If I’m working in a studio, I want to get the location right, make the costumes right, set the angles right, make the camera work properly. A lot of film shoots, they’re done at a set. A lot of people try to do it in a trailer. I don’t think that’s a bad idea.
So you can do it in a trailer, but do you need a trailer for that?
Well, I don’t know, we’ll see, we’re trying to make a different film now. We’re thinking about it to make it special.
There are a lot of people who are working at the studio and they go out on location and they do the film, but you have to find a studio that will let you shoot and see the footage and give you the support.
One time, I saw a film that was done on location, and we did the film and then they sent the footage to a friend of mine who was in the business, and he helped direct it. We didn’t care what was said about the film, we just needed to watch film. Now, the reason I wanted to see that film was that somebody said, “Oh, great movie, shoot that, watch it.” That’s not the reason, that’s me thinking, “This guy has got a good idea,” because I’ve never seen or even heard of someone doing that before, because there are a lot of things that studios will do that you can’t do, they’ll pay people to do.
So you’ve got to build a crew and you’ve got to find a studio, so I think that’s what I want to do because the idea is, I don’t want the film to be like a movie, like a play. It doesn’t have to be an original story. A guy can come in, go down to New York, and create a piece of art, and there is a film out of that, that will really show people what it means to create something from nothing.
I don’t just want it to feel like a movie, that is what gives me confidence – that’s why I’ve really put so much energy into making a documentary. So the film should be able to stand on its own, but it doesn’t have to feel like an original film. I want my film to be as unique as the subject matter.
I can’t go about making a film on a set because the studio will just tell me to
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