3 Things I Learned From My First Channel 101 Submission


1. Writing

At this point in the game, don’t worry so much about your production value, which is what I think Bret Ratern was trying to say, he just couldn’t articulate it well. (look at the video below to see what I’m talking about) Learn to write a simple story and move up from there. If you have a great story, people will forgive low production value. I recommend reading Dan Harmons articles on story telling. It was like a power boost in my filmmaking - CLICK HERE FOR THE ARTICLES 

2. Restrictions Help Us

The most helpful piece of information I learned from reading, “Story” by Robert Mckee was that restrictions force us to be creative. Like many young filmmakers, early on I wanted to reinvent the wheel, show the world something they never seen before. Although the ambition was noble, I didn’t have the skill set or the manpower to execute my projects well. The end result was a lot of wasted money and crappy video. But when I decided to work with what I had - no audio, an SD camera, 2 locations, I created a Hip-Hop themed silent film. It was not only simple, but also my first watchable narrative.


- SD Camera

I used my mini DV camera and change the 4:3 aspect ratio from 16:9 by using the anamorphic setting, in order to make the project it look current. A good director is not someone with a huge budget but a person who can make “shit” look like gold.

- Stretch Location

Instead of going all over the city and filming in exotic areas. Pick one or two locations and use every bit of it. At the park we used the belchers, the swings and the bench next to the trashcan. I stretched one location into 3! Not only did this made our production value look bigger, it also save me a lot of time and money from having to drive all over LA.

- Audio

If I think of all the things that can go wrong during production, the one that keeps me up at night is AUDIO. Sure, you can have a very nice DSLR camera but it means nothing without good audio. Its one of the easiest things to neglect but it’s so important to creating a believable narrative. I tried to work around it, which is how I came up with the idea of a silent film. Even though I didn't make it into the screening, I believe, if I included audio, my pilot could have gotten a live screening. Therefore, this month, I finally bought a shotgun mic.


3. Keep Creating

So this month I didn’t make it into the live screening but thats ok. I learned a very important lesson about audio. I also learned that is not about making one video – its about making many videos for a long time. Keep producing. Keep writing. Keep improving. Take a look at Woody Allen. The guy is 77 years old and he’s still directing – that’s crazy! He doesn't have to make films anymore, but he does it anyway because that's how he express himself.



2 Great Books to Learn About Acting

With Mathew Szymanowski

With Mathew Szymanowski

saw some clips of the Purple Onion and it looks SUPER awesome. I can't wait for you guys to see the film! This was my first feature film, where I play the lead. Johnny Lee. I read some books on acting to help me out. I'll save you the time and tell you the two books that most influence me: Film Technique and Film Acting by V.I Pudovkin and The Definitive Book Of Body Language by Allan and Barbara Pease. You don't have to follow these tips strictly. Use your own judgement and see what works for you.

Film Technique and Film Acting

V.I Pudovkin is a famous Russian Director, who Influence Stanley Kubrick  (found that out on wikipedia). He made several amazing films I never saw; these films include Mother, The End of St. Petersburg, Storm Over Asia, and Suvorow.

I'll be honest, the book can sound pretty pretentious just read this quote   

The old paradox of Diderot, which pointed out the possibility of the actor during a show being able to make the specter cry by the excellent playing of his role and simultaneously, his colleague laugh as he stands in the wings, by a comic grimace, and which thus apparently established the possibility of mechanical split in the actor's behavior into behavior of a living person and behavior in the play -none the less in no way contradicts the necessity, at some stage or other of the actor's working on his role, for a whole and organic unity of these two behaviors. 

I'm still not sure what he means to say with this ONE SENTENCE. If anyone can help - me please do.  


In the chapter, The Basic Contradiction, Pudovkin explains TYPE. He says that the film actor must present herself as a real person, while playing the role of the character. The art comes with finding a balance of the two. He argues that everyone has a set of personalities that is uniquely their own. No one can replicate your up-bring exactly. Even if someone managed to do that,  your personal philosophy will lead you to make different decisions. Therefore, if you, the actor, are inherently a nice person, and you play a rapist, you'll just be a nice guy playing an rapist, which will take the audience out of the story. 

Hence the creation of the image must be effected not by mere mechanical portrayal of qualities alien to him, but by the subjugation and adaptation of qualities innate in him (pg 241) 

Play to your own strengths - use what you know in your own life and it will come off natural. Understanding TYPE help me avoid the pitfall of trying to be an alpha male, the one typically associated with the Action Adventure genres. I was free to do what is natural to me and it didn't feel like acting anymore. 

The Definitive Book Of Body Language


The Definitive Book Of Body Language Pg 187


This book taught me everything from, increasing your chances at a successful business transaction, to giving the "Power Hand Shake."

This one page save me a ton of time. Like most people, I suck at reading lines. I was trying to use the least amount of dialog, while still create an interesting character. Because film is a "visual medium" using facial expressions and gestures are powerful talking.

If I wanted my character to convey an emotion, I would use these pictures as a reference to help my acting. So, if Johnny was recalling a feeling I would look to figure C..     

Now the danger here, is relying too heavily on books to tell you how to react. It turns the process of acting into a machine, which will create a stale performance.  

I only use these books as a REFERENCE. I do not recommend actors to follow this perfectly because everyone reacts to things differently. So if the actor feels unnatural making these gestures - DON'T DO THEM.

The Purple Onion is in Post Production and I hope that it will be out by the end of this year. For more information please go to: www.thepurpleonionmovie.com