Ep 59 (Part2) Timothy Spall & Stephen Cookson talk Acting, Harry Potter, On set Directing tips and their new film Stanley A Man of Variety with Giles Alderson & Andrew Rodger

Part 2 – Actor Timothy Spall & director Stephen Cookson talk acting, working on Harry Potter, directing tips and their new film Stanley A Man of Variety with Giles Alderson and Andrew Rodger

We talk with Stephen about finding the locations, Shooting black and white. The look and visuals of a feature film, VFX and the Editing process. Making his debut film My Angel where he brought in Timothy who made calls to bring on Brenda Blethyn and it snowballed from there

Learning not to give to many notes to actors & being very respectful of older actors and their ability to be the role. We discuss that if you want to be a director. Direct something see if you like it.

How the idea is the most important thing. No point spending years trying to make something of the idea is bad

We learn how Stephen met Star Wars director Irvin Kershner on the tube and asking him questions and advice which he duly gave.

Should we having agents as a director? Stephen gives a compelling argument regarding this.

Timothy talks about being in Harry Potter and being seduced by director Alphonso Cuaron to take the part. How being in a massive franchise like that is a blessing and a curse.

“Your either right for the part or you ain’t”

There is a difference between film stars and actors. Film stars can fit into wish-fulfillment roles. Character actors can fit it different roles”

Links

Stanley A Man of Variety is OUT NOW at Picture House Cinema’s.

Link to screenings: https://www.picturehouses.com/film/stanley-a-man-of-variety

Trailer: https://www.youtube.com/watch?time_continue=1&v=QV5y7hN9bp4

Raindance www.raindance.org

Raindance offer http://bit.ly/DeepCharacterisation use the code RDPODCAST20 for % off

INDIE FILM SHOUT OUTS

ASerialKiIIersGuidetoLife facebook link

Official SITE of the podcast www.thefilmmakerspodcast.com

Part of the www.podfixnetwork.com

Giles Alderson Official site http://www.directedbygiles.com

Follow us on Twitter @filmmakerspod

@gilesalderson

@35mmdop.com

Ep 56 HOW TO SPEAK TO FILM INVESTORS, SEIS/EIS and FILM FINANCE with EXEC PRODUCER PETER DUNPHY

The wonderful and delightfully film investment savvy Peter Dunphy from Gizmo Film joins us to discuss film finance, how important your investors are not just at the beginning and How the feature film Funny Cow starring Maxine Peake, which is out now came to be.

How being an Exec Producer can have it’s perks but also it’s downfalls like having to sack actors but gives us the best way to do it.

We discuss his latest TV show Mad to be Normal starring David Tennant and Elizabeth Moss which is coming out soon

How he worked for business man James Caan and became an expert on tax which proved to be invaluable.

“Every film you are involved in you make big mistake and say I’m not going to doing that again. “

Mistakes are not seeing the route to market. You should be thinking about distribution and sales

“If you can’t get sales agent or distributor at the early stages. Get a new project”

We discuss the best way to move forward with a project when you just have a script.

We go into detail on SEIS,  EIS and film tax relief

*note SEIS – 50% tax rebate for investors. Limit is 150k. Plus loss relief on top of that. So 75% is risk free.

EIS. Investors can raise up to 10mil per investor

And by getting advanced assurance. Allows you to give comfort to your investor.

Now the government want you to make a slate of films. Rather than one.

Film tax relief. If making a film in the UK you qualify up to 25% of film tax relief.

“Spend the money as if it was your own”

Surviving Christmas. Good cast, EIS advance assurance and UK tax credit in place. “The moment you get the the film wrapped you now have an asset, which the investors have a stake in.

We also discuss how to keep investors at bay or entertained.

LINKS
Trailer ‘Funny Cow’ https://www.youtube.com/watch?v=5qDFb7qUV30

Film INFO www.funnycowfilm.co.uk

www.gizmofilms.com

Twitter @Gizmo Films @PeterDunphy1

Follow us

www.thefilmmakerspodcast.com

@filmmakerspod @gilesalderson @cjamedirect

Ep 55 HOW TO MAKE A PERIOD INDIE FILM with the team behind The Bromley Boys – Steve Kelly, Dean Fisher, TJ Herbert and host Giles Alderson

Full of wisdom and knowledge about filmmaking from experienced directors and producers who have been there and done that and the fact ‘The Bromley Boys’ took seven years to get to the silver screen explains the hard work and dedication that went into it.

