Indy Mogul - DIY filmmaking

WestHavenBrook Behind-The-Scenes Footage

Mon, 13 Oct 2008 01:52:16 EDT

Here is some brand new behind-the-scenes extras from WestHavenBrook, with some new footage of their epic action sequence that they've been working on for their new film.

Interview: Low-Budget Master Mark Pirro

Fri, 10 Oct 2008 12:00:00 EDT

A Polish Vampire in Burbank - trailer

This week, I got a chance to talk to Low-Budget Independent Filmmaker, Mark Pirro. For nearly 30 years, Mark Pirro has been making films on his own terms. In the early 1980's, a full decade before the Indie Film frenzy of the 90's, he completed his first feature film "A Polish Vampire in Burbank" for less than 3,000 dollars. A true labor of love, Mark not only wrote, directed, starred in, edited, and produced the film, he also mixed the sound, and did many of the voices. It went on to become a great success for such a small film, making over half a million dollars in the home video market, and establishing Mark as a recognized filmmaker. Since then he's directed 7 feature length films, consistently maintaining his own personal artistic vision with no compromises.

I was lucky enough to have a chance to talk to Mr. Pirro and I think he gives some really candid advice on making your own movie, that I think we can all learn something from. So check out the trailer for his first film "A Polish Vampire in Burbank" above (warning, some mature content), then learn something from Mr. Pirro below!

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Wes: What was your biggest initial inspiration to first become a filmmaker? Did you start at an early age, or did it strike you later in life?

Mark: As far back as I can remember, I always had a fascination with films and the filmmaking process. I got a super 8 movie camera for Christmas when I was 13 and proceeded to make many short films utilizing my friends and classmates. The films would run 10 - 20 minutes and then we would have 'screenings' in my attic. At times, I'd take the films to school and show them in some of our classes. Sometimes we'd put a sheet outside over the backyard fence and have friends come over with sleeping bags for an impromptu drive-in. I always got great pleasure in showing off the films I made.

You are in a lot of ways the Godfather of the hyper-low-budget independent feature. In the early 80's, long before Robert Rodriguez gained renown for "El Mariachi", you completed probably one of your most well known films "A Polish Vampire in Burbank" for under $3,000. What were peoples reactions at the time when you told them you were making a feature-length film for such a small amount of money, and how (if at all) did people's reactions change once you actually completed the film?

I had made many short films before that, and Polish Vampire was just going to be another project. Every film I had made before that didn't cost all that much money, so this was no different. The only major difference, I suppose, was that it was to be feature length. The longest film I'd made prior to that was "The Spy Who Did It Better," which ran about 45 minutes. When Polish Vampire was completed, I'd say most of the participants were pleased with it. Naturally, they were all surprised when it actually got distribution in the home video market and on cable television. I really never intended to sell it. I had planned on simply using it as a showcase to possibly get other work. I think the actors felt the same way.

Having completed 7 Feature length films totally yourself, and many more short films, what is probably one of the most important pieces of advice you can think of to keep costs down?

Be well prepared. Know exactly what you need and do whatever you can do to get it. Utilize locations you have available to you. If your actors or crew have access to decent locations, use them. Write your script around them if you can. Too many low budget films are shot in two or three locations, and they have that look. In one of my early films, the occupation of our main characters didn't really matter to the story. I think they were clothing distributors or something like that. Well, I had a friend who had free access to a telecenter. Since the occupation didn't matter to the story, we switched their occupations from clothes clerks to telecenter operators. We got instant production value and nothing important changed in the story. Make friends. You'd be surprised how many people have something valuable they can contribute to a project, either in skills, equipment or locations.

With cheap HD Cameras, and powerful personal computers having become ubiquitous, how do you see these technologies as further changing the system?

Back in my early days, it took a bit of a financial commitment to make a film, as least for raw stock and processing. Any post work had to be done at a lab or post house. Even something as simple as a dissolve had to be planned well in advance and couldn't be done easily (unless you had a camera that could backwind). Today, that's no longer necessary. This is why it costs me less to produce an indie movie today than it would have in the 80s or early 90s. The technology available today puts a lot more players on the field. That's a good thing and a bad thing. It's good because it gives people the opportunity to make films who would never have attempted it before. It's bad because it gives people the opportunity to make films who would never have attempted it before. And with places like Youtube, Livevideo, funnyordie, etc, there are plenty of outlets for them.

Many people have suggested that these increasingly user-friendly technologies will lower the bar for entry dramatically in regards to filmmaking. How do you think filmmakers will have to adapt to get their work to stand out in a world that is predicted to become increasingly "crowded" with independent films?

It was never easy to get one's work seen. When there were a handful of independent filmmakers, there were a handful of festivals and competitions. Now there are football fields of independent filmmakers and there are football fields of festivals and competitions. I've never been big on festivals, since many prey on desperate filmmakers who want their work seen. So they pay the ransom to get their films considered, and a lot never get accepted. I've always felt that was a racket, more so today than before. Everybody with a video camera is a potential filmmaker today, which does indeed saturate the market. But whether there are a lot or a little of them, a filmmaker has to be a promoter. However even being a promoter doesn't guarantee success. There really are no hard and fast rules. I say make a film the best you can, throw it in the ring and see if people start to embrace it. Have a good poster for it and make a great trailer. Other than that, hope for luck.

One of the most common concerns we've fielded in regards to many independent filmmakers, especially younger filmmakers, is the difficulty in finding actors, and by extension the difficulty of having people take them seriously. What is some of your advice on how to find good actors, and how to give your project as much "legitimacy" as possible?

Practically every film I've done has had some actor troubles, from my lead quitting in Polish Vampire to my lead losing interest and becoming less available in Curse of the Queerwolf. When you're not paying actors, you're working for them. You need to get the actors to feel that they have a stake in the film too. Get them excited. The director sets the pace. If he's passionate about the project, that passion will rub off on the actors - the serious actors anyway. Some people act for a lark and don't take it all that seriously. You want to identify them early on and weed them out. Over the years, I've developed a sense of being able to tell who will follow through with a project and who will most likely flake out. I've been right about 90% of the time. I've only had two actors quit on me in over 30 years of filmmaking. I've had actors who became a bit of a problem during the shoot and in those cases, I would rewrite the script to give them less to do. Another important thing is to promise them footage of their scenes AND SEE IT THROUGH. A lot of independent filmmakers don't care about the actors when they've got their film shot. I know many actors who try to get footage from the director and they get ignored. My actors always get footage when they request it, even before the movie is finished. I also offer to put together a demo tape for them as well.

