How to Make a Short Film: Working with Your Editor

Benjamin Capitano (left) and Joseph Holmes (right). Director/editor dream team.

Editors are one of your most important collaborators as a filmmaker trying to make a short film. So how do you work with them well?

A film editor has incredible creative power over the final film product. It’s been said—not inaccurately—that a different editor gives you a different movie. A bad editor can make a good product look cheap and trashy. A talented and skilled editor can make a film look professional and exciting. (Provided you’ve given him or her something to work with; they are not magic. I don’t think. I sometimes wonder. I’ve had some amazing editors.) When you make your short film, you really need to have the good kind. I was blessed to have one of the best, Benjamin Capitano, work with me on my first short film Kelly vs The Philosophers. 

It's about college students. Fighting philosophers. With textbooks. And dropkicks. 

Here is what I learned on how to help a good editor do his best to give you a great final cut of your short film.

#1. Bring them in at the beginning. This is especially true on a smaller film, the editor is going to have a lot of say in the aesthetic of the film. So it’s good to get them on board and inspired with the vision in the pre-production stages. Ben Capitano doubled as a creative developer and the two of us had a blast going to comic shops and watching Scott Pilgrim vs The World as research. (I swear it was research.)

I'm serious! Debating for hours whether Romona or Knives is better for Scott is critical research for my film!

#2. Give it to them Organized. Once we got all the footage and audio compiled, I dumped it all on Ben like a pile of dirty laundry. Prompting a “uhhhhhh what is this?” to which I naturally replied “But aren’t u majik?” to which Ben calmly played Scotty to my Captain Kirk and told me that he was not a magician and needed to organize the footage in a way he could work with it.

"But, can't you just... I don't know, put all the footage in a sorting hat?"

"...You don't know anything about Final Cut. Do you, Sir."

Ideally, during production, you have the shots you got matched to the shots you wanted in the shot list, and the assistant editor would be responsible for organizing which is which, and you show the editor which shots you want used. But we were all students and this was my first short film so I combed through the footage myself and sent it to Ben. 

I do not miss those days.

#3. Collaborate. In order to do his or her best work, the editor needs to have a little freedom to be creative. However, the director usually has a very particular vision for what he wants. (At least I did.) I learned that there is a balance of give and take with the editor. On the one hand, most of Ben’s ideas were extra-ordinary: from the animated video game text and music, to using the final shot as an end-credits scene. But sometimes there were things I just insisted on doing a certain way. It was a balance learning which was which.

I’ll be honest, when I finished shooting Kelly vs The Philosophers I didn’t know how the film would turn out. When I first saw the edited footage of the film--that was when I knew my baby would be okay. I’m grateful to all the editors who I’ve worked with since. I hope I've been a decent director and learned something. Haha. You have helped make my films what they are.  

Which is awesome. 

Just like you guys.

Movie magic. Some After Effects required.

How about you guys? Do you have any tips working with editors or as an editor you'd like to share? Sound off in the comments below
.

How to Make a Short Film: Surviving Your First Day of Filming

The first day of shooting a short film—or any film—can suck. Here’s how I learned to make it suck less.

Chillin' on set waiting for the action (Rachel Kyle, Jennifer Verzuh)

At the point you are on your first day of shooting to make your dream project you have somehow convinced/conned a bunch of people to believe, a) you have a story worth telling and b) that you’re capable of leading that story to screen—keeping all the spinning plates in the air on set and managing every crisis that comes up. But when you get to set you prove you either can or you can’t, you either get the shot or you don’t.

Sometimes a sword is just the answer to your problems

And even when it's not it's awesome.

My first day filming my first short film (Kelly vs ThePhilosophers) was one crisis management after another. We had lost one of our costume people the other night and so the costumes hadn’t been tested. We were left with costumes that didn’t work and hadn’t been tried on the actors. Several actors had to pitch in to pull stuffing out of jackets or run back to their apartments nearby to try on different sets of outfits. Because the DPs and I didn’t thoroughly block things out beforehand, a lot of actors who came in their timeslots had to wait around for us to be ready. This was frustrating for them and stressful for me. (Remember this, guys? Ahhh good times.)

No, this is an actual scene. The set didn't come to blows. (Marry Cassella, Rachel Kyle)

But it worked out. Here’s what I learned.

Lesson #1. Do pre-production right. Almost all of these things would have been avoided if I put more work into pre-production. I’ve learned you can almost never do too much with pre-production. If we had planned out for costumes to be done long before, if I had planned more blocking of the scenes before the actors were there, things would have gone more smoothly.

