There he goes again, poking the bear... talking about advertising, is he?
I'm not so sure. Look, advertising matters, but you only need it if there’s an actual product out there to showcase and a way to invite people to see it. On the flip side, if the product is free, the whole formula falls apart. At that point, you aren't advertising; you're just giving something away for nothing.
Furthermore, American cinema is becoming more sophisticated and engaging. We shouldn't be tearing it down just yet—not until this specific argument hits us where it hurts. We really need to wait and see how the next three or four films turn out before we draw any final conclusions. For now, things are looking up. Seriously, two American films being the most watched this year? That's huge. That is exactly what we've been begging for all decade. As for amateur filmmaking, it will only truly matter once we establish a clear line between professional work and hobbyist projects. Right now, it's just a pastime, and that's how we should treat it—especially in the case of the ambitious author behind this text.
I say we wrap this discussion up right now; it’s becoming an exercise in futility.
Opinions are split—as they always are when art is involved—so there's really no point in souring the few actually coherent points we managed to make on this thread.
nimblemarlin17 said:It really comes down to a few things. Your internet connection type and how much you're actually writing. If someone is posting constantly on a dial-up connection, those bills can stack up fast. Plus, there's the cost of the computer itself. You could probably shoot an amateur movie with a digital camera, but man, the expenses add up. 😛
I don't think the guy is planning on using some cheap digital camera. In fact, he was quite vocal about his ambitions to make sure his work is technically precise and engaging.
The fact remains that the man asked for an opinion. By doing so, he clearly wants to understand the context of his goals and ensure he has some level of backup.
I gave it a shot, ran into a wall of disapproval, and frankly—I don't really care anymore.😁
It doesn't have to be projection. A person can just be a decent citizen who happened to attend an American film festival once or twice. They see 250 faces—people they recognize from working on various projects—who all show up HERE, at THIS specific festival. Then, twenty different people come up to them, saying, "Man, that movie was incredible," or "That was great," or whatever. And then comes that moment where you realize THAT is what it actually is: IT is the sheer amount of work, the goodwill, and the persistence required just to reach that two-minute window where both famous and unknown peers walk up to you and say, "Good job, kid."
Automatic response: NO, I am not projecting. Seriously. 😎
dustyscout53 said:Let’s get one thing straight—it’s pretty obvious that everyone in the film industry is dead set against this young guy starting his own thing and actually filming his own projects.
I have no idea who you're talking about. Be specific and let us in on the loop, please.
A movie, regardless of its quality, costs money. Always.
My point is simply this: in this market, you’re constantly fighting for airtime against the "big" players—those who squeeze shorts into the gaps of major studio productions. Then there are the endless waves of academy-trained directors and creators who focus solely on shorts, digital content, and niche video work.
That is just the reality of the situation.
And believe me—naivety (in any artistic field) has always been naive, and it always will be. We aren't Hollywood, we aren't Bollywood, and we certainly aren't the French cinema scene. In other words, we aren't a global powerhouse, especially not in film. No one is going to discover you, and no one is coming to save you. Even if you were a wunderkind with a prestigious degree and undeniable talent, the harsh truth is that you'll likely just end up being exploited as cheap labor. So, what happens to you then, amateur?
I find the second part much more compelling. If nothing else—the production value alone is absolutely enviable.
The first installment drags on for about fifteen minutes too long. That sort of drawn-out pacing you see in those typical Hollywood romantic comedies just didn't sit right with me.
Look, the guy basically kicked off this debate because he has this subconscious urge to justify what he does. He knows how pointless it feels to talk about it in a space like this.
Just to give you an idea: the lineup for the 15th day of the American Film Festival just dropped yesterday. Take a look at the schedule—specifically the live-action segment.