You've always made your films very efficiently with creative resources many times having to replace monetary resources, how do you both raise the initial investment for your film, and secondly how do you make the monetary resources you're able to assemble last the entire production? Is it all in good planning or is there more to it?

My last film (Rectuma) cost around $1000 to produce, the one before that (Color-Blinded) cost less than $500. The one I'm currently working on, (The God Complex) about $2000. With budgets that low, there is no raising of initial investments. It's money I have in my sock drawer. The film I'm doing right now is probably my most ambitious project, since this movie takes place in biblical times. It's the first film I've ever made that didn't take place in contemporary times, which created challenges I've never had to deal with before. The biggest expense in the film I'm currently doing is a set that I built in my backyard (you can see stills of it on my website), that cost about $200 to put together. We also needed period costumes. I have a gal who made several robes and such for the cost of material (roughly $100). Most days we film cost us nothing. Every once in awhile, I get generous and take the cast out to lunch, but that's not the norm. There are no salaries, unions, huge crews, or anything else to drain a budget. We rarely shoot for more than three to four hours at a time (that keeps the actors and crew fresh and happy to be there). You can see some behind the scenes of The God Complex here. You'll notice that it's a fun and friendly environment and everyone who is there is there because they want to be and they're enjoying the experience.

Having completed short films, and feature-length films of varied complexity, how does the amount of resources and level of prep-time necessary differ between them, and what is some basic advice you have for someone who has made primarily shorts who wants to move to making their own feature-length film?

There's an old saying, "How do you eat an elephant?" "One bite at a time." Making a feature film is not that much different than making a short film. It just takes more time and effort to keep everyone interested. You need to sit down with your actors and crew at the very beginning and tell them that this may take a LONG time to complete, and then make sure they're on the same page as you. Assure them that you will always work around their schedule and that they should never have to give up any paying gig for your project. Be patient and never lose your passion. If you start losing it, your actors/crew will too and will become less and less available. If the project no longer seems fun to them, they'll show up less and less and start making up excuses for why they're not as available (usually they'll say that something personal in their life came up or they just need to work more). Whatever the excuse, the real reason is that they no longer are interested in your film. If you show up every day of your shoot knowing exactly what you want, your crew and cast will pick up on that confidence and they will feel comfortable with you and your project.

Having gotten some great recognition for your work, your films having appeared on network television, and getting your films into the likes of the Cannes film festival, what are your suggestions to filmmakers who want to try to get their films out to festivals, and how best to promote their work?

I kind of answered this above, but you just need to make everyone possible aware of your film. Start with a website. Put trailers and clips up on video sites like youtube. Send out press releases to television, radio and newspapers. All you need is a few big ones to bite. Sometimes it feeds off itself. We once did a film in the early 90s (Nudist Colony of the Dead), that started getting news coverage just from the title alone. First a show called "Hard Copy" did a segment on it, then "Entertainment Tonight" did one, then Fox News. Each one became aware of the film from the previous news show it appeared on. If you can get that snowball rolling, it can get big. The trick is to get the momentum and that's not an easy task. You can also try to get a distributor to take the film to the markets like Cannes and the AFM. The only problem with that is that you will not see any money from them. If they do manage to sell it anywhere, they will use whatever it earns to offset their expenses of getting it there. This is very common.

Overall, working from your many years of experience what do you think is one of the most important pieces of advice you can offer to aspiring filmmakers?

You have to want it. I mean REALLY want it. I know many people who think they want it, they start a film and either don't finish it or they finish it and decide that they never want to do it again. Secondly, DO NOT spend a lot of money. You have a less than 3% chance of selling your film and those are not very good odds. So if you can make your movie and not go broke doing it, you'll have the experience of making a film and not lose your house, car or relatives. Three, make friends. Find people that have a common passion and want to achieve a common goal. And four, don't make it with the intent of selling it, because you probably won't. Make it because you enjoy filmmaking, make it because you get a thrill of capturing moments in time and piecing them together to tell a unique story. Many artists paint and singers write and record songs not because they make money, but because they enjoy doing it. Sure, it would be nice to make money off your film, but don't do it solely for that goal. This is where we lose some filmmakers. They can't understand why anyone would want to go out and spend all the time and effort to put together a film without the intent of selling it. Simple, if you enjoy the process, that should be your reward. Do you refuse to have sex unless you make money from it? Any financial reward is the icing on the cake, but this is what separates filmmakers who are deluded and those who purely enjoy the craft. If you're talented, the money will come...eventually

And finally, what are you working on right now, and where can people go to learn more about your work and keep informed about what you're working on next?

For the last year and a half, we've been working on a biblical epic comedy called "The God Complex." You can keep up to date on it at www.pirromount.com (we update the info every month) and on various video websites like Youtube. We also have a toy featured in the film called, "The Submissive Jesus Prayer Answering Talking Head," which we have manufactured and mass produced (my first attempt at merchandising) which is available at www.thesubmissivejesus.com. The same toy featured in the movie is available for purchase (a trick I learned from Kevin Smith with his "Buddy Jesus."). You can see a trailer for it on our site as well.

Thank you so much!

You're quite welcome.

__________________________________________

Check out Pirromount over at Pirromount.com and read monthly updates on his next film "The God Complex".

View the entire films from Episode 3 - The Dating Game

Thu, 09 Oct 2008 11:42:21 EDT

You've seen the clips from the show here.
Now, watch the films in their entirety below!
Discuss these films with other filmmakers at our forums.

FROG PRINCESS
by John Mckinney
Email the Filmmakers.
Visit their website.

EXPIRATION DATE
Written/Directed by Noah Pohl
Email the Filmmaker.
View their website.

DOUBLE STANDARD
Written by Matt Pearl
Directed by Jesse Scaturro
Email the Filmmakers.
View their website.

COMMITTED
Written/Directed by Erik Lundin
Email the Filmmaker.
Visit their website.

Wesley's Weekly Presents... Slush Mold Prosthetics

Wed, 08 Oct 2008 18:55:31 EDT

Hey guys, Wes here, I am unfortunatley indisposed today because of the Holidays, so our good friend, fellow Moderator, and Make-up Queen Arissa is going to be filling in for me today, so I hope you guys enjoy it, and i'll see you next week!

_______________________________

Slush Mold Prosthetics

By: ARISSA BECK

Hey Indy Mogulers! I’m back! Did you miss me? Of course you did. This Wednesday I’m going to teach you some DIY mold making. This is something quite a few of you have requested. So here it is.

