Raindance Film Festival’s charismatic founder was in Haugesund, Norway as an industry guest of the the largest film festival in Norway: the Norwegian International Film Festival. He gave an inspiring “99 Minute Film School” talk there and formed an interesting relationship with Filmkraft – the regional film fund which I will be writing about separately.
I managed to catch up with him on Skype upon his return to London where he is in the midst of preparing for this year’s 24th Raindance Film Festival.
SL: What’s the scene like right now in London?
Elliot: There is something about working and living in London right now that can really get on one’s nerves. Everyone is moaning about the economy and the shortage of money. Then the last coalition government abruptly shut down the UK Film Council in 2010. The howls of portest have been deafening. The BFI has bravely announced the start of their film policy which is slowly being turned into a reality.
[SL: We hear here that the money is still there in the UK, but there are different gatekeepers.]
On top of that the weather really sucks in London.
[SL: It’s not been all that great in Norway, either]
But do you know what? There couldn’t be a better time to try and launch your screenwriting and filmmaking career.
SL: What’s low budget?
Elliot: How low is low? Doesn’t it mean you don’t much (or any) money?
What does low budget mean to the money men? I have worked on productions with millions in the budget, and there never ever is enough money. When I worked as a scenic artist the line producer was always shouting at you to hurry up so there wouldn’t be any overtime payments. We used to dawdle at the end of the day cleaning our brushes, because a few minutes over the hour was worth half hours pay. Sometimes they made us throw our brushes out because it was cheaper than paying the wages for a half hour!
SL: A feature movie made for £50.00 ($75.00) screened at Raindance 2009?
Elliot: This is true. This eensy weensy feature film was made for literally nothing, premiered at the Cannes Film Market in 2009, and ended up getting distribution in over a dozen countries. We also had a movie in 2012 that was made for just €500.00 which got theatrical distribution in Germany. It’s called Heavy Girls.
I have produced features with budgets between a few hundered to several tens of thusands. They’re all low budget. The trick is selling them. And Ive produced a low budget feature that sold to0 Spain for $5,0090, the same price a $2mil picture sold for.
SL: What is the secret of a low budget movie’s success
Elliot: Films that sell need to be genre. Genre helps the distributors know what kind of movie you have made, and gives them a really good idea of how to market it as well.
I know that this is not a popular concept in art house circles, or in the realm of the worthy where ‘drama’ is king. It’s important to realise that all stories are dramas. It’s genre that defines the type of drama or story it is.
This is why I am so pleased that Christopher Vogler agrees to return to London as he has the ever popular Myth genre totally under control. John Truby too visits London from LA where his acclaied 3 Day Genre Event screenwriters and filmmakers on Genre.
SL: What are your favourite low budget movies?
Elliot: This list of my favourites changes all the time, but here is my current favourite low budget films
SL: What are the basic elements of low budget movies?
Elliot: Low budget may be the name of the game, but it doesn’t mean you have to make them with shaky camera movements. Using new camera technology like DSLR, or your cell means that the problem of quality image capture has plummeted.
To make a really good low budget film, the type of film that will launch a career, is totally reliable on the script.
SL: Are there special tricks for writing for low budgets?
Elliot: The elements that cost the most time and money making a film are: moving the crew from location to location, and the number of shooting days. It stands to reason, therefore, that if you have a limited cast, with a very few locations and a shorter shoot you can keep costs down.
The trick is to write a stage play for a limited cast – I’d say three or four characters. But when it’s filmed, make it look like cinema. Reservoir Dogs, Night of the Living dead, 12 Angry Men, Rope, Blair Witch Project and Paranormal Activity are all examples of the “Take 12 kids to a house and chop ’em up” theorey of low budget screenwriting and filmmaking. When you see these fiolm you are far removed from a staged play experience, aren’t you?
SL: What are your views on European film training?
Elliot: Film training everywhere seems to be descending into academia where the studies tend to be very inward looking and self serving. The actual techniques used by filmmaking tend to be very basic. The best way to learn is by doing. Trial and error. And by watching films and reading scripts.
[SL: How has this shaped the Raindance Film Training programme?]
Raindance courses are designed to give people practical information from working filmmakers. This distinguishes what we do from most other film education programmes. In addition, when someone calls up to book a course, we often suggest they take the money they are going to give us and go and make a film instead.
[SL: But your courses are so cheap!]
Maybe we should raise our prices!
Seriously though, there are still excellent film schools in Europe and America.
SL: What can I learn at your weekend Lo-To-No Budget class?
Elliot: When I started working in film, I realised it was all about deals. The producer was always writing cheques. I then saw that these cheques fell into about 40 different categories, be it for camera, actors, editing and so on. So really filmmaking is writing a series of cheques!
Day One I explain how to keep those cheques as small as possible and put value for money on the screen.
Day Two I will explain how to turn your film into a movie using the powerful tool of publicity which hopefully will turn you and your film into this years cult classic, as well as detailed discussion on raising finance, pitching and distribution.
SL: What about social media?
Elliot: Social media has revolutionised filmmaking and distribution. There are two kinds of filmmakers who cross my path: Those who loathe and abhor social media and would never be caught dead with a Twitter account, and those who embrace it. Social media is here to stay.
Successful filmmakers today need to have a clear and profound grasp of social media and learn how it can assist their film and their career.
SL: What is the biggest mistake you see filmmakers make?
Elliot: There are three basic mistakes I see over and over again:
– a terrible script
– uncleared music rights
– they don’t realise that their friends cannot ac
SL: What was your biggest mistake making movies?
I hate to say it, but I have made every single mistake in the book.
[SL: And lived to tell the tale!]
SL: What is your advice to someone wanting to make a movie?
Elliot: Get a script, get a camera. Any camera. Get some tape or film stock. Point the camera at actors and expose your film stock to actors.
That’s really what filmmaking is all about.