Bigbudget Versus Lowbudget Films

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As an actor, my point of view of filmmaking has always been from in front of the camera and all that it entails to become camera-ready. When I first started working in movies all I knew about filmmaking was what I had learned from the experience of being a spectator. Everything I thought came from my own personal experience of watching movies; my own taste and the performances of actors that I liked formed my opinion. If the movie did not entertain me, didn't evoke some kind of emotion or philosophical response in me, then I didn't like it. If I enjoyed it or it moved me in some way, then I liked it. I never considered the style, the photography, or the editing as being important. I wasn't really aware of the essential roles they played in my enjoyment of the movie. I wasn't aware of how movies were made. All I knew was that I loved watching movies, and I wanted to be in them.

When I started working in front of the camera, there was one other thing that I knew that was essential—how to act within my own circle of concentration and how to use my imagination in my acting. I soon started to learn more about the jobs of the others around me on the set. We were all part of one desire: to make the movie the best that we knew how, with each person concentrating on their own job. My job was that of the actor.

In the beginning, I played very small parts in big movies and lead parts in student and no/low-budget films. I wasn't yet a member of the Screen Actors Guild, and I was working in Europe, so there were no restrictions on what parts I could take. I worked on experimental video projects with no scripts and did scenes for film production classes in schools. I took any opportunity I got to be in front of the camera and be on a set. As long as I trusted the people I was working with not to exploit me in any harmful way, I was willing to put myself into whatever situation was necessary to learn more about acting in film and get in front of the camera. As my experience grew, I naturally became more discerning in my role choices, but at the start I was pretty much willing to go anywhere and do whatever was asked of me.

Because I had a lot of friends who were at the Film and Television Academy in Berlin I would often have the opportunity to be actively involved with the script development process. I was included in discussions when the other crew members would discuss how the script could be photographed, how the set would be designed, and which locations to use. Many times I was allowed to see the rushes (sometimes called dailies, because they are the unedited raw footage of the day's shooting) with the crew. If I knew the director very well, I would visit him while he was editing and converse with him about his editing choices.

The apartment where I lived was very spacious. Some of my roommates were filmmakers, and many of the first films I did were shot in this apartment. I found that the more I learned about movies, the more I wanted to know. I learned to respect everyone's input, and slowly, as I worked on bigger and more expensive projects with strangers, I learned where my job as an actor fell in the hierarchy of moviemaking. I loved every aspect of the collaborative art of moviemaking—I loved being photographed, I loved acting in front of the camera. I began to enjoy every kind of moving image presented on a screen, whether it was telling a story or merely existing for its own artistic sake, as my appreciation for the craft of filmmaking widened.

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Film Making

Film Making

If you have ever wanted the secrets to making your own film, here it is: Indy Film Insider Tips And Basics To Film Making. Have you ever wanted to make your own film? Is there a story you want to tell? You might even think that this is impossible. Studios make films, not the little guy. This is probably what you tell yourself. Do you watch films with more than a casual eye? You probably want to know how they were able to get perfect lighting in your favorite scene, or how to write a professional screenplay.

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