Now this process can be used for several types of prosthetics. I chose to make a simple exaggerated nose prosthetic. This could be used for an evil witch character or a Pinocchio type look. You can use this method to make fingers, ears, chins and many other things.

Supplies
Clay
Plaster
Liquid Latex
Powder/ Baby powder
Carving tools
Scissors
Tin Can/ Plastic container
Mannequin head/ Model

First you want to lay your head down on a wiggle free area. I used an old pillow covered with a trash bag in order to support my head and to keep it from moving. Then you’ll give your nose a generous amount of clay.

I started to work the shape into a more distinguishable nose shape with just my fingers and removing excess clay in the process.

I used my tools and fingers to help smooth out the clay in order to achieve a better shape.

It then became time to prepare for the mold making process. Take your tin can (or plastic container) and use a can opener to cut both the bottom and the top off. You are then left with an open tube.

Place your can over the nose and seal around the can with your extra clay. Be sure everything is sealed as to not let any plaster escape.

Mix up your plaster and begin to pour over your sculpted nose. Periodically tap and shake your head in order to fill cracks and release air bubbles in the plaster.

Once your can is full let the plaster dry. A good way to tell if your mold is ready is by temperature. While your plaster is drying it will become warm to the touch. When it is back to a cool temperature, you’ll know it is dry. This can sometimes take overnight.

Once your plaster is dry, remove the excess clay and slowly pull your mold away from the sculpted nose. You will have some bits of clay in your mold, just be sure and to remove them before the next step. I just ran mine under some water and used and old toothbrush to help free up some of the clay.

Once you are finished cleaning out your mold, it’s time to add some latex.

It’s better to add more latex than you know you need to cover the inside of your mold. This is where the slush process begins. While your latex is still wet begin to slosh and move it around to cover the entire inside. If you have too much latex in your mold after it is covered just pour the rest out.

Once the latex is dry, generously powder the inside.

You now can remove your prosthetic piece from your mold. Start by slowly peeling the edges back. Do this very SLOWLY; adding powder when needed so your appliance doesn’t stick to its self.

Once you are done with that take a look at what you’ve created.

Before applying the prosthetic, you may wish to trim up your edges. But be sure to leave a bit of a lip for easier application and blending into the face with make-up.

Oh wow! Look you are done creating your prosthetic appliance. Congrats!

Best Short Films Show - Monday's Message - Where ya at TMIWeekly.com?

Tue, 07 Oct 2008 09:07:40 EDT

We have an AWESOME selection of films this week. Check out my video message above for info on this week's theme and a note to the gals at TMIWeekly.com. And don't forget: check back here Thursday for a brand new show!

In the meantime, be sure to leave me a comment or call my voicemail line: 646-274-4625. And if you're on facebook, click here and be a friend of the show, will ya?!

(PS. Read my original proposal to TMI Weekly here. And their response here.)

Erik's Production Vidblog - 10/4/08

Sat, 04 Oct 2008 03:41:38 EDT

Erik's Production Vidblog 10/4/08 from Indy Mogul on Vimeo.

Find out what the next BFX project is!

View the entire films from Episode 2 - Nature Strikes Back

Thu, 02 Oct 2008 11:19:05 EDT

You've seen the clips from the show here.
Now, watch the films in their entirety below!
Discuss these films with other filmmakers at our forums.

JUST GEESE
Written/Directed by Russell Hasenauer, Chad NewHall, & Kristoffer Night
Email the Filmmakers.
Visit their website.

JUR
Written/Directed by Tobias Sparrman & Alexander Felsing
Email the Filmmakers.
View their website.

THE ELK HAIR CADDIS
Written/directed by Nick Clement
Email the Filmmaker.
View their website.

THE MYSTERIOUS BOX
Written/Directed by Brendan of Nonsensical Studios
Email the Filmmaker.
Visit their website.

Wesley's Weekly HOW TO: Prop Landmines

Wed, 01 Oct 2008 23:31:09 EDT

A common prop from War movies landmines have been a part of a lot of tense and dramatic moments on many many war films. Now, i'm going to show you how to make a type of landmine today that you can fit into your film.

First, I started with a styrofoam ball that I purchased at my local hobby and craft store.

Then I cut it in two...

Then roughly marked where the pressure pins were going to be pushed into the foam.

I then pushed wooden dowels into the foam, and glued them into place.

I then got a nut jar with a rubbery plastic top, and cut a hole in it.

Then pushed this can into the hole.

Then I hot glued the foam sections onto the top of the can.

I then painted it with a primer coat of dark silver paint.

I then painted it with a layer of Olive-Drab paint to make it look closer to military equipment. It would also be pretty easy to stencil a serial number or something on it to make it look more "official". Just do some distressing on it to reveal some of the silver paint underneath it, and you could even speckle it with some brown and red paint to give it an older rusted look.

But just bury it (if you're going to pull it up and defuse it or throw it around or something, make the entire thing) but to just have them spread on the ground, just make the top "mushroom" part and stick them into the ground.

When your character steps on it, just get a metal click noise (which you can either get off the free sound project, or record yourself by lightly hitting two metallic objects together) and add that in, then use something like the "Disappearing" trick where you just turn the camera off, then turn it back on, and toss in some debris flying in the air from detonation films, and it becomes pretty easy to make a really easy Exploding Landmine effect.

Videomaker 21st Annual Short Video Contest

Tue, 30 Sep 2008 02:17:34 EDT

Videomaker Magazine, one of the oldest magazines focused on Videography and Video Technology, is holding their 21st Annual Short Video Contest.

They are looking for short videos 5 minutes or less (:30 or :60 for Commercial categories) in the following categories: Commercial/PSA, Event/Corporate Video, Drama/Action Video, Music Video, Sports Video, Educational Video, Documentary, Student-Produced, Animation, Comedy, Young Video (open to anyone born in 10/31/1988 or later), and Senior Video (anyone born in 10/31/1953 or before)

GRAND PRIZE IS A Canon XHA1, so you've got lots of incentive to win!

Entries are due by October 31st, so hurry up and get them in! Check the page for complete rules and entry form.

Moguler Accepted into Dare2Direct2!

Mon, 29 Sep 2008 23:12:12 EDT

Moguler Sminc, submitted his short horror film "Wardsman" (follow the link to vote on the video!) to ChillerTV's "Dare 2 Direct 2" contest (that I mentioned a few months ago), and was accepted as one of the Finalists from the hundreds of submissions!

