How filmmakers are making over £1000 a month from renting out photographic and AV kit

At Raindance, we’ve come across and worked with many independent filmmakers, and have found that those looking take the first step to produce incredible projects struggle to source professional equipment at a reasonable price at a time when funds are short.

A couple of years ago, artist and curator, Dave Charlesworth decided to experiment by renting out his Barco CRT video wall and found that he was making a large sum of money from renting out gear he owned. This led to the creation of KitMapper, a UK based sharing economy rental site for creatives enabling creatives to access photographic and audiovisual equipment. Where you can list kit and make over £1000 or more a month.

There is a reason creatives from all over are flocking to and spreading word about KitMapper. Users of KitMapper are generating so much money that they are investing into other pieces of kit to rent out, it has become a form of a part-time income for many creatives, and renters are making phenomenal savings accessing high-end equipment from local creative professionals.

5 reasons why filmmakers should be using KitMapper

KitMapper is dedicated to Creatives

KitMapper has been built for creatives by creatives, as such, it is run by people who understand the pressure of running projects on budgets and tight schedules. KitMapper is all about making things happen, about expanding your already expansive networks, to help creatives connect through kit. They support and provide filmmakers, photographers, artists and all forms of creatives get access to niche kit for long-term and short-term rentals of kit such as cameras, lenses, lighting, projectors, monitors and TVs, sound recording, VR kit and much more

If you’re a creative you should be signed up to KitMapper, you may not be able to rent out a waffle iron through KitMapper, however, when you’re looking to hire a nice set of primes, a workhorse like Sony FS7 or even harder to find items such as a 35mm Arriflex 235, what’s more you can source it quickly from like-minded people.

Rented kit gets broken? The KitMapper Guarantee covers you

If your kit is subject to an incident during the hire period, KitMapper guarantee that they will reimburse you the cost of repairing the damaged kit or where appropriate the full replacement cost for that piece of kit.Yes, this mean means that your kit is safe hands! All you need to worry about is keeping track of how much you’re making and saving.

Fee on rentals only 14% Lowest in the market

From a Lister’s perspective, you want to make as much money as possible, to make this happen KitMapper is putting their users first by reducing it’s fee on rentals over the winter period from 17.5% to 14%, the lowest in the market.  From a renters point of view, there are no deposit costs therefore both Lister and Renter save an enormous amount of money.

They are experts in the creative industry

Founded by artist and curator Dave Charlesworth, the team has over 30 years’ combined industry experience. Everything they do is underpinned by their mission to facilitate ambitious, creative projects. This means that they have the knowledge and expertise to guide you to the right piece of kit and answers any questions you have via their live online Helpdesk.

Additionally, as the platform is for creatives, it’s a great networking tool for you whether you’re renting to or hiring from other professionals.

KitMapper is super simple and a safe site to use

If you’re lending, just fill out the form, add some photos and list away. Both parties are covered by the KitMapper Guarantee, a legal rental agreement, status tracking, ID verification powered by Experian and trust ratings set by their own community.

Want to join a community that supports and encourages your creative projects? Why not browse through their selection of great cameras near you or sign up and put your kit to work. If you join the community now, you will get 10% off your first rental. All you have to do is select the ‘Raindance’ option on ‘How Did You Hear About Us‘ and a code will be sent to you!

Additionally, this month only KitMapper is giving THREE lucky winners a chance to win a day each in a London studio with access to a Canon 5D and lighting panels for FREE. Sign up to their site or invite a friend to join to be in the chance of winning. It’s a no-brainer. Get joining.

This post is sponsored by KitMapper.

The post How filmmakers are making over £1000 a month from renting out photographic and AV kit appeared first on Raindance.


Five questions filmmakers ask before making a film

You have an idea for a film – now what? Reflecting on these five questions will help you begin production and put you in a better position to pitch your film to investors.

1. What will it add to the conversation?

Ideally, your film should be meaningful, entertaining, and distinct. It shouldn’t simply echo – it should be able to stand alone. Perhaps it covers a fascinating, noteworthy topic. Maybe it is innovative in terms of form or style.

One of my former film teachers, Clifton Raphael, used to instruct his students: “Tell me something I don’t know and even if I did know it I wouldn’t have been able to guess it.” His advice has stuck with me through time because it encapsulates the importance of constantly questioning conventions and learning to break them.