Lesson #2. Work with forgiving people. It makes so much a difference when you're starting out--or anytime--to have friends who love you working with you. Because these were all my friends—as well as great at their jobs—everyone was on my side and wanted to make things work. During the whole debacle, I didn’t have one person act angry with me, annoyed with me, or give me a hard time. Everyone was helpful and supportive.

I say this over and over, but there is probably no better lesson to learn than that the people you work with matter. As a filmmaker your film family is your closest family for the time you’re filming. And if you can build as great a film family as I did not only will your filming suck less—life will suck less.  In fact, it will be great.

Lara Jane, Rachel Kyle, showing what we all feel.

Love all you guys. You are the reason that first day--and every day--didn't suck. It was amazing. 

Josh Shabshis, Hope Epperson, Alex Foley

How to Make a Short Film: Dealing with a Difficult Person

How do you deal with a difficult person on your film team who doesn't do their job but it's all volunteer and you have no money to pay anyone ?

Because running is not always an option. Believe me, I wish it was.

I’m going to be honest: I don’t like dealing with conflict. But as a filmmaker, the filmmaking business requires you to work with lots of people, and it attracts some people with egos the size of a small planet. (Including probably you.) If you are going to make a short film, or any film, conflict is liable to come up and it is good to know how to deal with it. 

Because you never know when an unassuming person will start kung-fuing you because why not?

So what do you do if you butt heads with someone who you can't just talk things through with? A lot of conflict is just creative disagreement and can be worked out. As long as everyone knows their job and is willing to do it and believes in the movie. But sometimes people just don't want to work out the conflict. If you can learn to spot trouble beforehand and don’t invite them on that's best. But if they slip past you, do these things:

Free these words of wisdom these are. Welcome, you are.

1. Make sure you are communicating clearly with everyone what your expectations for them are--and those expectations are public--so no one can say “You never told me to do that"

2. Try to make sure you know people who can fill in for the role if need be. So you aren’t stuck with them or not getting to make the movie.

3. Confront them about their behavior privately.

4. If they have complaints, figure out if there is legitimacy in them.

5. If you have to get rid of them, do it as early as possible.A difficult person will continue to add stress to a filmmaking experience that is going to have its own stress anyway.

Also bring a suit of armor. And shield. Just in case.

On my first short student film Kelly vs The Philosophers, I brought on an assistant to help out my main costume manager. I knew the girl was a bit snarky but I found that more charming than anything. I explained what we needed her to do and when and she was on board. But for weeks after the girl didn’t do any work and tried to pass her work onto other people, then complained when we were only a couple weeks out that we didn’t have enough time.

When even Loki can't make excuses for you.

The night before shooting I asked her where she was with things. She still hadn’t done them and was blaming me again, so I reminded her—someone sarcastically—that she had been blowing me off. At this point she threw a fit and quit.

Sorry not sorry?

What should I have done differently? I should have confronted her earlier about her blowing off the project. I should have confronted her with more love and less sarcasm—even if she deserved it. But I am glad that I solved the problem before shooting. And I'm glad we had someone else who could do costumes. Because it would have been a nightmare otherwise. 

And that's my first major conflict as a filmmaker not knowing what I was doing. Really, God was covering my back and I can't take much credit.

Do you have any stories about dealing with conflict in film? Any advice that you can share? Leave a comment below!

How to Make a Short Film: Explaining Your Vision

How do you, as a filmmaker, communicate your vision?

Epic pose with "Kelly" star Rachel Kyle

One of the most important things that a director does when trying to make a short film or any film is communicate his vision. Quentin Tarantino said: “As a director ... Your job is explaining your vision. Your job is articulating … what you want on the screen.” If you explain to everyone well what your film is supposed to look like, feel like, be like, then they know how to use their unique creative talents and expertise to make that happen. (A phenomenon I also discuss here.) You don’t have to micromanage every detail for things you don’t know. Like costume design. Do I know the best way to make costumes? No, I do not.

In case you doubted...

But how do you, a budding filmmaker, explain your vision to your team?

The best way I’ve found, as a filmmaker, is use two things they already know. This is actually a very common way to “pitch” films to producers. Sky High was called Harry Potter meets The Incredibles. The Martian was called Castaway in space.

Along with the inevitable Die Hard everywhere combinations

My first short film Kelly vs The Philosophers had such an odd story people had a hard time getting it.