So how about helping your fellow Moguler by checking it out and tossing some votes his way! Congrats Sminc!

WestHavenBrook Update: Sept. 2008

Sat, 27 Sep 2008 01:51:50 EDT

I know you guys have been asking a lot of questions over the last month, since I posted the Interview and car chase teaser for WestHavenBrook's Big project. Well fear not for John is here to keep you updated about the project, and his affinity for bank robberies.

Check back often for a new update soon!

Erik's Production Vidblog - 9/26/08

Fri, 26 Sep 2008 02:32:14 EDT

Erik's Production Vidblog 9-26-08 from Indy Mogul on Vimeo.

Another little teaser video getting you excited about what is coming up for Indy Mogul!

I like these Vidblogs. I might have to do them more regular like. What do you think?

Indy Mogul and VoteForChange.com

Thu, 25 Sep 2008 21:54:44 EDT

Indy Mogul and VoteForChange.com from Indy Mogul on Vimeo.

We don't care who you vote for, just that you vote. Also Vote For Change is promoting filmmakers that make cool videos for them. So make a video for a good cause and maybe get your name out there at the same time! As an Indy Moguler just send us an email at comments@indymogul.com and we'll make sure they see it!

View the entire films from Episode 1 - All About Food

Thu, 25 Sep 2008 12:42:48 EDT

You've seen the clips from the show here.
Now, watch the films in their entirety below!
Discuss these films with other filmmakers at our forums.

60 CUPS OF COFFEE
Directed by David Ward
Written by Robbie McCallum
Email the Filmmaker.
Visit their website.

RETURN TO MENU
Written/Directed by Matthew Dressel
Email the Filmmaker.
View their website.

LIFE OF CRIME
Directed by Daniel Scheinert
Written by Justin Becker
Story by David Horwitz & Justin Becker
Email the Filmmaker.
View their website.

HOT SPAGHETTI
Written/Directed by Tim Rutherford & Cody Kennedy
Email the Filmmaker.
Visit their website.

Interview: beast. films about "Charlie On Parole"

Thu, 25 Sep 2008 00:47:03 EDT

"Charlie On Parole" Trailer from Beast Smith on Vimeo.

This week I got a chance to talk to beast. films about their up-coming film "Charlie On Parole" (trailer above), which stars T.J. Miller (Cloverfield), as Charlie, a recent parolee having to deal with life outside of prison, and struggling to be treated like a human being. The trailer looks very funny, and I frankly can't wait for it, so check it out, and after you're done watching check out the interview I conducted below!

ALSO, Watch the Trailer in HD HERE.

_____________________________

Wes: How did each of you get interested in filmmaking?

Beast: We all had been interested in film for a while, but probably got started in our comedy groups. I (Paul) started making short comedy sketches with my friend Travis when I was a junior in high school. That kinda stuff made you cool because no one knew how to edit things then, there was no youtube and stuff. So having edited video made you a super stud. Kevin and Darren are in the group receSs at George Washington, and they always have awesome videos that they show at performances. But we've always had a deep love for filmmaking.

When did you all begin working together as a team and what was your first project as a team?

Well it was kind of a slow transition from basic acquaintances to collaborators, but basically we were connected through a friend of ours who goes to GWU with Kevin and Darren. They are in the George Washington University comedy group, ReceSs, and my friend who was part of the group introduced us. We slowly started doing improv and smaller projects together until we formed our own sketch/improv group, beast. in the summer of 2007. We did a few video sketches, realized that we all wanted to have some kind of career revolving around film, and that we should make a short. So in a way, this kind of was our first real long term "project" as a team.

Having worked primarily on short films and comedy skits, with the previous collaborations of beast. Comedy, how does this project differ from earlier projects in matters of complexity and work you've had to put into it?

This was the hardest thing I think any of us have done, because we had to produce it (on set and off), write it, get a cast/crew, basically everything you could ever imagine that is supposed to be spread throughout a wide number of people. We had a lot of help along the way from our DP Gus and friends, but mainly the work was thrown on our shoulders by default.

We had no idea how to do a lot of it, and we did a bunch of stuff wrong. Like spending money on stupid shit, and not having a line producer/production coordinator on set. Dear god if we only had that.

Also, coordinating with TJ was a hard, but it proved to be well worth it to stick with our high expectations.

How long did it take you to prepare for this project, resources, and logistics-wise? Was it difficult to organize the resources to undertake it, and what advice do you have to amateur filmmakers about preparing for their own projects?

Since Kevin and Darren were back to DC in September for school, a lot of the pre-production was spread over a longer period of time then it should have been. It's hard to collaborate through a phone or an iSight, so I would go down there every now and then we'd work on a ton of things, and then I'd have to go back. That definitely put a strain on our process.

My advice, again to amateur filmmakers about preparing projects is pay someone to produce/organize everything, even though I'm sure that's a given to most people. Even if you can do it yourself (sure you can, anyone can), you shouldn't because that takes your focus away from what matters when shooting a film. Kevin and I were on set, and instead of worrying about performances and getting a point across, we'd be worried that the van wasn't going to find a parking spot in Manhattan. It's very worth it to pay people for that sort of thing so you don't get stuck taking a phone call about a light rental when someone is waiting for a blocking rehearsal.

Also, prepare A LOT when you are directing a film. Like, think about the smallest details, because you probably will get asked the most obscure question. Most of directing is making really fast decisions, whether they are right or wrong. You just need to make decisions and then kind of stick with them. I guess it's a lot about instinct and trusting people you know you should trust.

You have T.J. Miller, best known for his recent role as "Hud" in the blockbuster "Cloverfield", starring as the main character Charlie. How did you get in contact with Miller and what is it like working with someone whose been recognized and established in a previous film of such renown?

He is amazing. I still to this day can't believe he shot this film with us.

TJ used to be in "ReceSs" the GWU comedy group that Darren and Kevin are currently a part of. TJ is someone who maintains connections, and he was always heavily connected to the group and proud to know any of its members. Kevin and Darren met him, and I did shortly after, while he was filming "Cloverfield". We actually had no idea he was in it until we went home and watched the teaser and got all excited because we heard his voice behind the camera.

He took beast. out one night to a shitty dive bar (because we were under 21 at the time and that was the only place we could go. He made the other actors in Cloverfield go there so he could hang out with us. That just goes to show how grounded and nice he is). At the bar, he gave us this meaningful speech about how now is the time for comedy groups to make films and produce as many scripts as you possibly can. He kind of left us inspired, and we figured that we should just write a short and shoot it, since the summer was ending soon and we wanted to follow his advice. So then Kevin and I came up with the idea for the film and started writing it. Darren became a part of it soon after.