2. Is it practical?

Consider whether you have the financial means to support yourself throughout the production processes. Films generally take a while to begin generating revenue. Do you have a plan for applying for and obtaining grants? Do you plan to pitch to investors? What kind of support will you need from the cast and crew? How do you plan to compensate these individuals for their work?

For advice on low-budget filmmaking, consider taking Elliot Grove’s Lo-to-no Budget Filmmaking course at Raindance London; if you’re not in the area (or his course isn’t within your budget!) read his articles Compromises Low Budget Filmmakers Make and 10 Expenses Most First Time Film Director Forget.

Also consider time restraints. What are your other commitments and priorities? Create a plan for how you will divide and manage your time so you can devote sufficient energy to each stage of production.

3. Why now?

Consider what is so unique about the current state of affairs that warrants the production of your film. Perhaps your film will cover a topic that is currently the subject of political discourse. Maybe it reintroduces a long-forgotten narrative that you wish to revive.

Also consider the timeline of your production and whether your film will still be relevant once you’ve wrapped production and completed the final cut.

4. Why me?

Ideally, you should be the only one who could tell the story. Reflect on what makes you special as a filmmaker and how your specific skill set will benefit the production of your film. Perhaps you have exclusive access to a story. Maybe you are already extremely knowledgeable and passionate about the subject matter.

Ask yourself what makes you indispensable to the production. Reflect on your weaknesses and plan for how you will overcome them.

5. Why film?

Why should film be the medium used to disseminate your story? Would your story be better as a novel? How about a podcast? Or a photography exhibition? Perhaps it would be better suited as a Virtual Reality experience.

You should be able to articulate why film is the ideal platform for your story. Not all stories lend themselves to the screen. Consider why you desire to tell a linear story comprised of sounds and images and whether that medium is the best choice for your specific story.

The post Five questions filmmakers ask before making a film appeared first on Raindance.


Interview: Swiss Filmmaker Petra Volpe on Making ‘The Divine Order’

Petra Volpe - Filmmaker

“Sometimes you need luck as a director. We always think it’s all about control and it is a lot about control when you direct a movie, but it’s also about things that you can’t foresee.” There’s a film now playing in theaters titled The Divine Order, from Swiss writer/director Petra Volpe. The film is Switzerland’s entry in the Oscars this year and it’s obvious why when you see it. This very entertaining, exciting, engaging film tells the story of a woman in a mountain town in Switzerland who rallies other women to join in the fight for the right to vote. Swiss women only passed a law in 1971. I had a chance to talk with writer & director Petra Volpe and I’m so happy I did – she’s a joy to talk with and had much to say about making empowering films. ›››

Continue reading Interview: Swiss Filmmaker Petra Volpe on Making ‘The Divine Order’

Women of Horror: Exploring Directors Who Are Making Their Mark on the Genre

Horror has been good to these directors. (Or is it the other way around?)

Like comedy, horror is a tricky genre to get right, because right away you’re faced with the inescapable expectation that your work must, in fact, be the very thing that makes the genre what it is. For comedy, it has to be funny, but for horror, it has to be scary. Though there are plenty of horror flicks out there that are reductive, predictable, and barely able to make you flinch, there have been some truly great films that have come out in the last several years that remind horror film fans of why we love this bloody genre so much—and an exciting number of them have been women.

In this video from Fandor, we get to explore the work of three female directors who chose to make a name for themselves in the horror genre with their transgressive, challenging, and yes, really, really scary films. Check it out below:

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No Film School

13 Steps To Making A Horror Film

Hallowe’en always brings the horror genre into focus. Horror films always have a certain audience, as we are captivated by misfortune that happens to our fellows.

Horror films are a great place to launch a career because they can be made without the huge financial resources other genres can demand.

With us battening down the hatches against trick or treaters, and with hurricanes and tropical storms battering different parts of the world, we thought we’d put together a how-to list about horror filmmaking:

1. Pick a main character – hero

Your hero should be an average person but part of a typical social group. The typical hero is a college student (Nightmare on Elm Street, Scream). They usually work on their own, like a babysitter (Hallowe’en).

2. Pick a sidekick and make them bicker and compete

A good story has a hero (the main character) and a sidekick. The sidekick starts the story as the heroes best friend, but part way through the story they betray their best friend and oppose the hero and what they want. Horror films also have creepy children (Children of the corn), or children who are corrupted by creepy characters (Mama).

