A Quote by Burnie Burns
We've always had a roadmap to feature filmmaking, and making a feature film could have been three or four years away for us. But crowdfunding helped us get there in a year, and it allowed us to take a much bigger step.
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When we can’t marry the person we had in mind, our inability to look beyond may even blind sight us from someone who is in fact better for us. When we don’t get hired, or we lose something dear to us, it’s hard to take a step back and notice the bigger picture. Often Allah takes things away from us, only to replace them with something greater.
When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying "you need more money to make this film [Moon]," and us saying "no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million." That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.
Most people look at a feature film and say, "It's just a movie." For me there is no border or wall between fiction and documentary filmmaking. In documentaries, you have to deal with real people and their real feelings - you are working with real laughter, happiness, sadness. To try to reflect the reality is not the same as reality itself. That's why I think that making a good documentary is much harder than making a good feature film.
Now, after the communist take-over in 1948, the amount of feature films produced dwindled to three a year, while the school was, you know, every year another three, four, five students.
As the world of independent feature filmmaking became increasingly commercialized by the mid-1990s, there was also a parallel, much more positive development: a resurgence in documentary filmmaking, thanks in part to the advent of the cheaper, lighter digital format that helped to offset the daunting costs of pursuing political aims through film.
Whenever I'm making a feature film, I wish I were filming a documentary, because making feature films is so stressful. It happens every time.
My debut feature, 'The Baby-Sitters Club,' got good reviews and made good money for what it cost. But it took me six years to get to direct my second feature. I think a guy would have had another movie out the same year.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
I began my filmmaking career by shooting a feature length documentary in China in 2004, the year I graduated from film school.
As soon as I finished film school I was thinking about, how do I get to feature films? It took about eight years, and I'm still working. Feature films was not the end goal. Feature films was one of the stages. Getting to the point of the Coen brothers or Tarantino, where you're writing your own material and have the budget to do it properly, that's the end goal, and I'm close to that.
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When I was a kid, my pop used to take me to the double feature. He would take me - I had two brothers - and we used to go in the early '80s and check out these grindhouse movies - a double feature, sometimes a triple feature.
I believe in signs....what we need to learn is always there before us, we just have to look around us with respect & attention to discover where God is leading us and which step we should take. When we are on the right path, we follow the signs, and if we occasionally stumble, the Divine comes to our aid, preventing us from making mistakes.
It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
TV is designed a certain way where you have three, four days on stage and three or four days out. You're basically making a feature every seven days. You have to shoot an hour's worth.
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