An Independent Short Filmmaker's Guide with Darlene Lim: Part One

So you've graduated from film school, you've watched libraries of movies, and now you want to start your own production in the real world. As in most post-secondary programs, practicality is much different from academics. You know how to make a film, but how do you make a good film? How do you attain financing? How do you assemble your crew? How do you pitch your concept to the people that you need to get your production off the ground? And how do you go about marketing your film once it has been completed? Where does one begin? Obviously film school misses some of the practical aspects of filmmaking. Drawing from her experience with shorts, Darlene Lim, a local independent film director ("Little Moments" & "Hitting Zero"), took time out of her busy schedule to help fill out the gaps left from film school and ease the transition that aspiring film directors make from school to the outside world.

The Concept

Writing Method:

My writing is dependent on my inspiration. In the past, I've usually had some time to let whatever idea I have ruminate in my head before I even sit down at my desk. Sometimes I've had something as little as one specific image in my head that I want to incorporate into a story and sometimes I actually have a particular story I want to tell.

Most of the time, I just start writing whatever I feel and don't worry too much about structure right off the bat. The first few sessions are just about getting the ideas on paper, not editing or censoring myself before the story has even had a chance to germinate. I'll write a particular scene that I've been imagining, completely out of context and then jump to another at a different point in the story. Or I'll write a really descriptive opening or a visual segment that has sparked my imagination. Then I go back and take a look at what I've done, what works, what doesn't, what it needs, and what structure I might need to implement. I fill in the gaps between the scenes that have already demanded to be written. Often I end up discarding a lot of what I write in those first few sessions but I think that the act of writing them out is important, if only to help determine where I do and don't want to go.

I don't think there's a right or a wrong way to approach writing though. Some people like to lay out a structure like a skeleton first and then fill in the gaps. I say if it works for you, then go to it. Just get the story on paper. Half the battle is the act of writing itself.

Drafts & Editors:

On my last short I went through about ten drafts but it really depends on how much work the script needs. On my first short, I only needed three drafts before we were ready to go to camera. I do think that it's important to make sure you have a really solid script before rushing into production. If it's not there on paper, it won't magically become clearer or better once you've shot the footage. I think one of the mistakes that new filmmakers make is rushing the writing process and shooting a substandard project because they didn't take the time to address story problems in the script. Production moves really fast and time is limited, particularly in independent film. You're not going to get much time on set to "work out the kinks" so you'd better do it beforehand.

I haven't worked on an extensive basis with professional story editors. I usually bounce my scripts off of one or two trusted friends whose story sense I trust and who are not afraid to point out flaws in my work. My last short was produced through the NSI ZeD Drama Prize program and so for that film, we workshopped our scripts with a professional story editor and the four other writers who won the prize that year. I found the process incredibly helpful and would love to work with another story editor on my next project. I think that, as with all creative endeavours, when we are very close to our work, it is invaluable to have an impartial third party there to give you some perspective on the gap between what you are trying to say and what you have actually said. And it's also good to have a second brain to offer ideas that you may not have thought about, point out problems that you may not have seen or suggest solutions to the problems you are trying to fix.

Pitching the Concept:

When pitching the concept, I approach the people who can get my project made. These fall into two categories - the people who will work on the project with you and the people who can provide you with the funds/resources to make the project.

I'm fairly lucky in that most of my production team has been with me since film school, so that takes care of most of the first category. When I do need to find somebody to work with on a project, I also ask people I know and trust for suggestions. On my last short, I needed a producer and didn't know anybody who had the time to take the project on so I asked a friend if she knew anybody with adequate producing experience who might be interested in working on the project. She suggested her friend John, who had completed a number of music videos. We arranged a meeting and ended up working together on the project.

Word of mouth is really invaluable in cases like these, where you need to suss out somebody's track record. For example, someone can have great credentials on paper but a violent temper or a terrible set manner. At least if you are consulting a trusted friend, you can ask questions that might not necessarily be addressed on a resume and have a little more reassurance that your friend is referring somebody that they trust to do the job.

Approaching the people who can provide you with the funds or resources to get your film made requires a bit of research. Whether it is a grant program you're applying to, a broadcaster you're pitching to, or an equipment house where you're asking for donations, you'll need to do some investigating to find out what programs might be available to you, what kind of programming the broadcaster is looking for, and whether or not a company is likely to support what you are doing. In terms of funding programs, aside from word of mouth (which again, is an incredibly helpful resource), I find the best thing to do is to go directly to the websites of the agencies you want to investigate in your area (i.e. the Canada Council for the Arts, the National Film Board of Canada, the National Screen Institute) and read up on their grant programs to see if there's anything you qualify for. You can even try doing a Google search on grant programs with key words that match the specific kind of funding you are looking for. Once you have identified what you want to apply for, it's generally all paperwork from there (at least in Canada).

If I am looking to pitch ideas to broadcasters or companies, I usually visit their website to see what kind of programming they are looking for or what donation policies they have in place. I also watch the channels to see what programs they show, or even simply call them and ask for the name of the person to whom I should be speaking. Word of mouth again is very helpful. Panavision, for example, does not necessarily have a donation program in place but while in pre-production on my last project, a friend told me that they sometimes loaned cameras to small, independent productions for little or no money. With that in mind, I called and found out whom I should be speaking to regarding donated cameras, put together a written pitch and made an appointment. I was then able to strike a deal for my particular project.

Financing:

Sources of Financing:

The main sources of financing for the films I have made in the past have been grants from arts institutions like the National Film Board of Canada and the National Screen Institute.

The best way to obtain financing from these sources is to investigate the type of grants they offer, as I stated above. Research the kinds of projects they have funded in the past. Make sure you are applying to the right program and right agency for the project you are trying to fund. If somebody you know has successfully obtained a grant, ask if you can take a look at their application as an example of what these agencies are looking for. Do your best to put together a comprehensive and well-presented application package and cross your fingers!

The best advice I can give to entice any potential financers is to simply write a good story, and pitch and present it with passion.

Financing Process:

The complexity of the process of financing a film depends on how big the project is and how much money you are trying to raise. Funding a low-budget short can be as simple as applying for one or two grants, or digging into your own bank account. Financing a feature requires more money and subsequently more investors who have to be convinced of the merits of your film.

Applying for these grants are not as daunting as the papers may appear, they can just be tedious. All you can do is make sure to give them the information they require and present your idea in the best light possible. Read the application over carefully and make sure you aren't forgetting anything. It's amazing the number of people who submit applications that are missing components or information. If you can't be bothered to double-check a simple application, why should they give you thousands of dollars to complete more work?

The Most Difficult Part of Filmmaking:

The greatest difficulty in making films is having the discipline to keep writing and working when you're not sure if your work will even get made or if there will be any sort of gratifying return for all your effort.