“So it’s an action-comedy about a college student who fights the phantoms of various philosophers she’s studying for class.”

Totally blank expressions.

So I changed tactics. Since it was a video-game eque action comedy and my college was big on classical education, I added this to the pitch.

“It’s like Scott Pilgrim vs The World at our college.”

“Ohhhhh, that sounds really cool!”

Right away that helped me with pre-production. My chief editor Benjamin Capitano made a night of it and went to Midtown Comics and looked through a bunch of Scott Pilgrims and other comics. Then we spent a night watching the movie again. There was popcorn and laughter in the apartment. I can neither confirm nor deny Scott Pilgrim battle reenactments. 

We take our work seriously (Ben, left. Me, right)

This was also helpful with my costume designer, Megan Ristine. Once she knew we were going with a  Scott Pilgrim vibe, she was able to lend her experience to making the outfits believable but over the top—authentic, but with character. The actors also knew where to ground their performance on the realism scale with less coaching. We had such a fun time with it together, laughing about the concept and everyone throwing their own ideas into the pot.

Megan Ristine in her element.

This is the best part as a filmmaker: when you’re all on the same page with the film, it’s not just your vision anymore. It’s all your vision you’re sharing together. Everyone wants to make this movie, not just you. That’s how real communities are formed that last a lifetime. And that is one of the best things you can have when you make a short film, or any film at all.

Cast and crew photo. Left to right: Taylor Pope, Jennifer Verzuh, Joshua Shabshis, Hope Epperson, Megan Ristine, Rachel Kyle, EC Hannah, Alex Foley, Bryce Lewis, Brian Stewart, Josh Simons, Lara Jane

Why Being a Filmmaker Might Mean You Don't Like Captain America: Civil War

Does being a good filmmaker mean you won't enjoy films like Captain America: Civil War?

Four years ago, I was about to enter college, I hadn't I started being a filmmaker, it was then I saw what is still one of my favorite films: Marvel’s The Avengers. Now, this year I am about to graduate from college and just saw Captain America: Civil War. A massive disappointment to me. Just like Batman vSuperman. Is it me or is it them?

On the one hand, I think I’m holding both to a consistent filmmaker standard. I've always been super critical of my superhero movies. I hated Spider-Man 3 and Iron Man II and III I am a longtime superhero fanboy and loved Marvel’s the Avengers because it was faithful to the comics: Superheroes being superheroes, bickering, fighting each other, then fighting the common threat. Captain America: Civil War was nothing like the comic book Civil War. The comic book was a dark story about two good men on opposite sides who so believe they’re right they are willing to do whatever it takes to stop the other. Stories that tell deep stories in a compelling way are important to me and I think the superhero genre is capable of doing that and it's sad they aren't. 

But on the other hand, maybe I’ve just changed as a filmmaker. The difference between then and now is that fans and critics agreed that Spider-Man 3 was bad. But critics and audiences love Captain America: Civil War. Yet I don't. Like I’ve written about elsewhere, I have been told by my friends with increasing frequency that I am always disappointed in movies. The first of the Avengers films I was excited at a giant love-letter to superheroes. Have my standards for filmmaking become so high that I can’t enjoy normal movies?

If so, maybe it's worth it. In the past four years I've really grown as a filmmaker. I've made great short films that I'm proud of (like Kelly vs the Philosophers). I've changed as a person. That's what you expect when you go to college.

You may like Captain America: Civil War. But regardless, I think the lesson for aspiring filmmakers is that if you really have the high standards you need to make great films, you’re going to be disappointed in a lot of movies along the way. Which is going to be rough, because we want to make movies because we love watching movies. And it makes it harder to watch movies.

I wanted to love Captain America: Civil War just as much as I loved Avengers all those years ago. But if it means I become a better filmmaker it’s worth it.

How to Make a Short Film: How to Hold Auditions - What People Don't Tell You

There is nothing that makes you feel more like a real filmmaker to have people audition for your film. I didn’t realize before I started casting Kelly vs The Philosophers—about to make my first short film. When people audition, that means they actually want to be a part of the story you want to tell, to achieve your vision. You feel just a wee little bit like a big shot. Enjoy it. When the filmmaking problems start you’ll get over it.

Left to Right: Taylor Pope, Jennifer Verzuh, Josh Shabshis, Hope Epperson, Megan Restine, Rachel Kyle, EC Hannah, Alex Foley, Bryce Lewis, Brian Stewart, Josh Simons, Lara Jane

When you're a filmmaker make your first short film, here are the things I learned you should look for in an audition that nobody tells you about. Unlike many of my stories, in this case most of what I learned was what I did right.

