Write your story from beginning to end in the present as though it is happening now and you are the witness. This is what is called a story treatment. Let each paragraph just highlight the scene.  Only use dialogue when it is absolutely necessary. You’ll have plenty of time for that later when you craft your script. Right now, the big thing is to get your idea on paper. It might be  just a few pages or it may be 26 pages. Whatever it takes to properly and completely tell the story is ok. It’s your story.

 

 If you have chosen the present as the time frame for your first project, you have just saved a ton of expense and aggravation. This means any current style of dress works and is readily found if you don’t already own the wardrobe needed for a particular scene. The same goes for dressing your street scenes. Any car parked along the street or driving by is appropriate. So if you don’t have a budget, see if your story works in the present.

 

 I prefer the lengthy detailed treatments. I want to create a flow to the story’s events that establishes feelings that I want to expand in the visual presentation. If it is clear to me now, it will carry over in the construction of our next step, the screenplay.

 

 If you have any questions about this particular stage of making your movie or if you would like to see a sample treatment, send me an e-mail.

          

 

 

 

 

 I am going to show you my desktop filmmaking process from concept to print. (Most likely DVD) I am going to tell you everything the books didn’t tell me but I wish I had been told.

 

 If this is your first attempt at making a dramatic or comedic film, you are probably going to rely heavily on family and friends for acting talent, crew, locations, scheduling, music, props, etc. There are a great number of details to work out and things to learn not to mention the pitfalls you will have to learn exist before you can look out for them. One oversight can destroy the delivery of an entire scene. You will have to learn to take charge and accept no less from your performers and crew than what you envision in your mind, within reason of course. You probably won’t be using a jib crane for creative camera moves and you probably won’t have track for steady motion in action takes. Don’t worry about it. There are great ways to get the shot you need, keep the audience in the moment and still satisfy your directorial saavy. I’ll show you video examples along the way so you will be sure to get it. A good director is the visionary but must also learn to manage other people’s efforts, become a project co-ordinator, a cinematographer, editor and producer. In other words, you are going to wear a lot of hats. Before anything else happens, you will need to put on your writer’s hat.