Why does Hollywood make so many bad movies ravensjerseyssmall?
Risk aversion.Cheap Jerseys from china Filmmaking is very expensive, and under the current studio system the average cost to make and market a film is around $50,000,000! In order to feel confident in that level of investment, studios (which have massive overhead as well) must make sure the project has as few unknown variables as possible. A poor script from a writer with a great reputation seems like less of a risk than a great script from an unknown. Filling every major role with a person of reputation also offers a level of deniability if a project fails. This results in projects getting made because they present few risks, not because they promise amazing films.
I know how to end my script, but I’m stuck in the middle, what do I do?
Structure. Most everyone struggles between page 50 & 80 when writing a screenplay. Many first time writers never complete a script beyond this “death zone”. The best way to avoid this is taking the time, before writing the script, to map out your film. Notecards, spreadsheets, legal pads, there is no best way, but in every case it requires you to figure out all the beats before you start. Think of it like a roadmap, you might end up taking a different way to your destination, but you can always refer to the map if you get lost.
How do I know when my script is really ready/finished?
There really is no such thing as a “finished” script, since writers are always tweaking and rewrites happen in production and through post. But in the beginning the writer has to decide they are ready for the big bad world to read their creation. This revealing is best done in stages, your closest friends and knowledgeable readers first, then revisions, then another group of readers, then more revisions. When the comments dwindle to personal taste issues (instead of a large percentage of readers all having the same problems) then you know the time is near. Be sure you’ve had people in your reader pool with extensive industry and script experience. You’ll need their comments before you toss the script to the Hollywood wolves. Then the big question… are you ready to let it go?
Which is better, Video or Film?
This question can start a war. Those on either side are very militant and convinced they are right. The truth is both formats have their pros and cons. They each render images in a different/unique way and when one is forced to emulate the other it generally fails. The best choice depends on your total budget, the expected scale or release of the project, and your “workflow” – or all the steps through Production, Editing, Picture-finishing, and Release.
General things to keep in mind:
1) Film has a greater exposure range than video, and a more pleasing look to most viewers. (Notice I did not say better, just subconsciously more pleasing). 2) Video has a simpler workflow if the release is only going to be on SD Video. 3) Film has a simpler workflow for theatrical release.
Video is cheaper: It is on the front end (Production) it isn’t on the back end (Post-Production for a theatrical release).
Video looks just like/better than film: Compare “Desperado” (Film) to it’s sequel “Once Upon a Time in Mexico” (Video). Compare “Batman Begins” (Film) with “Superman Returns” (Video)
What makes movies look like movies?
As “High Definition” becomes a term in everything from televisions to detergent, the assumption has been made that shooting films digitally must be better than shooting them on old fashion film. But then, why can’t someone with the latest camcorder make a film which looks like Lawrence of Arabia?
There are many factors which make real movies look better than home movies, but three big things affect the picture quality:
The most striking difference between video cameras and film cameras. If you blow up a small picture on your computer you’ll notice it gets blurry or pixilated, but if you reduce a large one it still looks crisp. The same basic rule applies in image capture for movies. A typical camcorder captures less than half the resolution of HD video, and HD captures less than half the resolution of 35mm film.
Theaters have always projected films at 24 frames per second. Reams of paper have been written about why 24 frames was the chosen speed and how the progressive flicker engages the viewer on a subconscious level. A camcorder capturing images in progressive frames instead of interlaced frames will look more like a movie. And 24 frames a second looks more cinematic than any other framerate.
Lenses & Depth of Field:
Hold your hand in front of your face. Now look past it at the back wall. Notice your eyes don’t focus on both at once. Good lenses mimic this and a well shot film will guide the viewer with what’s in focus on the frame. 35mm film cameras do this well and easily. Most video cameras can’t do it at all.