How to Make a Short Film: Happy Never After

I just released my latest short film Happy Never After this past week. Of all the films I’ve made in my time filmmaking, this is the one that is most personal to me and of which I am the most proud.  It is the first where I explored expressing my faith in film, and learned to grapple with far darker material. I also wrote this story during my father’s illness and he passed away when I was in post-production.  So the story’s theme—death—holds an added importance for me.

(Watch the movie here!)

It was also where I learned some of my best lessons about how to make the kind of films I want to make: (SPOILERS BELOW.)

How Do You Express Faith in Film?

I made Happy Never After to find a way to express how my faith shapes my view of death. I’ve always struggled to express my faith in film. Why is it so hard? Because we have very few good models to go off of. People think a faith movie means arguing with the audience about what to believe. Usually in speeches that go on too long.

Not that I'm talking about anything specific...

I wanted to, instead, invite people to share in my experience of joy at being a Christian. So I wrote my thoughts about death as an exciting cosmic tale of good vs evil where you are drawn to root for a couple to choose faith over the alternative. The villain has the main speech in the film, and the “come-to-Jesus” moment is done with a simple look toward the cross.

How Do You Collaborate With Others?

The two biggest things I learned about collaborating was a) it should be done early and thoroughly and b) you need to know what you are willing to compromise on and what you’re not. Forest Erwin’s cinematography and Kyle Trivanovich’s performance as Jacob Applegate were so amazing partly because we spent so much time together getting on board with the same vision.

One of the best shots by Forest and best performances by Kyle.

Pre-Planning is Important

We did the entire film over three days with pretty much no budget. How? By lots of pre-planning by dedicated people. We had all the shooting days picked out and filmed all the scenes in close locations to each other. So everything to be filmed in the FiDi we filmed on the same day; everything at the church the same day, etc. There were screw ups, of course. But when there were, it was because we didn't pre-plan enough.

What About When Things Go Wrong?

I learned the best thing to do when things go wrong in filmmaking is to keep calm, figure out what’s really important, and cut out the rest.

One day we were filming in the park and some of the equipment was late getting to us. It was so late that we knew we wouldn’t be able to film everything before the actors needed to leave. So Forest and I cut down drastically the number of shots we needed to take before they left. It was rough, but we got the shots we needed to make the film work.

Everything Works Out

The biggest thing I learned filming this though was that God is in control and everything works out. This is something you learn making films for a while. For some reason, when everything goes wrong, things still work out.

Comment by Forest: "I caught a barracuda thiiisss big." 

Before I finished the script for Happy Never After, most of my school’s filmmaking club—of which I was president—dropped out. I had no crew so I was pretty sure the film couldn’t be made.

But two coincidences happened that made the project possible: My friend Hope Epperson (now Hope White) told me she still really wanted to be a part of the film. So she worked to get her friends to be the actors. I had also just reconnected with Forest Erwin. So, since Hope really wanted it to happen, I called up Forest to see if he wanted to be DP. And he said an enthusiastic "yes". If these two things didn’t happen, Happy Never After probably would not have been made. And I wouldn't have had had the tribute to my father or the God that makes seeing him again possible.

The best films not only teach you about filmmaking, but also about life. This film did more: it because one of the best parts of mine. Thank you, everyone, who shared it with me and made it possible.

How to Create On-Set Community Like Suicide Squad

Want to create a real community on set like the director David Ayer and cast raved about on the set of Suicide Squad?  Filming can be a lot of work. When people on set bond, and begin to feel like more of a family, then the experience is a lot more fun for everyone. Yourself included. Frowns become smiles. And smiles mean people might agree to work with you again. Also… smiles are just awesome.

Well... some smiles

I looked into their interviews to see if I can find what the secret was. And I’ve found some tips that have matched my own experience working on films: Particularly my webseries Churchill on Everything. The first time I realized how much fun you could have filming because of community. (See the video below.)

#1. Pick the Right People.

If you work with great people who work hard and have great personalities, building chemistry is really easy. David Ayer picked for Suicide Squad people like Margot Robbie (Harley Quinn), Will Smith (Deadshot) and Jai Courtney (Captain Boomberang), great actors everyone loves working with.

The Churchill on Everything team: Me, Nathan Sherrer, Alex Foley, David Wright
 and Jordan Best (not pictured)

I picked Alex Foley for the titular role and other friends of mine, Nathan Sherrer, David Wright and Jordan Best who were the crew to be the crew because they were all real professionals and also just tons of fun to work with. I knew those qualities would make the atmosphere very chill. . 

Of course, just like David Ayer got such a great cast only because they liked his previous work, Alex Foley agreed to this project because he loved how our previous film Kelly vs The Philosophers turned out. So make sure you do good projects that can attract great talent. 

#2. Give it Time 

Jai Courtney put rehearsal time is a reason that such great community was made on the set of Suicide Squad: 

"It was probably the rehearsal time that we were afforded, I think that meant that there was this period of concentration where we got to trust each other"

With Churchill on Everything, pretty much all of us were already friends. So we had a built in comfort level and chemistry. So the community was easy.

We've all been friends for a little while...

#3. Pick the Right Location.

Margot Robbie points out filming in Canada where none of them knew anybody as a reason for why such great community came out of Suicide Squad.

"[A] lot of people are married with kids and stuff and if we were shooting in their hometown, they would just go home to their significant other, their kids, their life, and their friends that they've known since forever.  But since we are all away from home you stick together even more.

Beside Myself squad left to right: Zeke Ward,
Ashley Morris, Rachel Sheldon, Deryka Tso,
Joseph Holmes, Tianna Halldorson

For Churchill on Everything, we all camped out in the apartment of one of our apartments. Between filming we played video games and had great food. For Stars we road tripped through Brooklyn singing songs in a car and for Beside Myself we all took a train out to New Jersey. Having adventures where it was just us really helped us pull together as a little dorky family. 

#4. Let Your Crew Create Community.

Because Harley Quinn giving you a Tattoo seems
 like such a smart idea. Good thing that 
didn't backfire. Oh wait... 

On Suicide Squad, one big thing cast and crew talk about in building trust and community was how much David Ayers gave them room to have fun and create their characters and their dynamic with each other.

One of the big things I learned on Churchill on Everything was that, as a director, I didn’t have to make everything happen. I picked the talent and picked the location, and gave people direction and space to have fun. And you know what? They made the experience amazing.

Want to create community like director David Ayers on Suicide Squad? Pick the talent, pick the environment, and give people space to be the amazing people they are. You might just create a lifelong squad of your own.

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.