1. Lead the actors. You should know what you want from the actors communicate that with them clearly. They are depending on you to tell them what you want to see so they can give you their best performance possible.

I told my auditoners that they should bring their own script and that it should show ability to do comedy. Rachel Kyle (who would end up being Kelly in Kelly vs The Philosophers) and her friend Adriana Hanson (who would end up co-writing a script with me) did a two woman show that was really impressive. To help me decide, I told them to do the same audition but in the opposite role. You can see how amazingly that turned out.

2. Always record your audition. I was smart enough—in this case—to know that people look differently on video than they do in real life, so you need to see what they’ll look like on film. That’s in addition to how helpful it is to watch it later if you’re debating between two candidates. Watch Hope Epperson (who would eventually become The Librarian) nail hers below.

3. Ask to see a funny audition. This is more of a personal thing. But I find I learn more about the actor in funny auditions. Humor shows if someone can portray personality, spontaneity, and timing, things that are important in funny or dramatic roles. Of course, in this case I was casting for funny, but in cases of drama, I would still ask for two—one dramatic and one funny.

This is my favorite audition I received. Hope did a second audition with her friend Rebecca Averett and the two of them killed with a self-written parody two-woman show of Willy Wonka. You owe it to yourself to watch this audition and be amazed by these two.

4. Have Friends Who are Great Actors. This is a bit of a cheat. But you need two things when you are casting an actor: someone who’s a great talent and someone with whom you get along. If you have actor friends you know will work for the role that will cut down a lot on stress. Just be sure they really can act. Nothing is worse than casting a friend who’s a bad actor. Happily, Mary Cassella is not one of those.

So that's it! Have you ever held an audition or been in an audition? Tell me any of your stories or lessons in the comments.

What I Learned at the Tribeca Film Festival

Tribeca Film Festival is something that every aspiring filmmaker loves. For five extra bucks on a ticket (and an hour in line for rush) you get to prove to everyone that you love movies more than everybody else and explain to them perfectly legitimate reasons why your movie didn’t get in but should have. Who cares if you liked the movie? The bragging rights are worth it.

So this year, my first time going, I got all this and also watched movies at Tribeca Film Festival I really liked and helped me improve my craft. Here’s what I learned from the movies I saw.

ADULT LIFE SKILLS – EXECUTION IS EVERYTHING

I loved Norah Ephron and so really wanted to see the movie that got her award this year (given to great female directors). Tribeca Film Festival’s Adult Life Skills was the kind of movie I normally hate, done so well that I really liked it. Few movies irritate me more than dramas about dysfunctional, privileged, dissatisfied people engaging in naval gazing. But this movie had real spunk, creativity, real, legitimate drama, endearing characters and great humor

MY SCIENTOLOGY MOVIE – STYLE SUPPLEMENTS SUBSTANCE

I was interested in this Tribeca Film Festival movie because I’m really interested in knowing more about Scientology. But the movie began with the documentarian admitting that nobody in the church would talk to him, so the whole movie was about he and some ex-Scientologists attempting to re-construct the goings on in the church. There are a lot of good filmmaking tools used. But the best part was when the Scientologists started following them around with video cameras.

SOME THINGS ARE MORE IMPORTANT THAN MOVIES

Waiting in line for Tribeca Film Festival rush tickets to My Scientology Movie I didn’t think I or my friend were going to make it in. There were too many people ahead of us. Then there seemed like a miracle: a lady offered my friend and I a free ticket. My friend insisted I take it even though it meant I might get to go in without her.

Yes, it is totally legitimate to take way too many pictures
of yourself at the film festivals.

But then there was another moral dilemma: behind us we discovered there was a group of friends behind us who all had tickets except for the one friend who would have to stay behind and attempt to get rush tickets. My friend looked at me and told me that I could solve that problem for the lady right there. And reminded me that if my whole group of friends went into see a movie I would be praying someone gave me an extra ticket to join them. I really wanted to see the movie. But I had just heard a sermon on how Christians should be a different kind of community who make different—more generous—choices.

I decided to give her the ticket, trusting that what God willed would happen.

And guess what? My friend and I got in anyway.

Life lesson: movies, and bragging rights about movies are worth the extra five bucks. But loving people is more important. Even more than the Tribeca Film Festival.