Today on the show we have a director who shot a time travel feature film in two days, his name is Grant Pichla and his film is called Making Time. Making Time's 110 pages were shot in just two crazy, fast-paced days, separated by seven months and a house renovation.After traveling back in time, a divorced workaholic must repeat his past footsteps in order to return to an unaltered present but struggles when it means re-proposing to his ex-wife. How'd they shot​ a full movie in 2 days? This documentary series explains it all.This remarkable documentary is available on Indie Film Hustle TV. Grant and I discuss the insanity of shooting a film in two days, how he came up with this crazy idea, and what it took to put this beast together.Enjoy my conversation with Grant Pichla. Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

BPS 258: How To Shoot A Feature Film In Two Days With Grant Pichla

The Bulletproof Screenwriting Podcast shows you how to make your screenplays bulletproof. Weekly interviews with Oscar® and Emmy® award winning screenwriters, story specialists, best-selling authors, Hollywood agents and managers, and industry insiders. We cover every aspect of the screenwriting process. This is the screenwriting podcast for the rest of us. No fluff. No BS. Just straight talk that will help you on your screenwriting journey.Some of the past guests include 3X Oscar® Winning Writer/Director Oliver Stone, Eric Roth (Dune, Forest Gump), Edgar Wright (Shaun of the Dead), Richard Linklater (Boyhood, Slacker) James V. Hart (Dracula, Hook), John August (Big Fish, Aladdin), Jim Uhls ( Fight Club), Peter Rader (Waterworld), Diane Drake (What Women Want), Daniel Knauf (Carnival, Blacklist), Derek Kolstad (John Wick) and Pen Densham (Robin Hood, Backdraft) to name a few.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

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Television editor and author Gael Chandler is on the hot mic today. Most of you may know by now that I started out in post as an editor. Anytime I have another editor on it’s like sailors recalling old battle stories, which are always very entertaining. It is a whole other world when a director says, ‘CUT!’ to the final scene and the elves of film production, EDITORS, get to work. While I am curious to hear Geal’s stories from behind the scenes, I would like to focus first on her new book, Editing for Directors: A Guide for Creative Collaboration which was released in August of 2021. This is her fifth publication which shares tools and lessons from her expert experience in film production/editing.Gael has been nominated twice for the Cable Emmy award for comedy editing and has taught editing practices and history at Loyola Marymount University and California State Universities at Long Beach, Los Angeles, and Northridge.Editing for Directors: A Guide for Creative Collaboration focuses on how directors should be working with editors. It guides directors through postproduction, starting with planning for editing during the shoot and ending with the completion of their film.This thorough, well-illustrated book:Describes the artistic, organizational, and technical skills editors bring to the party; with tools on what directors should look for when hiring an editor and the best ways to work with an editor; It further explains how and why directors should plan for editing before they shoot a frame. An entire chapter is devoted to relating the history of editing and cutting tools and how they have affected the language of cinema and present-day editing while defining and discussing cutting-room terms, practices, and workflows.Gael filmography credits her editing on wonderful 90s television shows like Max Headroom, Deep Dark Secrets, A Mom for Christmas, Family Matters, and The Very Retail Christmas.Some of her other books include Film Editing: Great Cuts Every Filmmaker and Movie Lover Must Know and Cut by Cut: Editing Your Film or Video.It’s always fun to hear unique stories from seasoned technicians and the huge technological revolution or evolution their line of work has had to face as well as their adaptation processes.Please enjoy my conversation with Gael Chandler.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

BPS 363: Editing for Directors with Gael Chandler

What if indie filmmakers could access the same virtual production systems used on the hit Disney+ show The Mandalorian? What if you could use that same technology at home for your productions? What if it cost less than most RED Camera packages? Today's guest wants to do exactly that. Rene Amador is the co-founder and CEO of the virtual production tech company ARWall.Rene boasts 24 years of working with 16 startups, starting young working for his parent’s startups in silicon valley. He’s also directed over 350 commercials, short films, and pilots. Most recently as co-founder at ARwall, Rene won the SXSW Accelerator 2018 AR/VR category pitch, has been acknowledged as a top AR tech evangelist in Hollywood, and designed the first ARwall Lab in Burbank.Rene and his team have developed a professional virtual production system that filmmakers can use at home powered by the most powerful real-time graphic engine on the market. How does this all work you may ask? ARFX requires a tracker and at least two sensors installed on set.Once the tracker is calibrated and attached to the camera, the director of photography has the ability to move anywhere inside the tracked space. The virtual scene runs on the system updates in perfect real-time, no matter where the camera is positioned. This creates a seamless window illusion into the virtual space.Filmmakers really put this tech to the test on Disney+'s Star Wars show The Mandalorian. If you haven't seen this show do yourself a favor and get a monthly subscription to Disney+, sit back and enjoy.I also recommend you watch The Gallery, a behind-the-scenes show on how they made The Mandalorian.I'm not saying a newcomer to the filmmaking process will just be able to pick up this tech and make The Mandalorian but the tools are there for filmmakers who are ready to make that leap.This is a massive jump in how filmmakers tell their stories. ARWall's Home Studio is the next jump for indie filmmakers. The cost is cheaper than most RED or ALEXA cameras.This technology is one of the most exciting filmmaking tools to come out since digital cameras became the norm. Not only is this tech cool but the speed that it became affordable for the independent filmmaker is mind-blowing.It took a decade before we had access to the same ground-breaking technology that was used in Jurassic Park.Rene and I talk virtual production, The Mandalorian, the future of the AR Wall, and how indie filmmakers can start using this technology today.Enjoy my conversation with Rene Amador.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