3. Pick a universal moment

A universal moment is an event that many of us will have experienced and when in a story becomes something your audience can relate to. For example, being alone in a house (Paranormal Activity, Night of the Living Dead)

4. Pick a location

Cheap movies are shot in one location. Pick a big house, ore factory, or any building you can get hold of cheap. Black out all the windows so it’s dark and evil looking. For added effect water down the floorboards so they glisten in the candlelight. Another advantage of the single location is you can block the exits so the hero can’t escape.

5. Pick an inciting incident

An inciting incident is an event near the beginning of the story that creates the drama and kicks off the story. Inciting incidents can be macro (like an epidemic in Shaun of the Dead) or micro, like the death of a daughter (Don’t Look Now).

6. Pick a ghost

Good stories need to have a ghost. Ghost is an event in the past that the hero still fears or is ashamed of.

Each genre treats ghost differently. In crime stories, ghost is referred to as ‘personal crime’ – something the main character did that was wrong, and which still causes them embarrassment and pain. In horror stories the ghost takes on a physical shape and must be overcome by the hero.

Make sure the ghost is painful to the main character and not easily overcome.

7. Pick a nightmare

Nightmare is that thing in the future that the hero is afraid of, and it is so powerful that it prevents them from getting what they really want.

8. Pick a trap

Many horror films are filled with traps. Saw, Buried, Phone Booth, and the first Evil Dead are all stories with traps where the unwary perish.

9. Pick the moment the sidekick dies

In horror movies, the hero confronts the physical ghost and in the confrontation there is a struggle which causes the death of the sidekick. Pick this moment for maximum dramatic effect, and the moment that cause the most guilt and remorse in the main character.

10. Pick the confrontation

The confrontation that causes the death of the sidekick is the climax of the movie. it is a do-or-die confrontation, in which the hero must overcome the ghost or else suffer the direct consequences. There are three different types of consequences: Physical (the hero could lose their life); social (they could lose their place in society; or psychological (they have their core beliefs challenged to the point where they can no longer function as normal and healthy human beings).

11. Pick the right fake blood formula

A horror movie needs lots and lots of fake blood, right? Make sure you pick the right fake blood recipe. You  can learn to make your own fake blood at a special evening class in London, or follow one of these fake blood recipes.

12. Pick the right music

Horror film scores seems to feature low stings, children singing or amplified heart beats as in The Blair Witch Project.

13. Pick the film festival that debuts horror

Film festivals provide the ideal route to start publicising your film, whatever the genre. festivals tend to specialise in different sorts of genres. London has the world-famous Frightfest. Here’s a list of the top horror and fantasy genre film festivals in the world.

Fade Out

Armed with this simple list go make a movie.

Yours in filmmaking,

Elliot Grove

Find Out How You Can Enter Our Halloween Horror Competition Here:

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Watch: 5 Tips for Making a Perfect Action Scene

Action is a movie staple, but how do you do it right?

If you want to know how a clock works, take it apart. You look at the way one piece fits into another, the way the gears turn in relation to each other, how the parts become the whole. Then, whether you can put the same clock back together is irrelevant. You’ve learned something. Films work the same way. If you want to know how they work, take them apart, scene by scene, shot by shot, line by line.

Patrick Willems’s new video essay does just that with an action-packed scene from the short film The Wrong Trousers, in which the beloved Wallace and Gromit chase a duck named Feathers, who’s stolen some very valuable diamonds, to answer a question that’s probably on many young filmmakers’ minds constantly: how do you make a great action scene? Check out the video and read our top five takeaways below.

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No Film School

Roku might be making its own smart speaker


There could be yet another smart speaker to choose from.

The popular streaming device maker Roku may be building its own competitor to the Amazon Echo. Roku already has some voice-command tech, and some publicly available information suggests its leveraging it to branch out into new projects with advanced audio features. 

First noticed by Variety, Roku has listed open positions that are specific to tying audio with software. For example, Sr. Software Engineer, New Products, Audio (Expert) requires candidates with experience taking “new hardware platforms from prototype to mass production.” Other listings were for applicants with experience with “voice user interface design.” Read more…

More about Tv, Streaming Media, Roku, Smart Assistant, and Smart Speaker

9 Tips For Making A Raindance-Screened Short For Nowt

9 Tips For Making A Raindance-Screened Short For Nowt, by Colm Field

I’ll never forget the phone call from Ashley to say that our ‘short for nowt’ Skipped had got into Raindance Festival. It was one of those time-freezing moments, where years of blood sweat and tears coagulated for one brief glorious moment into a single drop of success. I remember now that every filmmaking hurdle flashed before my eyes in one instance. But, let’s face it, I love films and it probably didn’t happen quite so cinematically as that.