TJ didn't really come into the picture until later on. Our choice for the lead role was a performer at UCB named Charlie Todd. He, however, was doing a bunch of stuff for his group Improv Everywhere and couldn't really commit to the time. So we auditioned a bunch of people, and couldn't find anyone who fit. So it was a total shot in the dark with TJ. We never expected him to say yes, we never expected him to respond actually. He was in the middle of shooting "Carpoolers". He was busy and his career was rising. He had no reason to say yes, and he said yes. I have no idea why.

To be honest, I don't think he realized what he was getting into, but in a good way. I think he anticipated something a little smaller then what we had planned. Me being in film school really helped in terms of connections to good equipment, very talented friends, and a general understanding of production. I think the first day he was a little impressed with what we had whipped up.

The first weekend we shot was when Cloverfield was coming out. Between shots he would look at his I-Phone and give us a new update on how it was doing. It was surreal to have him just sitting there going "64 million now." And then we'd say "OK, in this scene you should maybe tone the facial expressions down. And by the way, you're not getting paid. And stop juggling."

But it was great having him there. He had so many suggestions, but never stepped on anyone's toes. He would always take us aside and quietly whisper something we should do, and then we'd do it. He never played the celebrity card, never asked for anything more then a seat and a place to practice juggling. He was just amazing to work with and that ended up being an experience all on its own.

Did any of the members of the beast. team go to film school and what are your thoughts on it?

I went to film school, I just recently took a hiatus. I think film school is great if you go for the right reasons. If you go to film school in New York or LA, network and meet teachers that can help you out, then it's worth it for a few years. But if you go to film school in Ohio to learn how to "direct", you're basically just piling up student loans for no reason. Most people who went to film school say it was worthless, whether they're successful or not.

What did you shoot "On Parole" on, film or digital? And why did you choose the medium?

We shot on HD with Lens adapters. We basically chose it because it was the cheapest and best looking.

What do you feel is likely to be the long-term impact of digital technology on filmmaking? Will the explosion of cheap cameras with cinematic features, powerful computers, and free distribution networks on the internet change the system? Will it be for the better?

I think it's for the better, though with new technology always comes its downfall. More people will be making films for less, but that means it'll be harder to impress people with a good looking movie. But I feel that you can't buy sensibility, that's sort of something I learned in film school. Kids spend upwards of 30 thousand dollars making their opus, but it's like a piece of crap wrapped in a tiffany box, you're only fooling people so much.

With these tools providing more opportunities for filmmakers, while at the same time making filmmaking easier, it is lowering the bar in a lot of ways, and we've seen that with the massive amount of content on a network like YouTube from people all over the world, from all walks of life. With this flood of content, it can be hard for filmmakers to be noticed, how have you guys gotten noticed, and what are your advice for other filmmakers on how to get their work noticed?

I don't think so. I think effort and talent shows. I think a script and actors are the most important. It's like music; anyone can learn how to play the guitar, if you practice months and months for hours you will be awesome. but not everyone can write a good song, and that's kind of the most important thing. it hasn't really gone far yet because we're still finishing up the post process, but I would definitely say if anyone has taken us seriously so far, it's because of TJ and the rest of the cast, it looking so good, and the humor in the scenes. We put up a scene of it and the trailer online, and have gotten a lot of responses already in terms of promotion and distribution help. We're sending it off to festivals this week, so I guess we'll wait and see.

What are your distribution plans for "On Parole", and what are your suggestions for other filmmakers on how to contact distributors, who to talk to, and how?

I don't know if we have strong "plans" for it. We're just sending it to festivals and seeing if we get any bites. We really have no true experience in getting distribution, so hopefully this film will be a learning experience in that.

What do you feel, as a filmmaker is the most important advice you can give to other burgeoning filmmakers?

I guess it's "don't take no for an answer", or rather "don't let the idea of someone saying no keep you from trying". that's a big lesson we learned in this film. Every breakthrough we had with it was an instance when someone should have said "no". TJ should have said no. Our friends and family, who financed this, should have said no. The people who helped us get free equipment and worked for free also should have said no. Yet they said yes. Because we took risks and were lucky enough to have them pay off. We are so thankful for all the breaks we have gotten for this film. From the actors in it, to the score (which is being done for free by a talented friend of ours), we have been lucky to find someone who is way more talented then us.

And finally, do you know when "On Parole" is going to be released, and where can we watch out for it?

It should be officially done by the end of September, and hopefully will be in a few festivals come this winter. But you can check out any updates at Charlieonparole.com or beastfilms.net.

Thank you so much. It was a pleasure.

_____________________________

So there you go guys, check out the trailer, and head over their site to see some really great stuff they've done before this, and stay tuned for more information on "Charlie".

Wesley's Weekly HOW TO: Prop Chains

Wed, 24 Sep 2008 22:36:11 EDT

This week is Chains. A very simple prop with a lot of uses, whether you want to have a dungeon scene and need to have some prisoners chained up, or if you want to restrain a monster onto a table, or even if you just want to make a movie about gangs and need a "street weapon" that you can wave around and stage a fight scene with, and have it not actually hurt people, then a prop chain could fit your needs.

Start out with a piece of cardboard, this is just something I cut off of a box that was just going to be thrown away.

Now, just sketch out the link on the cardboard to give you a cutting guide, like Erik's Ninja Star Tutorial.

Then just cut it out. I used an X-Acto knife, but you could use a box cutter, or some scissors. Remember to be careful or get some help if you don't trust your cutting abilities.

Also like the Ninja star, you can use the first link as a guide to cut the next link, speeding the process up a little.

And just cut a slit in the link, and hook them together, and now you've got your chain.

To pad out the links a little, I rubbed a little air dry clay on them, you could also use wood puddy, or plaster or something. But this rounds them out a little, and helps fill in the honeycomb chambers of the cardboard.

Then paint it, I used a mixture of black and silver to give it a kind of forged iron look, but you could paint it whatever color you needed.

And there you go. You could put a little hot glue on the slits in the links to give it more strength and make sure none of the links come loose.

Acceptable.TV Tutorials: Basic Props and Costumes

Tue, 23 Sep 2008 02:36:27 EDT

The last few weeks, i've been posting these really simple, but really awesome tutorials from the (unfortunately) cancelled VH1 show "Acceptable.TV". This time, they cover basic props and costumes, and it's really simple advice that can really make your film look a lot better without spending a lot of money.

