Discover How to Become a Filmmaker: Do Not Wait for “Perfect” Conditions

To become a filmmaker: Commence production on your script and enjoy subjectivity! There is no “perfect” film. Every stage of film production—from writing to editing—reflects and embodies individual interpretation, sheer taste, and stakeholders’ intentions and opinions. There is no lack of resources for you– Deadline Hollywood, Hollywood Reporter, Variety, and others. Even when you, as a film director, screenwriter, or producer, strive for perfection, the final cut inevitably becomes an amalgamation of choices and decisions that the above-the-line stakeholders wanted– not perfection. Even when you apply to film grants, you would need to submit a funding proposal, a budget sheet, key production personnel, and other documents. Nothing is objective or impeccable. Therefore, acting quickly and under uncertainty is indispensable.

Every film has a point of view. As a screenwriter, you have your point of view and it is the first layer of subjectivity. You weave the story, the premise, the conflict, the dialogue, and characters. Two screenwriters can and very likely would tell two different stories about a historical figure: one might focus on the political background, while another would highlight his or her great deeds. So, as a screenwriter, you can capitalize on the inherent subjectivity of your craft by simply writing the script and hoping for the best, not rewriting until you get 100% approval from your colleagues. Double-time is acting quickly but maturely—not waiting until everyone simply “approves” your script.

To become a film director or film producer, you need to tackle the script first. Once a script proceeds to production, you, the film director, become the primary interpreter. Film directors decide how to turn scenes on the page to scenes on the screen, how actors should perform their characters, and how to interpret the script. As a film director, you can see how different directors approach a script and “storytelling.” For example, one film director might enjoy complex narratives while another might like dark thrillers or dark humor. If these two film directors direct the same script, the resulting films would be very different. So, to become a filmmaker, you need to master the story visually.

Therefore, as a film director or film producer, you need to realize that you need to make the film that “represents” you, not the film that pleases audiences or even critics. The inherent subjectivity of the medium prohibits any value judgments—unless, of course, the director commits any violations of film production conventions. Then, other competencies follow so take the time to read them.

To become a filmmaker, you need to have a multifaceted understanding of a script and the story. You, as a director of photography, for example, offer your subjective perception and hope the audience likes or agrees with it. Your decisions would encompass camera angles, lighting, the equipment, and the tone and atmosphere of a scene, so you almost decide how an audience would respond through these choices. For example, a low angle can make a character appear powerful, while dim lighting can imply secrecy or tension. The decisions affect how audiences respond to your film or even scene. Accordingly, as a director of photography, you manage the subjective “look” of your film, so make the most of your choices. Unless there would be a clash with the film director or even actors, you can and should act double-time.

As an actor, you interpret the script, draw on personal experience, and make the best possible choices. Depending on how you interpret the character, you can deliver one line as sarcastic, as neutral, or use your facial expression to support or complement it. Added to that is that the director or even other actors would share their input on how you can interpret the character. Accordingly, acting is also entirely subjective and partially depends on others’ interactions on the set. Countless resources exist for you an established or aspiring actor, such as John Ruskin School of Acting in Los Angeles, the American University of Cairo School of Theater, Academy of Arts in Cairo, Egypt, Royal Academy of Dramatic Art, and others.

As a film or television editor, you have the tremendous responsibility of weaving a coherent story from the myriad “takes” and the other stylistic and technical choices. With 100s of hours of footage available to you, you must decide:

• Which takes to use
• How long shots should last
• When to cut between angles
• How scenes connect rhythmically

An editor can make a scene pivotal and can make it secondary, depending on their experience and their taste, and how they interpret a scene in the suite’s timeline. Therefore, you have great license in how you weave your cut.  This is why filmmakers often say that the crew makes a film three times: Though the script, during shooting, and finally in the editing suite.

To become a filmmaker, you need to enjoy subjectivity, rather than viewing it as a hindrance or threat; you can view it as an inherent, inevitable feature of the medium. Subjectivity and uncertainty are opportunities because they can induce you to act quickly, rather than to wait for “perfect” conditions or outcomes. Subjectivity and uncertainty are partly what can drive you to succeed, as a film director, actor, or director of photography, or a film producer. It can allow you to see your film in another light. You might seek validation from your friends and colleagues in the indutstry but valdiation can serve you for only so long. Subjectivity is a friend and companion, not an enemy or threat.

In becoming a filmmaker, you can get empowerment by the uncertainty and subjectivity of the medium. You can take pleasure in acting double-time and making the most of uncertainty and subjectivity. The incredible subjectivity and uncertainty of the medium are a chance for you to confer your fingerprint, not a barrier to stop you. So “hit the ground running” with your enthusiasm and start shooting films.

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