Watch: Super Entertaining Cyber Punk Animated Short Film ‘X-Story’

X-Story Trailer

If you love action adventure or anything cyber punk, you have to stop for a moment and watch this awesome short film. X-Story is an animated short made by Russian animator Vitaliy Shushko that is a cyberpunk adventure about a guy who gets a “bionic power arm” and goes to find hidden treasure. It seems like kind of an homage to video games, almost Mega Man meets Mario, but there’s also a bit of The Incredibles in here with the big villain. Whatever it is, the animation is gorgeous and feels vintage yet fresh. I really enjoyed watching Shushko’s X-Story, and I think you will also find it to be very impressive animated entertainment. ›››

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Watch: ‘Come Swim’ – Kristen Stewart’s Very Abstract New Short Film

Come Swim Short Film

“What’s wrong… you can’t breathe underwater?” Refinery29 has debuted the online version of Kristen Stewart’s acclaimed new short film titled Come Swim, which played at the Sundance and Cannes Film Festivals this year. There was big buzz on this, as it’s big directorial debut for the famed actress Kristen Stewart, and it’s weird and wacky and experimental, and some of you are going to hate it. But maybe some of you will love it. The short film is described as a “diptych of one man’s day; half impressionist and half realist portraits.” The short film also features a score by the American musician known as St. Vincent. This has some cool shots in it, but it’s so frickin’ crazy abstract, I don’t even know what to say about it. I’m glad she’s trying something different, but I hope her next film is a bit more coherent. Watch Come Swim below. ›››

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Watch: Powerful Polish Short Film ‘Everything Will Be Nice’ Set in NYC

Everything Will Be Nice Short Film

“Where is that money, Piotrek?” We’re proud to exclusively debut an award-winning short film online, titled Everything Will Be Nice, or Wszystko Bedzie Fajnie in Polish. This short, directed by and starring Polish actor/filmmaker Jan Kutrzeba, touches on immigration, love, trust, poverty, and loneliness. It was made out of love by a handful of immigrant filmmakers and two talented Polish actors living in New York. Kutrzeba “wanted to share the story of what it’s truly like for immigrants trying to make it to the next day in the city, surviving solely on the love the characters share with each other.” It was shot and it’s presented as one long, single-take involving a Polish couple arguing at the morning in their apartment in the city. This is an impressive short, that played at a number of film festivals last year. It’s worth taking a moment to watch. ›››

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Reader Question: Is there a danger of having an Act One that is too short?

Story trumps page counts. If it works, it works, no matter how short or long.

From Pliny the Elder:

I’m writing a drama, in what Linda Aronson calls a “multiple protagonist narrative” style and my script comes in at 110 pages.

So far so good, and I’m happy with my character development, but while I’m pacing my overall structure using my A story, my first act comes in at a short 22 pages (and when I rewrite, it’ll probably end up shorter).

I know Snyder likes to hit the 2nd act by page 25, but I feel that maybe I’ve overdone it a little.

What are the perils of making the first act too short, and how short can I get away with it being?

Hollywood readers do develop an instinct about the timing of a script’s Plotline points and act breaks. So you are right to be mindful about this. And I could go the easy route and tell you point blank, “Yes, your first act definitely has to be 25 pages long.”

But let’s step back a bit. First off page counts can vary by genre. For example, if the genre you are writing is an historical drama, a reader may expect a script to come in at 120 pages or more. A first act in that type of movie could be 30–35 pages. If, however, you are writing an action-drama script, a reader will be looking for something in the 95–105 page range. There you might expect a first act to be 20–25 pages. Genres, sub-genres, and cross-genres can have an impact on what people might expect with your first act.

Beyond that the bottom line is this: There are no rules, just principles and guidelines. Anyone who tells you otherwise is doing you a disservice in terms of learning the craft of screenwriting.

My first line of interest in your story would be for you to look at it from within the story universe, not outside from the perspective of what you — in theory — should or should not be doing.

In other words, does your story work in and of itself?

That should be the biggest concern you have.

Broadly speaking — in my view — a first act has to accomplish certain things:

• Introduce the story’s Ordinary World

• Introduce the story’s primary characters

• Establish the story’s genre

• Set into motion the story’s central narrative device

• Present the story concept

• Create Protagonist identification

• Set up Plotline and Themeline [almost always tied directly to Protagonist’s journey]

• Establish tone, style, voice

• Create curiosity

• Entertain the reader

And if you’re thinking in real macro terms, it needs to have at least these three Plotline points:

• The Opening: Generally either a soft opening (e.g., a typical day in the life) or a hard opening (e.g., some dramatic event that immediately grabs the reader’s attention).