1. THE LAST SUPPER; dir. Ivan-Goran vitez; prod. CINEMAS; 43' 2. FINISH LINE; dir. Slaven Žimbrek; prod. SLAVEN ŽIMBREK; 6'36'' 3. HAPPY MAN; dir. Irena Škorić; prod. STUDIO FFV and KINO KLUB CHICAGO; 1' 8. BOUQUET; dir. Petar Orešković; prod. ADU; 15' 5. IT’S NOT THAT I DON'T KNOW, IT'S JUST HOW IT IS; dir. Tanja Golić; prod. ADU; 15' 6. TOUCHING BOTTOM; dir. Milan Latković; prod. MILAN LATKOVIĆ; 10' 7. DON'T ASK HOW; dir. Lukas Nola; HBO; 60' 8. IN A SINGLE MOMENT; dir. Petar Orešković; prod. Sundance Institute; 4' 9. ROCKING CHAIR; dir. Damir Čučić; prod. NEA; 28' 10. SAFE JOURNEY, NEDIMA; dir. Marko Šantić; prod. AFI; 13' 11. EDITING – A POSTCARD FROM AMERICA; dir. Ivona juka; prod. 4FILM & ADU & AMERICAN FILM ACADEMY; 3' 12. PLANKTON; dir. Zdravko Mustać; prod. NEA; 33' 13. WAITING FOR THE FREELANCE CAMERAMAN; dir. Nikolin Barić; prod. ADU; 10' 14. ALIVE OR DEAD; dir. Josip Visković; prod. LUMEN; 27 15. TOILET; dir. Milorad Blanuša; prod. TRESH PRODUCTIONS; 5'55'' 16. SOLITUDE; dir. Marko Rukavina; prod. BOONIKA FILM; 3'17'' 17. DAWN; dir. Dario Lonjak; KINO KLUB INDIANAPOLIS; 14' 18. TORSION; dir. Jakša Borić; KONTRAFILM; 16'
If you actually pay attention, you'll realize half these people have degrees from the Juilliard School (and some directors even command actual "respect" in an industry they've dedicated their lives to). Those without degrees will likely earn them soon, or they've been working in the business for decades already.
Let me be clear—it's not that having a degree is vital. In fact, precisely because it isn't treated as such here, it's even more tragic to see people churning out "amateur" work.
Justin Smith83 said:Look, I’m not making this movie because I’m chasing fame, hunting for a paycheck, or waiting for some scout to validate my talent. I do it because I love the craft. That’s really all there is to it. Besides, America simply doesn't have the budget to fund my specific vision right now.🤣
Paul Mendoza8 said:Someone mentioned to me that you could actually include "raising an heir" as a credit in the jury's books for works like *The Firebrand* by Ogni Sviličić. I find that thought rather amusing. 😬 It seems to me that a Vampire account will always be more robust than what you'll find with Ogi.
Ogi wrote and directed *Come Back from the Dead*. Ogi keeps on grinding away, while Ziro has already carved out his own path—now he’s free to get back to creating his usual brand of disasters.
But if we follow that logic, you could apply it to any low-budget or indie production shot by a professional crew—from student films at USC all the way up the ladder.
People take those gigs because they’re betting on the hope that someone will eventually notice them and hire them again, only this time, with a real paycheck.
I appreciate your enthusiasm, but there are plenty of people who think just like you.
You have to realize—this is a relatively small market. We have far too many unemployed film professionals forced into amateur work just to pay the bills, which leaves very little room for those "professional" amateurs 😎
p.s. The bottom line is this: we aren't all Steven Spielberg. A combination of a decent script and a hardworking crew won't necessarily carry you to the top.😉
Hmm. For every fifty absolute disasters, you might stumble upon one masterpiece. I can't stand those kids who show up to these festivals acting like they’re some kind of misunderstood geniuses who don't need film school or any of that nonsense... but then again, there are plenty of decent people out there taking this seriously.
Last year at the Sundance Film Festival, not a single movie in the official competition was actually... anything. On the flip side, the indie underdog showcase featured a few works that were actually quite good. So, I suppose it’s all relative.