Give a shit, let’s pretend anyway! ‘Cos we at Shiftwork have made a host of films on miniscule resources, have encountered a whole host of effing challenges, have learned from all of them and will hopefully learn from bigger challenges in the future. Raindance for us is an opportunity, a springboard, but it’s also a chance to reflect on the shorts we’ve made and the challenges we’ve had making them.

And – this being a Buzzfeed age – we can present it in a handy list with a plug for our next project at the end. So here’s our list of tips on making festival-screened movies for nowt – apologies if some of it seems like teaching to suck eggs btw.

1 Get a good team and be good to them.

Because they’re being good to you. Oh yes, you beret-wearing despot genius, it might seem that the sheer brilliance of your vision should be enough for anybody to beg to work for you, but movies are a business, and you probably ain’t paying. Your cast and crew will hopefully get to use this film to further their own careers, but whether they do or don’t they’re helping yours, so at the very least they deserve respect, food, travel and expenses. The same applies to the post-production team – there are incredibly talented composers, colour graders, animators out there looking to further their careers and make some penny-pinching art alongside you if you treat them right.

But how to find them? There’s loads of great sites out there already, I’d recommend Mandy ( for crew, Casting Call Pro for cast. They tend to give back what they put in – so if you want talented people, you need to make sure your profile looks professional, that your job post is well worded, you need to be apologising for the fact that you can’t pay them what you should, and you need to offer travel expenses and food WITH THE INTENTION OF ACTUALLY PROVIDING THOSE THINGS YOU DIRTY RAT.

Honestly, I am so fed up with helping on and hearing about sets where people aren’t fed properly, are told a wrap time that the producer/director has no intention of sticking to, are treated rudely, and are then still waiting for news about the finished film five years later. Every set you shoot will have at least 80% brilliant people who you’ll want to work with again in the future, so make sure they feel appreciated. If I’m lied to or talked down to in my day job I’ll down tools and walk – and I get paid for that shit! Which brings me neatly to-

2 Get a job, hippy.

Now I know there are some people out there who can go years on bohemian living, an artistic vision, and yes, a large inheritance from their father, Earl Goodman. Everyone else has to eat. And unless you secure outside funding, even a no-budget film will, oxymoronically, cost time and money, especially if you’re looking to get it into a decent festival. Both myself and Ash work hard jobs to make this dream possible. We’re not ashamed of those jobs, we’re proud of what they’ve enabled us to do.

3 Don’t film till you’re happy with your story and shots.

Our most recent short film Leticia Drowned was developed with the cast (a la Mike Leigh) over the course of a year’s rehearsals, had carefully comprised shots that were lovingly prepared with the DoP beforehand, and featured a complex set-piece sequence. Conversely, Skipped was rewritten throughout improvised rehearsal and on the shoot day, all to create a deliberately spontaneous style for the film. And despite the hugely differing styles of preparation for these films, on both we didn’t start filming until we were as sure as could possibly be that film would work.

There’s a range of ways to do this, but they all boil down to two things. For the shots, the writer, director and DoP discuss what they see when they imagine this film, and then the director, DoP and crew discuss how this can be feasibly achieved. For the script, the director and writer discuss their own vision alongside with what is feasible and not, revise that vision through the auditions (and for us through rehearsal), until they have a story, and then the writer keeps that in mind in support of the director while being open to the possibility that events may force it to change (see tip 5). During these meetings there will be differences of opinion and visions that are impossible to realise. I can promise you that resolving these beforehand these is nowhere near as harrowing as trying to fix them on the day. That having been said, you should still-

4 Aim high.

I don’t mean epic battles, or anything like that – although if you think you can pull that off on a lo-budget it would be a wonder to behold. What I mean is that the age of budget films being allowed to look cheap is long gone.