BPS 362: How Indie Films Can Use The Mandalorian Virtual Production Tech with Rene Amador

Today on the show we have filmmaker and Filmtrepreneur Patrick Solomon. Patrick is the mastermind behind the celebrated film Finding Joe.Finding Joe is an exploration of famed Mythologist Joseph Campbell's studies and their continuing impact on our culture. Through interviews with visionaries from a variety of fields interwoven with enactments of classic tales by a sweet and motley group of kids, the film navigates the stages of what Campbell dubbed The Hero's Journey: the challenges, the fears, the dragons, the battles, and the return home as a changed person."WE MUST BE WILLING TO GET RID OF THE LIFE WE'VE PLANNED SO AS TO HAVE THE LIFE THAT IS WAITING FOR US" - JOSEPH CAMPBELLRooted in deeply personal accounts and timeless stories, Finding Joe shows how Campbell's work is relevant and essential in today's world and how it provides a narrative for how to live a fully realized life-or as Campbell would simply state, how to "follow your bliss".I saw Finding Joe years ago and it just blew me away. This is why I was so excited to include the film in the IFHTV Streaming Service. Patrick and I sit down and discuss his film, his distribution journey, and how he used the Filmtrepreneur method to squeeze every drop of revenue out of the film.Enjoy my conversation with Patrick Solomon.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

BPS 361: How to Squeeze Money Out of Your Indie Film with Patrick Solomon

Today on the show we have writer/director Rob Smat. His niche film is THE LAST WHISTLE. It is a Football Drama with a budget 125K, the crew was almost entirely film students, shot in 13 days in Texas, distributed worldwide by Vertical Ent. for 10 theater release this past June and originated as a pitch for Rebel Without a Crew TV show and was turned down so I made it myselfRob formed a cast from high-level B-list stars, fostered relationships with distributors before shooting, and focused on production value without losing sight of the story.  Trying to recoup budget rather than use the festival circuit to find an audience he did not submit the film to any major festivals, we discuss the pros and cons of that strategy.He was 22 when I started developing the project and wanted THE LAST WHISTLE to lead him to a place where he could build a filmmaking business model that could sustain his filmmaking goals.Enjoy my conversation with Rob Smat.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

BPS 360: Making and Selling a Niche Indie Film with Rob Smat

In today’s episode, we take you back to the late 90s and early 80s hip-hop and skateboarding culture in New York City with director Jeremy Elkin’s new documentary, ‘All The Streets Are Silent: The Convergence of Hip Hop and Skateboarding.’In the late 80s and early 90s, the streets of downtown Manhattan were the site of a collision between two vibrant subcultures: skateboarding and hip hop. All the Streets Are Silent brings to life the magic of that time and the convergence that created a style and visual language that would have an outsized and enduring cultural effect.From the DJ booths and dance floors of the Mars nightclub to the founding of brands like Supreme, this convergence would lay the foundation for modern street style. Paris Is Burning meets Larry Clark’s KIDS, All the Streets Are Silent is a love letter to New York—examining race, society, fashion, and street culture.Jeremy is the founder of Elkin Editions---an independent video production studio under which he’s done production, writing, cinematography, and directing. He’s most notable for his 2015 hot topic directorial debut, Call Me Caitlyn, and a second unit director on recording artist, Demi Lovato’s 2017 documentary, Simply Complicated (trailer). The documentary gives a personal and intimate look into Demi Lovato's life as not only a regular 25-year-old but also one of the biggest pop stars in the world.I thoroughly enjoyed watching All The Streets Are Silent. It gives one all the good nostalgic feels while also provoking current socio-cultural consciousness.Enjoy my chat with Jeremy Elkin.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

BPS 258: How To Shoot A Feature Film In Two Days With Grant Pichla

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