Tromadance Film Festival

Mon, 22 Sep 2008 23:20:56 EDT

Summer TromaDance Film Festival in The MidWest
Totally Free

Tromadance Founder Lloyd Kaufman and The B Movie Celebration announced the creation of a new expanded summer version of the Tromadance Film Festival in Franklin, Indiana, at this year’s American Film Market last November. This announcement included details on the transformation of the Tromadance Film Festival into a fully immersive film experience that now includes a larger screening schedule as well as more panel discussions and in-depth workshops covering a variety of topics pertinent to young filmmakers. Summer TromaDance takes place during the B Movie Celebration September 26th-28th in Franklin Indiana.

About TromaDance
TromaDance is the first film festival wholeheartedly devoted to filmmakers and fans. Unlike every other film festival, TromaDance does not charge filmmakers to submit their films. Entrance to all screenings is free and open to the public. Also, there are no VIP reservations or preferential treatment regarding films, panels, or parties of any kind given. The organizers of TromaDance believe films are meant to be seen, especially when it comes to new filmmakers. Art — in all its forms — is for the people!

TromaDance features a range of films made independently, usually without big stars, big money and far removed from the Hollywood studio system. The official selections of TromaDance have been made with nothing more than passion, courage, integrity, and raw talent.

For The People and By The People
Everyone at TromaDance is treated as an equal. The elite and the celebrated are treated no better or worse than the experimental filmmaker or the random moviegoer off the street. Admittance to all screenings, panels, parties, and events is strictly on a first come, first served basis. If there are any VIPs at TromaDance, they are the filmmakers whose blood, sweat, and hard work are on the screen.

TromaDance is an opportunity for everyone who’s ever picked up a camera to have their work seen without the compromises required by elitist cartel interference. TromaDance is proud to be the first and only film festival of the people, for the people, and by the people.

www.summertromadance.com

TromaDance is being held at The Juke Box Live and The Franklin Public Library

President Ray Speaks

Sun, 21 Sep 2008 03:31:15 EDT

Recently inaugurated Mogulville President Ray Biddle, has undertaken a new project, where he takes your questions on the forums, and makes a video answering them. So stop on by the Mogulville Offices and check the thread, so see if maybe President Biddle will answer YOUR QUESTION.

Introducing a new show: THE BEST SHORT FILMS IN THE WORLD!

Fri, 19 Sep 2008 11:40:06 EDT

Hello,
Bobby here.

September 25th marks the launch of "THE BEST SHORT FILMS IN THE WORLD".
A new indymogul.com show dedicated to showing you the...best...short...films...in...the--you get the idea.

Be sure to tune in to TheBestShortFilmsInTheWorld.com every Thursday for new episodes!

Made a short film you'd like to submit to the show? Seen someone else's and want to see it featured? Fill out the submission form on this site.

Also: Do you have advice for me on my first show? Leave me a voicemail here!

646-274-4625

Afraid of telephones? Email me here: Bobby@indymogul.com.
Alright! I'm going to go back to scouring the internet for short films.

In the meantime, check out the teaser video I made for the show!

P.S. If you're new to the indymogul.com world, check out the prequel to this show here. In which I host a special blooper edition of "BackYard FX". A popular show hosted by Erik Beck that shows you how to make low budget special effects for your films every week!

Interview: Anne-Sophie, Teenage Director

Fri, 19 Sep 2008 04:30:21 EDT

This week I talk to Anne-Sophie, who at the age of 16 has already Completed production on her first feature length film, "Faded Memories", watch the trailer for it above, and then read a little more into Anne-Sophie's creative process below.

______________________________________________

Wes: When did you first become committed to become a filmmaker? Was there some initiating event that you could definitely single out that made you really go, "This is what I want to do with my life".

Anne-Sophie: I first became committed to becoming a filmmaker when I was 15 years old and did my first short film on the backlot of Universal Studios, Hollywood. Being on location and putting my vision out there on this famous backlot really made be realize that this was what I wanted to do with my life. There was something really amazing about watching all these props where all these great movies of the past were made and being so close to Steven Spielberg's office (I've been to some meetings at Dreamworks since). I just couldn't get my mind off filmmaking after I made my first short there and I knew that there was no turning back.

When did you first start making movies? Did you start out like a lot of young filmmakers messing around with friends and a cheap Video Camera? What was it like taking the first steps, and capturing your first images? Was it harder or easier than you expected?

I started making movies when I was about 9 years old. I first started making films by asking my dad to videotape me (kind of like my first DP!) and my friends while I was directing and acting in these spy movies I created and acted in around our neighborhood. For me, the thought of how hard or easy it was to make my first movies never crossed my mind because I loved making them so much. I just did it out of pure passion and loving every second of the whole process, even with first cheap camera.

You directed your first short film just rather recently, and only two years later you've moved on to a full feature, that is a pretty rapid development for an artist, can you tell me a little about how you got started on this path, how you got your short films noticed and how that led to your feature project?

I made my first short film when I was at this weekend film program for high school students (NY Film Academy, Hollywood). After I finished it, I looked up some short film festivals online and I decided to send it around. It ended up getting accepted to a big one in the U.K. and I flew there and won a prize, and some other festival wins followed. After that, I decided I wanted to make a short film based on the feature film Faded Memories I had written in the summer when I was 14. I made this second short film and sent it around to investors to raise money for the feature. I found people that supported me and trusted and I was on my way to make the feature in the Fall of 2007 in the L.A. and Malibu areas

You are at the very least a quadruple threat, both Writing, Directing, Starring-in, and Producing your first feature. Did you find it's hard to balance such a wide range of obligations? How do you avoid neglecting one part of the film, while maintaining all of your other responsibilities on the set? What advice do you have to other young filmmakers about how they can balance doing so much on the same project?

I never found it hard to balance such a wide range of functions because doing it all together is really my passion and makes me the happiest. Sometimes it's just better not to think too much and just dive in because otherwise you start doubting yourself and the negativity can get to you. I am able to do all these things because I know how to manage my time and I have a very good sense of organization. My advice to other filmmakers who want to do many of the same things is to be ultra-organized, fearless, get the best crew to surround you (especially the DP, line producer, sound person and 1st AD). You've got to know exactly what you want without being afraid of telling people what to do and what you want without sounding bossy. But the main thing is just go for it, do it, and never think twice about it!