There really is no excuse any more. Phone cameras shoot in 4k, lights can be built for close to nothing or just found from everyday sources and there are countless videos for how to make your DSLR footage look the dog’s bollocks in every editing software. I’m not saying that money and equipment doesn’t show, of course it does. But for me, making a crappy looking or sounding film is no longer excusable. Although, of course-

5 Expect that something will go wrong during the shoot.

It always has for us. It’s a lot to take on, all this planning, and something usually goes awry. But there’s never been anything yet that has meant we can’t film. “Oh but what be the antidote to such celluloid poison?”, you ask in a petrified willowy voice. Well, as Montell Jordan says, this is how we do it.

First, we look to fix the problem direct. If the next scene is meant to be shot on a deserted street and a busload of tourists are roaming around photographing bins, we’ll try to shift them along with good manners and hearty laughter at their inevitable “can I be in your film?” jokes.

Then, if the problem can’t be fixed directly, if these tourists don’t care about our film, if it’s a busload of coked-up obnoxious investment bankers, say – we’ll look to the crew for salvation.

Can the DoP find an interesting angle to shoot with good (enough) lighting that dodges the drug-crazed sociopaths? Can the sound department engineer the recording to reduce their unconscionable braying to a whistle on the wind? If your editor is contactable (or, as with our shoots, working on set in a different role) do they know if it’s at all feasible to lose the bankers in post?

Remember that nine times out of ten, if they specialize in the job they’re doing today these crew members will know more about their trade that you do. Don’t be too proud to use that knowledge, don’t be too quick to write off the scene. And if they don’t know, don’t be afraid to Google.

However, if after all of this there still isn’t a solution or workaround, if you cannot possibly find another location or another shooting day, then the only answer left is to change the script to suit the new circumstances and you must do this. Just as the difficulty in getting everyone together for a low-budget shoot makes it madness not to prepare thoroughly, it is absolutely crazy to give up on a film/scene now that you’re all here.

Handily, I’ve an example of how this can work, can even make the film stronger. And whaddyaknow, it’s from one of our shorts! The Estate Agent is, I think, a very enjoyable, nicely satirical comedy horror – and I’m definitely not biased in any way. The lead actor going into filming was going to be a tall blonde woman in her early twenties. That Hillary Derrett isn’t and the film still works is testament to her brilliant performance, and some last-minute ruthless script editing.

5 Be as ruthless in the edit as you were with the script.

You’ve done it! You’ve overcome the severe lack of funds, the DIY Bank Light worked great, the watering can-rain trick paid off, your cast and crew had a great day and want to work with you again, and above all – YOU HAVE GREAT FOOTAGE. Surely you’ll want to get every drop of wonder out of these beautiful tapes eh, no shot left behind?

Unfortunately that’s the worst way to look at an edit. The more film I cut, the greater heartbreak every time I realise that some portion of these lovingly crafted words/shots/performances/direction will be lost. But for low budget, the decision is made for you. You’re up against films with twenty times your production value; can you really afford to have that joke fall flat on the festival screen, despite how much you loved writing it, despite how much it killed on audition day, despite how much it tore up rehearsal? Does that dying hero’s final scream of anguish that seemed so potent in the shoot actually sound a bit daft, and how will it feel for you and the lead when it causes snickering on the back row? How quickly will everyone dismiss your film, you, as just another bunch of amateurs who, well they’re nice and all that, but they’re not really media are they?

Editing is really enjoyable. It’s like writing a story out of a load of pages that you’ve found in a box that are all mixed up higgledy piggledy, then realising that you wrote the book they were torn from. But, more than any other part of budget filmmaking, there just isn’t the space for anyone’s ego to fit in the edit suite (also known as your living room with the headphones on your second-hand Macbook ‘cos the kids have bagsied Paw Patrol on the big telly).

6 When editing, get free stuff.

Seriously, there’s a lot out there. Want to get some fresh EDM on a characters phone ringtone? Google “royalty free music”. Want a shot of someone checking said phone but forgot to film it? Google “free stock footage”. Need the sound of a skip lorry pulling in to a driveway? Google “freesound”. Need to find out how to key frame someone without a green screen? Google- you get the idea. And once you’ve cut your footage and free stuff into a masterpiece that will burn up any cinema screen, just double check that it is a masterpiece and…

7 Get notes from people you trust not to be nice.

I know people who are caring, so caring. They want everyone to be happy, and would never say anything to hurt anyone’s feelings. And they’ll be precisely no help when it comes to giving me notes on the next edit.