• The Hook: Basically something happens. Usually in the form of an incident, message, or challenge to the Protagonist, an ‘invitation’ to the upcoming journey.

• The Lock: Either the Protagonist willingly goes along onto their journey or they are dragged along unwillingly, but in any event they leave their Old / Ordinary World (which has been established in Act One) and plunge into the New / Extraordinary World.

So if you apply all that to your Act One and you can honestly say, “I nailed every point,” I don’t care if it’s 15 pages long, as long as it works, it works.

That said I suspect there is a reason most first acts clock in between 20–30 minutes long and that is because it takes that much time to accomplish all that stuff above and — perhaps most importantly — establish a baseline of experience for the moviegoer about where the Protagonist starts out, their world, their people, their life, etc.

Consider the movie “The Lord of the Rings: The Fellowship of the Ring.” That first act that takes place in Hobbiton is a long one. But it’s absolutely critical to create that experience of what it means to be a hobbit, these peaceful, warm, friendly types, and their community. Once we leave, we don’t go back until the very end. But we carry with us — as do Frodo and Sam (especially) — memories of what it is the hobbits left behind which in turns reinforces over and over their courage, and the impact of what they are doing.

So long-winded response, I’m afraid, and let me make it even more diffuse: Your first act needs to be as long as it needs to be! As a guideline, if you come in between 20–25 pages, you’re probably on target, and you certainly won’t get any complaints from script readers. But at the end of the day, what is most important is the story itself. And to know if it works, you need to go into that story universe and feel your way through the first act to see if it works.

[If you are picking up the subtext that I don’t like cookie cutter approaches to screenwriting, you are quite right. Find a structural paradigm with which you are comfortable to help your story development process, but always carry the awareness that stories are organic in nature. Attempts to mash them into a precise lineup of plot point page counts is, I think, counterproductive and fundamentally uncreative.]

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Reader Question: Is there a danger of having an Act One that is too short? was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

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Watch: Uber Gorgeous Animated Adventure Short ‘Fox and the Whale’

Fox and the Whale Short Film

This is one of those jaw-dropping stunning animated short films that you need to stop and watch right away. Fox and the Whale is animated short made by Robin Joseph about a fox that goes on an adventure to find a whale. While the plot is seemingly that simple on paper, this gorgeous film has so much more depth to it than that, and will leave your mind reeling. This film reminds me of Don Hertzfeldt’s animated shorts because there’s so much profoundness to it, and that’s not something easy to pull off. There’s nothing more to say now than please just take a moment to watch and enjoy this mesmerizing work of art. It’s so worth it. ›››

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Reader Question: Is an 80-page spec script too short?

If 120 pages is no longer the norm, is there one and if so, what?

A question via email from Olov Lindstrom:

I was wondering if I could have your opinion on something. Maybe the answer to this is out there somewhere but I can’t seem to find it.

Right now I’d say I’m about 75% of the way through writing my first script. I got into this writing because I woke up one night after having a dream that was just such a great story that it just needed to be told! Before that I had no intention of becoming a screenwriter. I’m just telling you this to let you know from where I’m approaching the writing. I’ll be trying to sell the script, not myself as a screenwriter. Basically I saw the movie, now I feel everyone else deserve to see it too! 🙂

Right now it seems my script will end up being about only 80 pages. It’s a thriller/action story. Sure, I’ve kept it quite lean but I feel all the turning points, subplots, dialogue etc is in there. So.. is this good or bad from a selling point of view? Is 80 pages too short? Should I keep it like this or try to expand on it?

Interesting. A few weeks back, we had a reader question about whether it was okay to submit a 187-page script. We were fortunate to have several professional script readers and story analysts provide their thoughts in comments. Hopefully we’ll get the benefit of their wisdom on this query, too.

First things first, you should check out this post which goes into detail about several dynamics related to screenplay page count — how scripts are ‘shrinking,’ which genres have more / less page counts, and so on.

While acknowledging that we no longer talk about a 120-page screenplay as the norm, speaking personally I’d still say that if I got an 80-page script to review, I’d go into the read anticipating that the story might be pretty thin. Yes, I know that the movie Buried, which recently sold at Sundance to Lionsgate for $ 3.2M, had a script that was only 80 pages long, but look at that story’s premise:

Paul is a U.S. contractor working in Iraq. After an attack by a group of Iraqis he wakes to find he is buried alive inside a coffin. With only a lighter and a cell phone it’s a race against time to escape this claustrophobic death trap.