There seems to be two major factions in filmmaking, those who went to Film School, and those that Didn't, and were largely self-taught, with exceptional filmmakers evident in both camps. Do you have any advice to other filmmakers who are really questioning if enrolling in a film program is truly worth it, or if they should go the Tarantino route and go ahead and start trying to make their own films? What do you see as the advantages and pitfalls for both camps?

It is different for everybody. Some filmmakers need to spend a lot of time learning all the technicalities of making a film and how to apply all that knowledge on the set. They want to know how to position lights perfectly and get great camera coverage, rehearse the perfect scenes with actors, etc... before having the confidence to make their first feature and that's ok. There are other people who just want to do it and see what happens -- kind of letting the creative process happen, you know that special chemistry when everything works perfectly in a scene that you can't really plan 100%. My only advice it to follow your guts. Don't listen to anybody around you because they judge you with their own filters. They project their own feelings and insecurities on you. Of course they give you good advice, then take it, but what I mean is never get influenced by others if deep down it's not what you really want. The advantages in film schools is pretty much that you learn a lot more of the technical aspects of filmmaking; you get to impress people with all the swell film vocabulary you learn in class; but the downfall sometimes can be that you begin to think too much and lose your creativity in making the best film you can by being overwhelmed with all that technical knowledge. The advantages of self-taught filmmakers is that I think they can move faster on the set making their vision happen because they have a clear idea of what they want -- something that's not obstructed by second guessing everything based on their technical knowledge. Another key thing is having a unique sense of storytelling -- something you can't learn in film school. I think that if you want to create a great story with really touching characters that touch people, you don't need 5 years of film school. You need some basic knowledge and just get as much hands-on experience as possible on the set and everything will fall in place.

We talked to Matthew Lessner back in January during Sundance, about his film "By Modern Measure", which you actually starred in. Could you tell us a little about the experience of starring in a film that was accepted at such a respected festival? Also, being an experienced actress, what advice can you give to other actors and actresses out there about how to approach or prepare for roles and get the best performance possible?

The experience I had working in By Modern Measure with Matthew was very interesting. It was very unpredictable which made it fluid and very creative. I felt like we were on this adventure the whole time by stopping in the middle of these abandoned places and taking a few shoots here and there. It was a really small crew and everybody was very nice and great to work with. Matthew is very creative and I was amazed what he came up with after the movie was edited! My advice for actors is not to become the character but to let the character become you. Don't over prepare and always let space for yourself to even improvise on set if your director allows it. I also recommend you arrive on set prepared and know your character's persona like it was your own.

A lot of younger filmmakers we talk to have one major hurdle that almost all of them state they must consistently deal with whenever they approach a new project, and that is being taken seriously. Being such a young filmmaker, how do you make people take you seriously? Do you just have to keep acting as professionally as possible and they stop seeing a teenager and start seeing simply a Director or is it something else? Do you have any advice on how Younger filmmakers can attract older more experienced crew to a project? Or even how they can approach potential investors or start to get together the necessary resources for a larger more complex project?

Being very young, I just walk in a room as myself and don't even worry about being taken seriously. I know exactly what I want out of the meetings and if they don't take it seriously, then that's their loss. The most important thing you have to know is what you are worth. If you know exactly who you are and the power you have as an individual, being taken seriously or not doesn't even matter because no one can make you feel inferior without your consent. When I walk on the set, I don't think of acting like a pro, I simply go as myself and that's what everyone deals with. My advice to teens who want to work professionally is really to be yourself and know what you want. The minute your able to go on that set and tell people what you want in a firm but friendly way, that's when you know you are mature and professional enough to make it happen and be respected. If you want to get resources for larger projects made, then the most important thing is to have people who support you. At the end of the day, if you don't have a team that believes in you, then things can get more complicated depending on how you handle it.

Organizing the necessary resources for a film can be a daunting task even for veterans, there are so many detailed technical parts that must come together in Pre-Production, and so many things you have to keep in order during production, and that's if you're only the director, but for you, you're going one up, and you're also creating the story, and having to develop a character externally with your acting as well as internally with your storytelling, among just a few of your extended responsibilities. Really, how do you keep it all together? What is the secret to keeping it all organized and keeping it all straight in your head?

There really isn't a secret to doing all that. The truth is, you've got to learn to take each step at a time and make every minute count on the set to give the right instructions to everyone so your vision comes true. The clearer you understand your story, your part, the way the set looks, how the story flows, how the film looks -- pretty much the whole process -- the easier it'll be to get the job done fast when the clock is ticking on the set. You can convince some amazingly experienced people to work with you if you have a powerful script and you have the confidence to tell everyone you will make it happen. As soon as you doubt yourself for even one second, the more difficult it'll be to get these kind of experienced people to work with you. What you want to do is create a kind of positive chain reaction the minute you have finished your script so all the pieces fall together until the movie is actually done. You can't allow any negativity of self-doubt to interfere anywhere in this journey.

How do you begin formulating a storyline for your films? Do you work off of personal experiences, or do you craft them from nothing? What are some things that inspire or guide you when you're writing, do you listen to music, or watch or read works that are similar to your project, or do you have your own method? Do your works have an overall related meaning, some kind of moral core that share in the perspectives and experiences you bring to the table? Do you start out with the core meaning of a story first and evolve out of that, or do you start with the characters and the meaning and "lessons" emerge out of it naturally?

I begins a storyline for my films by just a simple idea based on characters I would like to see in the movie or a farfetched amplified idea of people I know. What inspires me when I write a story is really my characters and my purpose. I enjoy listening to music to put me in the mood sometimes but not when I write. Once I get an idea, I write very fast and can finish a script in a few days. I will then revise a bit but not much because you can otherwise lose your original vision that has that special something that will spark the whole movie. I live with my characters, hear their voices, they talk to me and then I build the story around their lives. I've been very interested in dark subjects because they can bring out powerful emotions from characters and I think that's what makes great storytelling.

Being a member of a new generation of filmmakers, who have grown up without really being able to recall a time before the internet, before all of these digital technologies we have really become jaded towards, what changes do you see happening with the new generation of filmmakers who have grown up with and accept so readily all of these new technologies? How do you see such advancements of faster computers, easier to use editors, high quality cameras in smaller and smaller packages, and world-wide free distribution systems like YouTube really changing things?

What's funny is that I think great storytelling will never go away. It would be tough to watch a whole feature film on your computer on a small screen because there is nothing like being a big theaters with all the unknown people around you. I think the greatest thing about these technologies is opening up bigger distribution channels for all these movies that don't have distribution. But I still think that old fashion storytelling will never be replaced by any new technologies because we still deal with the same emotions today as we did thousands of years ago, right? I love YouTube and the Web, but there nothing like being in a middle of a big audience who's secretly in tears watching a movie in a big theater.

