor to think it is real.

He tells us while working as crowd AD on The Crown he got the call saying his feature was happening and he had to leave.

How he shot the feature in 55 locations in 5 weeks

How it is important to trim down scenes in the edit. If they didn’t move the story forward you have to loose it. Lost 20 mins.

Getting the incredible music/score and how he cast the names who are in his film.

This film has opened loads of doors. Signed with CAA in America.

Advice: Bang on people’s doors and make a movie or short.

Modern Life is Rubbish is on at Picture House cinema now and can be purchased on line.

Links:

Trailer: https://www.youtube.com/watch?v=7W5R2f6UO0k&t=4s
Short Film: https://www.youtube.com/watch?v=60DZBoK1QhU
Buy the feature: https://www.amazon.co.uk/Modern-Life-Rubbish-Freya-Mavor/dp/B07BF5TH63

Follow Daniel here: Twitter: https://twitter.com/danieljgill

Follow us: www.thefilmmakerspodcast.com
Twitter: @filmmakerspod @gilesalderson @Cjamesdirect

BONUS EP – LIVE from the LONDON INDEPENDENT FILM FESTIVAL with Hannah Waddingham, Michael McKell, Dom Lenoir, Matt Hookings, Ian Pirie, Jon Campling, Toby Osmond Giles Alderson & many other Filmmakers at the Festival

Host Giles Alderson (The Dare) heads to the the London Independent Film Festival and chats to the filmmakers attending including the team behind Winter Ridge, Dom Lenoir, Matt Hookings, Michael McKell, Hannah Waddingham, Alistair Ager and Ian Pirie as well as filmmakers and actors Jon Campling, Simeon Willis, Toby Osmond, Ben Richards, Andromeda Godfrey, the team behind short film Stationary and the festival director Natasha Marberger.

NEW WINTER RIDGE TRAILER https://vimeo.com/267988064

The festival director Natasha Marberger tells us that to get selected film entrants just need good stories.

Stars of Winter Ridge Hannah Waddingham and Michael McKell talk about getting into film for the right reasons their approach to scripts on what parts they get to play. How when acting try and lock in so you ignore the producing side of things.

Some of the really good directors have been actors. Least direction was Robert Zemekis

Producer and actor Andromeda Godfrey discusses finding someone you want to work with and make it happen. It can be a lonely business so find people you want to work with. Believe in your project and yourself.

“Producing is putting out fires. Or even better not letting the fire start in the first place”

We chat to the team behind the short film Stationary and how a good team that works together well is very important and the main issues of being tight for time. Know your project well and submit to the right festivals. Being realistic makes you have a better chance.

We talked to Little Shit director Richard Gorodecky and Philip Ilson, the London short film festival director who looks for films with a voice

Actor and director Simeon Willis is now writing a screenplay after being inspired by the podcast and how he directed a film for the 48hr film challenge.

Actor and producer Toby Osmond on how he does it “I’m just a doer. I like starting stuff”.

Actor of Winter Ridge Ian Pirie on making Bond film, Die Another Day, how director Lee Tamahori brought rawness and thought on his feet. Bringing indie film process to a huge budget. Working with Christopher Nolan on The Dark Night and getting advice on his frst ever film. A little know Scorsese piece called Gangs of New York.

Jon Campling talks about the difference between shooting an indie film and shooting Harry Potter . The huge machine behind a huge film and everything serves the actor. Indie film is a collaboration between everyone working on it.

Winter Ridge script editor (and screenwriter) Alistair Ager chats about the process of script writing and being a script editor. “You can be a fresh pair of eyes and you can spot things that the writer didn’t”. How he looks for character arcs or plot points that aren’t needed and too much dialogue.

And Dom Lenoir and Matt Hookings make a little appearance too.

Follow us at

www.thefilmmakerspodcast.com

@filmmakerspod

@gilesalderson

Ep 49 HOW TO MAKE AN INDIE FILM NOIR ON THE STREETS OF LA with the team behind LA OVERNIGHT

Screenwriter and Producer Guy J Jackson and stars of the movie Arielle Brachfeld and Ashley Park  join Giles Alderson (The Dare) to talk about their new indie noir thriller LA Overnight

How Arielle jumped into the indie world by making Return of the Ghostbusters – A Ghostbusters fan film and her second written feature Chemical Peel and  how LA is often not very welcoming to filmmakers but it does have a base and group of people who will help out to make indie films but with technology around now there is no excuse not to make a film.

Ashley has also recently produced the film Surviving Theatre 9 which is out soon and how it differs from being just an actress. “It’s so useful as an actress to also produce. You will never complain again. You get used to everything, nothing fazes you. It’s a really great learning experience”

Arielle found out she was auditioning for the lead role in LA Overnight at the read through and how she brought in lead actor Azim Rizk.