There the issue is more about how do you sustain that premise for 80 pages? But most movies clock in with at least a 95-minute run-time. So I would still carry a yellow flag into my reading of any script that was only 80 pages long.

Now I can’t deny the possibility that your script could work perfectly at 80 pages. However seeing as this is your first script, before you start sending it out to agents and managers, I strongly suggest you get some feedback. For while you may think it works as is, perhaps other readers will find that they don’t get to know this character or that character well enough, the plot resolves itself too easily and would benefit from more complications and reversals, etc.

But I would not recommend to “try to expand it” just to pad the page count. Instead I would encourage you to perhaps spend more time digging into your characters, seeing if they have anything more they may want to ‘tell’ you. Maybe look at your plot again to see how many major plot points you have. How many sequences? If you have less than 10 of the former and 8 of the latter, maybe it would behoove you to re-open your plotting process to see if there are some twists and turns you might have overlooked.

Be clear: That process is not about trying to generate more pages, it’s about trying to surface more of the authentic story that could be lying there, waiting for you to discover it.

But at the end of the day, if you feel confident that your 80-page script works as is, then I say go for it. If the story is a strong one, Hollywood is not going to balk at an 80-page script.

Script readers and story analysts, what say ye re an 80-page script? What would be your first impression? What prejudices might you carry into that read? What would you advise Olov to do?

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For 300+ more reader questions and answers, go here.

[Originally published January 31, 2010]


Reader Question: Is an 80-page spec script too short? was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

Watch: Clever FaceTime Call Horror Short ‘Where Is It’ Will Spook You

Where Is It Short Film

“Oh, that’s okay, it came with the house anyway, so… no big deal, I guess!” We’re almost into October, which means it’s just about time for the horror season. To kick things off (a bit early) we’re sharing this fun, freaky horror short film titled Where Is It, from co-directors Zak White and Todd Spence. This clever little horror short is about two friends who connect up over FaceTime for a chat. One of them just returned home from a trip, and the other watched her house while she was away. She accidentally broke an old mirror that was on the wall, neither thinks much of it. But apparently it has some importance to someone in the house. ›››

Continue reading Watch: Clever FaceTime Call Horror Short ‘Where Is It’ Will Spook You


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Another ‘Blade Runner’ Promo Prequel Short ‘2048: Nowhere To Run’

2048: Nowhere To Run Short Film

“Don’t like my offer, you’re welcome to try somewhere else.” Warner Bros has unveiled another new promo short film for Blade Runner 2049, a prequel this time set one year before the new movie takes place. A few weeks ago, they unveiled a short titled “2036: Nexus Dawn” featuring Jared Leto’s character Niander Wallace talking about manufacturing replicants again. This next new short film is titled “2048: Nowhere To Run” and features Dave Bautista as an outlaw replicant named Sapper. He goes out into the streets of Los Angeles 2048 to sell some replicant leeches, but he loses control when he sees a mother and her child being threatened. I love these short film promos, they’re exciting and the perfect way to bring us all back to this world. In the intro, Denis Villeneuve mentions there’s three of these short films, so there’s one more to come after this one. And only a few more weeks left until this hits theaters. For now – watch below & enjoy. ›››

Continue reading Another ‘Blade Runner’ Promo Prequel Short ‘2048: Nowhere To Run’


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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 (www.mandy.com) 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.

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Watch: Heist Movie Meta-Spoof Short ‘The Heist’ Will Make You Laugh

The Heist Short Film

“You’re gonna need guys as crazy as you are.” Time for a fun short to wrap up the week. The Heist is a meta-spoof comedy short mocking the heist movie trope of “assembling the team”. Made by filmmaker Luke Harris, they wanted to poke fun at this trope and other cliches from Hollywood, so they whipped up this short. It’s a direct reference to the scene in Steven Soderbergh’s Oceans 11 (one of my favorite heist movies) where they first meet up with Reuben and tell him about their plan. It’s short (only 4 minutes) and lives up to the promise of delivering some top notch spoofery. Of course, it’s also perfectly timed as Soderbergh has yet another heist movie currently in theaters – Logan Lucky (which I highly recommend seeing). Have fun. ›››

Continue reading Watch: Heist Movie Meta-Spoof Short ‘The Heist’ Will Make You Laugh


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