The increasing ease of creation has lowered the bar of entry, and allowed a lot of filmmakers who once may have never been noticed before, really get their work out there and get noticed. Conversely, it's also allowed a real glut of content to be released, and for a lot of people it's become increasingly difficult to get noticed in a world where it's become so much easier to create a film. What advice do you have for filmmakers who want to really get their work out there and get it noticed?

I think the best way to get noticed is to be true to yourself in your work and your vision. If you try to sell-out commercially just to be hot and successful, you can make some good money, but how will feel about your work 20 years from now? You hear a lot of people who read scripts in Hollywood complaining that writers try too hard to impress with all their tricks to have a hot script. I think that if you write your script with passion, tell people about it passionately and get the movie made one way or another, everything will fall into place. But on the Web you can put together great emotional short films that will have an impact and that's a real cheap and fast way to get going. Once you get a following for your projects people will come back for more and next thing you know you have a bigger and bigger following and next you know some Hllwd people notice you and next you know you're making a big feature film@. I guess it sounds a little simplistic but you've got to get a following for your work on the Web or in theaters then you'll move up to bigger and more successful project!

Finally, do you have any plans for your next film, or can you talk about anything you're working on or that you have coming up that people should keep their eyes open for?

In January 2009 I'm shooting another independent film in Oregon that I wrote, will direct and star in like Faded Memories. It's called Blue Winter and it's another dramatic love story! But I also just finished an action adventure script (real fast paced) but that's also has an edgy love story at its heart. That one is a multi-million (studio) project and we'll see how much of it I can still get involved in if they like the script!

Make sure to check out my Web sites: AnneSophieFilms.com and FadedMemoriesMovie.com

My advice to all your readers, Wes, is: nothing is ever impossible if you believe it's possible.

______________________________________________

Thank you so much Anne-Sophie, it was truely a pleasure talking with you. Make sure to check out her Website, and see behind the scenes footage of Faded Memories!

Wesley's Weekly HOW TO: Prop Time Bomb

Wed, 17 Sep 2008 23:21:46 EDT

Time Bombs are a staple of Caper films, Espionage movies, and Cop shows. Whether they are being used to break open a vault, assassinate an enemy agent, or being defused by your Protagonist, they are a neat prop that can be used in a lot of situations and types of films. So today, i'm going to show you how to make your very own to put in your own project.

First, get a thick wooden dowel, and cut it into 4 (or more for bigger bundles) segments about 7-10 inches in length (20-22 cm).

Then take your segment, and some tissue paper (or facial tissue, or toliet paper, etc.)

And wrap the dowel in the paper, twisting the ends firmly.

Now, paint it with some acrylic paint. I combined a lot of crimson red, with a little bit of black, and some PVA White School Glue (To help make the paper stick), then used a foam brush to dab it on. The reason I covered it in the tissue paper rather than just paint the wood, is I like the papery wrapper look it gives to the cylinder, and looks a bit more interesting and less perfect.

I did this a few more times, until I had a bundle, and that is the core of the bomb.

Next, I took an egg timer that I borrowed from my own kitchen, and smeared it with some paint to make it look a little dirty and greasy (because really, if your bomb has been sitting in a crazy bomb makers lab for days, is it really going to be super clean?) to make it a little old and used.

Now, attach it to the top of the bundle (which I hand bound together with some black duct tape) with a little epoxy or hot glue (or just tape it.)

I then got a roll of doorbell wiring, that I got at the hardware store for a few dollars.

I then wrapped the wire around my finger to make it curly, which I think makes it look a little more interesting.

I then epoxied one end on the back of the timer, and the other on the end of the bundle. I then repeated it with the other side, after I had painted the wire black. And there you go a basic time bomb prop.

You could easily replace the egg timer with a digital timer, or even possibly motion track a computer display or digital timer onto a panel of cardboard (that could save you money on the egg timer, which didn't cost me anything because I already have one, but not EVERYONE has one, so if you don't want to buy your own, there are other ways to deal with it and not have to spend extra money).

You could also easily add some extra electronic components to the top, and extra wires for each stick of dynamite, it's really up to you about how elaborate you want to make it for your film.

Short Circuit Awards - Win a trip to Cannes!

Tue, 16 Sep 2008 00:56:25 EDT

The Short Circuit Award 2008
by RaindanceTV

Win a trip to the Cannes Film Festival and have your film screened at Raindance 2008

Are you a future Oscar winner? Dream of clutching a brace of BAFTAs? Well your first steps down the red carpet to Hollywood stardom could begin right here, with the inaugural Short Circuit Award.

Dailymotion and Raindance have joined forces to recognise independent shortform filmmakers around the world and bring you this fantastic prize.

Submit your film to the competition and you could win a trip to the Cannes Film Festival 2009. And that's not all...

Ten shortlisted films will receive:

A pass to the Raindance Film Festival 2008
A screening of their film at the Raindance Film Festival
Membership to Raindance.tv for 12 months

Two runners-up will receive (in addtion to the above):

A £500 gift certificate for Raindance Training

One winner will also receive:

A one-week trip for two people to the Cannes Film Festival 2009, including accreditation, accommodation, flights and access to any Raindance and Dailymotion events

To enter:

Shoot your film, which must be no longer than 60 seconds in duration.
If you are not already a member of Dailymotion, become a Motionmaker (it's free)
Submit the registration form and upload your film
Submissions are open until September 23rd.
As the 10 finalists get their film screened at Raindance - to be eligible for prizes, you must send a DVD of your entry (in high quality) by September 26 to:
Short Circuit, Raindance.tv, 38 Langham Street, London W1W 7AR, UK

Attention filmmakers! Party with us.

Mon, 15 Sep 2008 15:08:03 EDT

Attention filmmakers: you are cordially invited to “Where Internet and Film Collide,” an evening of cocktails and networking that we are co-sponsoring with IndieGoGo and Tube Mogul. Indy Mogul fans are welcome to join in on a night of tasty treats, drinks and music. Put yourself in the middle of a collision between 'Independent Film Week' and the 'Web 2.0 Expo,' both happening in NYC this week!

The party starts Tuesday, September 16th at 7PM at Taj (48 West 21st St. NYC). You must be 21 years of age or older. To RSVP, please email rsvp@indiegogo.com.

See you there!