My girlfriend, on the other hand… well, she’s caring as well, natch. But she loves movies, knows her opinion, and has never, so far as I know, sugarcoated it for me. So, without ever being dismissive or derisory, if she thinks anything we’ve done doesn’t work, she’ll tell us about it. It’s a priceless input, which is why when she starts voicing such reservations on something I’ve worked away at all week, I now make every effort to shut up, to not answer back, and just go away and think about what she’s said. That doesn’t mean I’ll agree with her – Christ, sometimes it doesn’t even mean I’ll like her very much in that moment – but it does mean that when I go back I’ll need to have a valid reason to disagree beyond “that’s just the way I want it”. And if four more people I trust say that same thing that she does, then that’s a note that need serious consideration.

Of course, you want more than five people to like your film. That’s why you have to-

8 Get the damned ‘Short for Nowt’ seen!

This is the one that baffles me the most. I’ve have seen GREAT shorts – I mean really, truly brilliant, ones I would love to see – and have later learned that I’m one of about six people to see them, because the filmmakers expended all of their passion into making it, and for whatever reason didn’t extend that passion into showing it off. WHY?!

If you’re proud of your film and of the people you made it with, you owe it to that film and those people to show it off. There are several ways to do this with shorts – online and Festivals being the primary routes, and although Shiftwork gives a home to our films online (at our excellent YouTube channel should you have an hour free – feel free to like, and email across offers of enormous donations while you do this) our main target has always been festivals. Three reasons for this – one, people go to film festivals who might be able to help you make more films, two, film festival accreditation is great on your CV, and most importantly three; we make our films with the dream of them being on a big screen in Leicester Square in front of a packed house, and with Raindance that’s what we’ve got.

But how to get into festivals once you’ve got the film you’re proud of? This is something that we’ve worked on developing over the course of the last year, and only now do we feel more confident that we’re getting it. But the very absolutely first step would be to read these two articles; 16 Things Film Festivals Hate About Filmmakers and Tips For Maximising Your Film On The Festival Circuit and do absolutely everything they advise. Build a website for your film – you can do this for free on plenty of sites. We use Weebly but that doesn’t mean they’re the best, get posting about your favourite fellow filmmakers and what you’re up to on social media. Look up your favourite festivals, your dream festivals, let them know that they ARE your dream both publicly and in the application you’ve lovingly prepared. And, if after all of that…

9 If after all of this your excellent film still isn’t getting into festivals, rework it.

This is the aspect of budget filmmaking that simply doesn’t apply to the big leagues. When every penny, every minute of your film is precious…it’s too precious to let go to waste.

Our short, “Skipped”, that is showing at Raindance this year, wasn’t the first iteration of our film. That was “Level Load Only”. It shared much with this film, and yet it’s not at all the same. When “Level Load Only” failed to get anywhere with the festivals we wanted, we took it away, dug out the purest story it had to offer, and reworked it into a brief teenage romance. It was hard to do. There was much to jettison, and we were proud of all of it. But it wasn’t getting into festivals.

Short movies – I prefer that term to film – are art, entertainment and business, to a degree. They have to find an audience. They have to get into festivals already full to bursting with shorts, and sometimes that might mean they have to be shorter. Some of the work that won’t be shown at Raindance was heart-wrenching to lose. But the work that will be shown is a credit to all who worked on it. And, in keeping with the spirit, we’ll make sure to keep us with them on the way up. Because the festival circuit is LONG, so you always must-

Fade Out:  Be working on your next film.

Alright, let’s face it, this bit will be a plug for Shiftwork (what, I hear you cry, even more than the rest of this bloody essay?) The fact is, we have loads of stuff on at all times, and just to, ahem, illustrate how important it is to be constantly busy, we’re sharing two of those projects.

Sarama is a Muay Thai film, about a referee who must face up to the rot at the centre of the sport – and who might just rediscover the hope and redemption it can provide.

Health And Safety is a construction site musical, in the vein of The Singing Detective. When the pressure onsite and off get too great for Leroy, his world slips into an acidic song-and-dance, but the consequences that bleed into reality are dire.

These are both films that will cost MONEY. We’re hoping that, with the help of Raindance, we can find that money. If we succeed, we will be departing the world of low-budget filmmaking that has brought us so much pain, madness…and joy. But…it won’t be for long. Or at all, in fact. We just filmed a comedy for nowt the other week. Can’t wait to see how it’ll do.