As the screenwriter and producer, Guy talks about getting a job by writing good emails. How tough Hollywood is. Michael Chrisoulakis, the director gave have a chance. But gave him boundaries to go with it and How Noir has pitter patter style to it’s dialogue and their work to get the script as strong as it can be.

Ho they cast Hollywood names Lin Shay (Insidious) and Peter Bogdanovich (The Last Picture Show).

How to Film in LA. People will try and get money by playing the radio loudly and will want money for them to go away. Avoiding permits but getting insurance is key. “If you’re a dude with a camera and another dude with a mic no one usually bothers you. Just make sure you have insurance”.

Shooting with a drone. Was so nervous you might be arrested. But director Micheal saw LA through a foreigners eyes and saw the beauty.

How they shot for nine months, shooting on weekends.

How you become Battle Buddies from your time on set and how you can be so proud of a film and proud of your co-stars and team

The secret is… getting someone else’s money

LINKS

Watch the film https://www.amazon.co.uk/Los-Angeles-Overnight-Arielle-Brachfeld/dp/B079KHK1TF

Trailer : https://www.youtube.com/watch?v=rwyZGYtBoNg

Follow them

FACEBOOK LosAngelesOvernight

TWITTER @LA_Overnight

INSTA AxAshleyPark Twitter @abrachfeld @GuyJJackson

Follow US at www.thefilmmakerspodcast.com Twitter @filmmakerspod

@gilesalderson @thedaremovie

Ep 48 HOW TO MAKE A MICRO BUDGET INDIE FILM, WIN AWARDS & GET A CINEMA RELEASE with the team behind ‘Guardians’

Director Mark AC Brown and actor David Whitney talk about how they made their new quite brilliant indie film Guardians.

How Mark made a film for his degree but it was a great experiment and not to be seen again. How he wrote a feature script for Nu Image but the ‘Expendables’ ruined it and how it is best to write something to make yourself for free or on a micro budget. What do have available to you ?

How when making an indie film, continuity is not as important as the story. How the establishing scene of a character is so important. But don’t waste time on drone shots. Then get the most amount of permissions you can get. And if not shoot anyway

Suzanne Smith – their DoP was a runner on a Brainehound (their production company) short and worked her way up. Made short film Beard with David and Mark and proved herself as a brilliant DoP and How having great all rounders like Fred Fournier and Joe Starrs as editor and 1st AD respectively is vital as is keeping your ‘team’ from your shorts/music videos and bringing them with you.

With low budget you have to juggle and Workaround people schedules and how ‘Withnails’ – Richard E Grant’s marvelous book was an inspiration (and The Wah Wah Diaries)

When you are supposed to be doing he scene in 4 shots but end up doing it in one but it’s one of the best moments in the film so don’t have to stick to your shot lists.

Tried to plan it but played the moment when it came to it.

Why post can take so long when you are asking for favours on a micro budget film

How they learned from other filmmakers and how they distributed their films – Ben Cookson, Fizz and Ginger’s Two Down and James Rumsey’s Drunk on love.

Mark wanted to have a cinema run so choose Our Screen to have a theatrical release. Then the release got extended as it sold out for the second night.

And how they opened a festival in a double bill with recent horror film IT.

Links

The Film: http://www.guardiansfilm.co.uk/
Trailer: https://www.youtube.com/watch?v=pq25LXWmsps&t=10s
Twitter https://twitter.com/guardiansbhf
Facebook https://www.facebook.com/guardiansfilm/
Mark AC Brown http://www.markacbrown.com/ Twitter : https://twitter.com/Brainehowndfilm
David Whitney http://www.davidwhitney.org/ Twitter: https://twitter.com/DWhitney

Follow us
www.TheFilmmakersPodcast.com T: @filmmakerspod
Giles Alderson www.directedbygiles T: @gilesalderson

Ep 47 HOW TO MAKE AN INDIE FILM AT A MUSIC FESTIVAL WITH THE TEAM BEHIND ACCESS ALL AREAS

Oliver Veysey (The Railway Man) and Bryn Higgins (Black Mirror / Electricity) join host Giles Alderson (The Dare) to chat about their latest film Access All Areas which was shot at Bestival music festival and stars Ella Purnell, Jordan Stephens, Georgie Henley, Jason Flemying and Phil Daniels.

For one of his first jobs in film we learn how Oliver, while working as Robert de Niro’s assistant on Starfish had to make the best Martini or risk being fired. How he got a assistant job at Working Title after cold calling every film company he could.

Bryn talks about his background in documentaries and how they are a great way into feature films. How and why he made Unconditional – an LGBTQ movie and from there made the brilliant Electricity starring Anges Deyn
His process of working with actors “The camera photographs thoughts so if you think it right, you are there”. And how he would rather have a floor plan rather than story board.
Making sure to block the scenes with the DOP in the room.

