Film-industry hyphenates: Questions to ask yourself before making your film

Hi, Film-industry hyphenates!

I've said it a thousand times. A good producer is one that asks you the right questions to move things forward. Same with a script consultant. They don't tell you WHAT to do, they ask the right thought provoking questions and allow you, the screenwriter, to improve your story. Luckily, with Lorie, I have both. Here are some questions that Lorie asked me before my pre-pro weekend with my DP, Greg Risley, working on Visible Noise. My hope is that these questions will inspire you the way they inspired me and guide you in our journey to making the important decisions that will shape and enhance the story you tell on camera.

I've edited the email below so that it will make sense when applying it to YOUR story. :)

1) Do you have a vision or through-line for a compositional, pacing, rhythm progression?

2) Is there a visual progression? What is it? Is it static, smoother shots for the earliest segment, progressing to jumpier, grainier shots by the end...? Or, static-to-moving shots...? ECUs to WSs, or WSs to ECUs...? High angles to low angles, or vice versa? Or, are there any tropes from other movies that you might want to work with?

3) What about blocking within the scenes/compositions? Do you want to/plan to play with focus and/or physical obstacles within scenes?

4) Subtextually, what do you want the difference, or dynamic, to be between the characters in the scenes? Will it start off being his or her POV? Or, will the POV always be the audience's, of the "fourth wall?"

Obviously these aren't all the questions you'll ask, but it's a good place to dive in if you're just starting the process of figuring out which visual direction you want to go... and that will be a matter of style, experience, and interpretation of script.

For me, it's important to be able to experiment with shots, angles, and colors with my DP prior to our shoot.

Here's a bit of what we came up with for Visible Noise:

"It looks like a lot of our movie will be handheld, but we will use tracks and other techniques for select shots, as well as different lenses to achieve our mood. Tone wise, we came up with Requiem for a Dream meets The Notebook.

We will also be moving in slow at times, and getting footage for jump cuts where it feels right. The contrast between the two worlds will shift back and forth between our flashbacks (aka romantic, soft, brown/green) that are shot at a slower rate and Story's "real world" that's razor sharp (when on her). Although her world is increasingly out of focus by the time we get to the last scene. We don't reach levelness and clarity again until she has the moment/dialog with Ryan. We decided that this contrast is our visible noise, along with the sounds that will be over-emphasized along the way. We also are choosing a subtle spiral movement that we'll implement into our shots, and occasional tilt shots (dutch angle) to convey a disorienting effect and Story's spiraling.

All of the noises appear louder and more annoying to Story as she spirals. Our idea was that in addition to her phone vibrating while she's lying on the couch in mourning, we'd also hear a LOUD knock at the door. We cut to a mail guy who's knocking normally with the same rhythm to show the difference in our reality's noise and HER reality."

This was also the first time I was able to video the entire film (24 hour film style, without lights/all the actors) prior to shooting to obtain similar shots we wish to get on set. The video also serves as a storyboard, as it's easy to extract still images (thank you, Greg). This prep work is all a matter of personal preference, but having never used a storyboard before, I'm excited to try it. One thing is for sure - it'll never hurt to be over prepared. But the last thing you want your crew to do is WAIT ON YOU if you're not. And my stick figures were a disgrace to stick figures. That's all we'll say about that.

With doing all of this work in pre-production comes a sense of confidence and that's priceless. I highly recommend it, if you have the option. Happy filmmaking!

xo J

Born Good movie still

Born Good

Katie Page and Steven Goff in Born Good
photo courtesy of Shad Chancey with Goat45 Design
www.goat45.com

Screenwriting - finding the perfect ending

One of the ways we learn as screenwriters is through other people... other people's mistakes, lectures, advice, structures, strategies, and demonstration of promise.

That's why I'm taking a moment to share with you a few thought provoking notes (to get you started) from one of the best lectures I've come across for screenwriters that has to do with "endings." Who doesn't want the perfect ending to their screenplay, right?

It's a lecture that was given to me during a script consultation by an independent filmmaker and professor. I believe she referred to it as "gold" and I have to say, when I thought I'd lost the DVD once... and my husband had something to do with it... yeah, it wasn't good. Thank goodness I found it.

Here are some beginning notes from the lecture on what makes a good ending. May they serve you all as much as it's served all of us, and help aid you in your quest to find the perfect ending. :)

J

Endings lecture by Michael Arndt

The Insanely Great Ending
•Euphoria
•Emotional release
•Sense of clarity
•“New Eyes” on the world
•Life is actually pretty great

Examples of movies with great endings:
The Insanely Great Ending
•8 1/2
•Star Wars
•Catch 22 (the book)
•The Graduate
•The Bad News Bears

Bad endings:
Positive, but predictable

Good ending:
Positive, but surprising

Insanely great ending:
Positive, but surprising AND meaningful

Meaningful emotion = insanely great

In last 2 mintues: how does it work? what's at stake?
Notes TBC in next post...:)

Born Good Movie Poster!

The Born Good (Hybrid) Film Challenge: How I'm using Lost In Sunshine and Aether Paranormal filmmaking styles to breed something Good!

Hey, my sweet Sunshines!