About the author

Peace and love shiftworkers – you know who you are. Colm wrote scripts and put’em in drawers for time. Then he met Ashley Belgrave, they founded Shiftwork, and since then he hasn’t looked back. They’ve seen four shorts into festivals, Colm’s script was shortlisted for BAFTA Rocliffe 2016, his story was longlisted for Public Space (though to be fair I heard that list was LONG), and now their film Skipped is going to Raindance. And he could tile your bathroom! Mega!

The post 9 Tips For Making A Raindance-Screened Short For Nowt appeared first on Raindance.


‘La La Land’ Director Damien Chazelle is Making a Musical Series for Netflix

Damien Chazelle

The Academy Award-winning director behind La La Land and WhiplashDamien Chazelle, is joining forces with Netflix and screenwriter Jack Thorne (Star Wars: Episode IX) for a musical called The Eddy. Chazelle will direct two of the eight episodes, which are all set in Paris, France. After how lavish and dreamy Chazelle made Los Angeles look in La La Land, I can’t wait to see what he does with Paris.

Below, learn more about the Damien Chazelle Netflix musical series.

Back in April, we learned the project was being shopped around to cable networks and streaming services, but now we know a little bit more. The story is about a Paris jazz club and focuses on the owner, the band, and the city. It’s set in present day and deals heavily with the relationship between the American and French-Arab co-owners of the club, complete with roles for French, English, and Arabic speaking talent.

Netflix’s VP of international originals, Erik Barmack, told Variety the series will feature French actors, crew members, and maybe some directors. Barmack described The Eddy as “somewhere in between” Whiplash and La La Land, “From the intense, complex relationship between a jazz drummer and his instructor in Whiplash to his dazzling duo of lovelorn Los Angelenos in La La Land, Damien’s work is emotional and electrifying.”

As for Chazelle, he’s “always dreamed of shooting in Paris.” He’s working with some real heavy-hitters on The Eddy, including six-time Grammy winner, Glen Ballard. The composer and producer worked with Michael Jackson on “Bad” and “Thriller,” in addition to co-writing and producing Alanis Morissette’s finest album, “Jagged Little Pill,” which Diablo Cody is adapting into a stage musical. Ballard is writing the original score for the Netflix series, which Six Feet Under and The Newsroom‘s Alan Poul is executive producing.

Chazelle has now joined the list of some of today’s top filmmakers working with Netflix, which already includes Martin Scorsese (The Irishman), David Fincher (House of Cards), the Coen Brothers (The Ballad of Buster Scruggs), Ava DuVernay (The 13th), David Michód (War Machine) and others. More and more great directors keep turning to these streaming services. Though Amazon’s list is just as impressive: Woody Allen (Crisis in Six Scenes), Barry Jenkins (Underground Railroad), David O. Russell (an untilted gangster project), Yorgos Lanthimos (an untitled Oliver North project), and Nicolas Winding Refn (Too Old to Die Young).

I imagine a few networks were interested in a Damien Chazzelle musical series after the success of La La Land, but Netflix seems like a great home for the filmmaker, to hopefully help tell the story how he sees fit. La La Land is such a joyful musical with both heartbreak and wonder. If he can capture even a small portion of that magic with his Netflix show, we’re in for a treat. When the filmmaker will fit The Eddy into his busy schedule is unknown at the moment. He’s currently working on the Neil Armstrong biopic, First Man, which Jon Bernthal joined the cast of only yesterday. He’s shooting that ambitious drama starting in November, with a fourth-quarter 2018 release date already locked down.

The post ‘La La Land’ Director Damien Chazelle is Making a Musical Series for Netflix appeared first on /Film.


Here Are All the Reasons Why You Should Stop Making Films

Most of the time, there are more reasons to quit than to shoot.

How many times have you told yourself that you don’t have what it takes to make films? Films take time, money, talent, and creativity and more often than not you feel like you just don’t have any of those things. Maybe your parents have told you that it’s a waste of time. Maybe you’ve already tried to break into the industry and failed. Maybe you haven’t made anything in years because your inner child has been replaced by your inner critic who is constantly telling you that if you try you are going to fail.

If this is you, you should watch this video by Simon Cade of DSLRguide immediately.

When I was in first grade, my teacher asked the class to draw a picture of our favorite animal. Once everyone was done, we sat in a circle so we could show everyone what we drew. When my teacher held up my picture—it was of a cheetah—a boy laughed and pointed at it, and that was the first time in my life that I ever realized that something I made could be seen as “good” or “bad.”

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