Oliver’s experience producing The Railway man and how having a great mentor (in his case, Andy Patterson) is the best training a producer can have. How it took 14 years to get it made. Even with Colin Firth and Nicole Kidman on board there was still no guarantee the film would go ahead.

Filming at a music festival. Noise levels, crowds, performing live to track on the real stage and other issues of filming at a festival full of mud, blood and kids
How learning from making the Bourne Ultimatum helped shoot the crowd scenes in AAA and trying not to pick a toilet where people are having sex in, also helps.

Links

Access All Areas Trailer https://www.youtube.com/watch?v=VqHGryajEgQ

Buy the film https://www.amazon.co.uk/Access-All-Areas-Ella-Purnell/dp/B076JJ675W

Follow the team @AAAthefilm www.aaathefilm.com @olivervesey

 

Follow us at www.thefilmmakerspodcast.com @filmmakerspod @gilesalderson

Recorded at JustVoicesAgency.com

 

Ep 46 Part 2 HOW TO MAKE INDIE HORROR FILMS with Dark Beacon’s Coz Greenop, Lee Apsey and Nick Sadler

Part 2 of our chat with the Dark Beacon film team on How to Make Indie Horror Films and Get Investors & Distributors on board. Coz Greenop, Lee Apsey and The Film Label’s Nick Sadler join host Giles Alderson (The Dare) to talk about their latest indie films Dark Beacon and House Red. Part 1 is available here: https://goo.gl/q4UYjL

On this episode we chat working with kids, are storyboards useful, finding creative moments in a small space, getting coverage and how learning to edit is very useful as a director.

As a Producer it is sometimes a good thing to just do the ground work and let the director get on with it.

We chat distribution and Sales with Nick who talks Film Label and First Flights and how getting press and print promotion is difficult these days but if you fly/bring out a journalist for an on set visit they will likely do you a piece.
How Coz got Kubrik’s DoP Doug Milsome on board his latest feature and how amazing it is to see your film on set when it came from an idea you had one day.

Dark Beacon Trailer here: https://www.youtube.com/watch?v=UHlgEcGl6I4

Buy Dark Beacon here: https://www.amazon.co.uk/Dark-Beacon-April-Pearson/dp/B079VXRJLD

First Flights https://www.goldfinchstudios.co.uk/other-companies/first-flights/

Follow the boys on twitter here: @cozgreenop @leeapsey @green13 @thefilmlabel @MikeFury

Follow us: www.thefilmmakerspodcast.com
@filmmakerspod
@gilesalderson www.directedbygiles.com @thedaremovie

Recorded at www.justvoicesagency.com

Ep 45 Part1. HOW TO MAKE INDIE HORROR FILMS & GET INVESTORS INTERESTED IN YOU with Dark Beacon’s Coz Greenop, Lee Apsey and Nick Sadler with host Giles Alderson

Part 1 of How to Make Indie Horror Films and Get Investors & Distributors on Board Your Film with Coz Greenop, Lee Apsey and The Film Label’s Nick Sadler who join Giles Alderson (The Dare) to talk about their latest indie film Dark Beacon starring April Pearson, Jon Campling and Toby Osmond. Part 2 is out on Friday.

They talk about how finding out your debut feature film is renamed from Wandering Rose to Demon Baby by the distributors with neither a Demon or a Baby in it.

How they went to Cannes with 50 DVD’s in a rucksack. Sleeping on floors and trying to sell you film
and finding the indie community is vital but attending events, listening to podcasts and actually going out and making a film is the best advice you can get.

How they threw a party in Cannes and got investors to come along. Gave away caps and t-shirts with their logo Green13 and becoming one of the top 3 villa parties in Cannes which created a buzz and made the film Dark Beacon actually happen as they could also show investors their last project and how it earned money.
Getting locations and filming in Jersey. Casting – April Pearson, Lynne Anne Rodgers , Toby Osmond and Jon Campling

Screenwriting. Working well as a team and how they gender flipped between drafts to female leads. Having to re-write on set at low budget level by thinking on your feet.
And how filming is like an event company. All prepped for one day. Over and over again.

Trailer here: https://www.youtube.com/watch?v=UHlgEcGl6I4

Buy Dark Beacon here: https://www.amazon.co.uk/Dark-Beacon-April-Pearson/dp/B079VXRJLD

Follow the boys on twitter here: @cozgreenop @leeapsey @green13 @thefilmlabel @MikeFury

Follow us:  www.thefilmmakerspodcast.com
@filmmakerspod
@gilesalderson www.directedbygiles.com @thedaremovie

Recorded at www.justvoicesagency.com