On Making a Director's Reel

As I dive into developing my first feature film and seek to connect with investors and other potential team members, I have decided to put together a new demo reel that specifically showcases my work in directing narrative film projects. In fact, just this week, this new reel just hit my IMDb profile, along with my Cinematography Reel. Click here to see the reel on IMDb or watch it bellow:

But an important question comes to mind. Are demo reels as effective for directors as they are for cinematographers, editors, and actors?

Micro Budget Features and Film Festivals

Probably one of the most daunting things any independent filmmaker has to deal with is finding funding for projects. This is why many new filmmakers opt to make what I would call micro budget features (films with production budgets in the tens of thousands). I've done several short films to date, and all of those have been projects that my fellow producer Andrew Gilbert and I have funded ourselves. I would definitely classify them as micro budget shorts. But you can do that with short films. Most often the main expenses are some rented gear, a location or two, and food. Everything else is either borrowed, donated, or deferred. In our case, we've done a lot of deferred deals with cast and crew looking to gain more experience in filmmaking. In those cases, the act of being involved in the project tends to be payment enough with the added bonus that should the film manage to turn a profit, there could be some payment down the road. 

But what about feature films? Can you do this with features?

Broader Horizons for Short Film Distribution

I’ve met a lot of new and aspiring filmmakers in the past several years, and one thing I’ve noticed is a particular drive in many of them to jump with both feet into feature filmmaking. There are a few (very few, in fact) that due to past experiences and a passion for learning through reading and observation are able to jump into directing or producing their first feature film without the trail and error of making some short films first (though, most eventually recognize having had more experience wouldn’t have hurt either).

Now there are many reason such filmmakers list for not wanting to “waste their time” with short films. But in this entry, I want to address one particular myth that exists in some indie film circles. There’s this idea floating out there that “there is no market for short films.”

Preproduction: A Neglected Art.

One often-underappreciated aspect of filmmaking is what is commonly referred to as preproduction. It really amounts to that planning phase of filmmaking, once the script is finished or selected and before principle photography begins. For those who might have been working in the film industry, this should be nothing new. However, I have noticed a disturbing trend among indie filmmakers. Preproduction often gets very little focus.

The Short, the Feature, and the Bias

“Regrettably the short film subject is often considered beneath the director with serious intentions.” – Michael Rabiger, Directing: Film Techniques and Aesthetics.

For those of us working in the filmmaking and media world, it should come as no surprise when I state that there seems to be a sort of bias towards feature films in America. Short films are the things of student filmmakers exercises and film festival aficionados. But for the serious filmgoers, it would seem, feature films are where it is at.