They debate about when to shout out that you are making films. Should you scream from the rooftops or keep it under wraps ? When is the best time to say I am making a film.

Wanting to prove yourself as a filmmaker. Do it as soon as possible

For director Steve Kelly how looking so young when he first started at ITV was a detriment. You need to learn to tell a story. One of the great ways to do this is to learn to edit.

They discuss how to not set your expectations too high on your first film and be realistic with what you can achieve and how you can only succeed by failing more than the person next to you.

We learn how Dean quit acting because he knew he was a better producer and how short films are the best way to learn how to make feature films and If you haven’t got the skill-set to write yourself find writers

How making The Bromley Boys was a testament to how well they worked together as if you are still speaking after trying to make a project after 7 years then you have done something right.

Getting the right team around you and collaborating well is vital. It should be a family and be happy to come to work.

They also give us invaluable advice for raising funds for films.

“You trip up once and the investor is out. They are looking for you to make a mistake” – Dean Fisher

They also discuss how to make a period film and the tricks to making it work. So how can you make it work?  Shoot it in a 70’s style? Have a great costume and make design and art department is so important. Also you can paint our satellite dishes. But you can shoot in most places in London then shoot big close ups with a shallow depth of field.

Going for self distribution as got P&A spend on the Bromley Boys. Having the right strategy for the film. If they don’t get with a major studio they decided they should distribute this themselves. Make sure you get a theatrical booker and experts in poster deign and trailer producing and how word of mouth is huge.

Why releasing a film yourself can be very worthwhile. Just get the best people around you. It’s the same as when you are making the film

Links

The Bromley Boys.co.uk

Trailer https://www.youtube.com/watch?v=RnXhdQ3fa4E

World of Darkness: Documentary WATCH https://www.amazon.co.uk/World-Darkness-Documentary-Kevin-Lee/dp/B07BS35KQ2/ref=sr_1_1?ie=UTF8&qid=1528120473&sr=8-1&keywords=world+of+darkness+documentary

www.thefilmmakerspodcast.com

 

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

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@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 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

 

Ep 44 ANDY NYMAN – MAKING ‘GHOST STORIES’ & FILMMAKING with Giles Alderson, Andrew Rodger and Christian James

Actor (Severance, The Crown) and Director Andy Nyman drops by to chat about his debut as a director on his feature film Ghost Stories. Based on his stage play of the same name, he co wrote and directed with Jeremy Dyson (The League of Gentlemen) to make a haunting and chilling ghost story (or two).

He chats about his acting background, how seeing Richard Dreyfus in Jaws as a curly haired Jewish guy made him think he could also be in films, made him want to act and go into filmmaking. Working with Rian Johnson and being in Star Wars.With Darren Brown and Ben Caron (on The Crown)

As a director and in filmmaking how to do different takes and to have great to have options in the edit. Do it until your happy with it.
Important to picking the right team around you. Who would help you. Including Ole Burkeland (The Crown) as his DoP collaboration & Clare Jones as his producer. (Field in England).

With Ghost Stories how he wanted to make a piece of cinema shot well and old school and not shaky cam .
How he got got the cast with an A list star in MARTIN Freeman. Casting. Being over the moon to get his cast. Paul Whitehouse and Alex Lawther.

Don’t play it cool, share the love and communicate with you crew and eventually your audience
Know and love every second of your script. Be ready and prepped for when it all falls apart.
Look at films that inspire you. Those filmmakers film are filled with personality.
“If you’re making an independent film, make the film that would want to see, that would excite you to see it”

Ghost Stories is available in UK cinemas from April 6th. Watch the trailer here: https://www.youtube.com/watch?v=En5-S3djB44

Follow Andy Nyman on Twitter @AndyNyman or www.AndyNyman.com

Follow us @thefilmmakerspod www.thefilmmakerspodcast.com

@gilesalderson @35mmdop @cjamesdirect