Sorry it's been a few weeks since I've officially blogged, but I've been (*deep breath*) working a day job for $, booking makeup gigs for the fall, planning logistics for a trailer to shoot in two weeks that'll hopefully be playing in a 6-plex this summer, learning more about transmedia thru our new LIS transmedia producer, Adipat, finding time to work on my current screenplay, & read my screenwriting magazine, finishing a paranormal feature & figuring out a festival route for it, talking to people in LA about a possible reality show for our group, planning to shoot my first solo feature this fall, while learning about a 5 minute reel we aspire to shoot for LIS this summer so it can be shopped by our team in Toronto...oh, and getting ready to start esthetician classes in Aug. so I can get my license for that... ya know, the regular.

What have you been up to, Jelly Bean? Whatever it is, I hope it boosts your creative juices so that they're overflowing, and that you are inspired to hit your internal GO button! If you find yourself deflated and dehydrated by your day, perhaps it's time for a change...? :)

Today, while on a Lost In Sunshine production call with my producer, Lorie, I realized that the new feature I'm shooting this year, Born Good, has been (stylistically) inspired by previous work. Basically, my two styles of filmmaking are merging, for better or worse! :)

With LIS, we use a more traditional style of filmmaking, so to speak. We're a low-budget film, but we operate about as frequently and thoroughly as a major studio film!! Much of that comes from passion, and the incredible talent that chooses to participate in our journey and make it happen with us, despite an unpredictable timeline.

In example, we storyboard, we do extensive location scouting, we cast with a professional casting director, pay a legal attorney, marketing/distribution specialist, etc., and plan on shooting with a FULL crew when the time comes!

With Aether Paranormal, we are far less traditional. Our style's more fly-by-the-seat-of your-pants, with multiple brainstorming sessions and notes before we shoot from a detailed outline. No real script to talk about. We thrive on the unknown... after all, it's a paranormal investigation, right? Our hope is that we will capture what we don't already know!! And in some cases, we rely heavily on our chemistry and group-dynamic to pull us through!

Born Good is in some way a hybrid. My experimental concoction. I'm more concerned that I have a solid story than a script, even though screenwriting is my first love. I know that we won't have the time or budget to have a script supervisor, or money to pay for something like...oh... PA's!! So, I have enlisted the help of two very talented actors, whom naturally possess the skills my characters need, and hired crew that's used to the fly (i.e., Beaux from AP & ION Image Studio, LeVan Owens, Ia Enstera (AKA Art Goddness), and Shad Chancey from Goat45 Design).

The payoff is uncertain, as with most endeavors, but something tells me this is going to be a special shoot. There's no time for bullshit. There's no time for anything that's less than productive, so having no-nonsense crew and a positive, friendly cast is crucial. Locations have to be free, food has to be donated, producers have to think outside the girl scout cookie box, and time has to be respected.

I'm looking forward to all the love this production and its 'makers' will bring... oh, and the sweets, too... where's my sweet witch whoopies at yo!?

Don't forget to join our Born Good experience on FB, too!

J

Born Good: New Logline!

Steven works at his family's small town B&B and Hollerbach funeral home in Borne, Texas, where he secretly practices his comedic routines while preparing cadavers. When Steven's high school sweetheart, Katie, learns of her potentially life-threatening illness, she decides to give Steven an unexpected visit, inadvertently shaking up his safe, predictable world.

FACEBOOK
TWITTER

Seems there's not enough hours in the day, or days for that matter, to work on the script! But I'm trying... inching my way towards something we can all be proud of. And in the meantime, I'm so stinkin' excited to have a go-getter team working to make things happen on the outside. Go, Born!!!

Love, J

Born Good: Road to Liberation

Born Good is a dramatic dark comedy I wrote about knowing when to hold on… and when to let go.

This story deals with the guilt that a lot of us carry around through the years over regret. It’s about looking in the mirror and having the guts to face our own truths, or follow our own dreams, despite our diagnosis, believed fate, or what might “make sense”.

Like our Lost In Sunshine characters, these (Born Good) characters are forced to dig a little deeper. But unlike LIS, the two main characters, Katie and Steven, have "history" together, and history can often complicate things... but when it's used as a tool to determine why we've made the decisions we've made - it can clarify things, too. They just have a lot of work to do on themselves and with each other before they can figure that out!

I’m a big question asker. If it doesn’t make sense, I normally don’t want to do it – UNLESS, it’s a matter of the heart. I think we all make decisions based on passion, and daily human emotions, too. Especially women. This topic piques my interest -- raises my curiosity, and it’s one I wanted to explore with the lead female character, Katie, while writing this story.

Born Good is a dramatic dark comedy about a twenty-eight year old hot southern mess, and aspiring country music star, Katie, who returns to her tiny hometown in Texas to tend to some unfinished business, before traveling to Nashville to become the next big thing.

Born, raised, and still living in her hometown is, Steven, who secretly wishes he could be a comedian, while running his family's B&B and Hollaback Funeral Home business, but he doesn't have much hope for his dreams or future.

After Katie learns of her potentially life-threatening illness, she decides to visit Steven, and reveal a secret so big that it will change their lives forever.

I've also been working on What I Know For Sure, a spiritual documentary that asks one of the biggest questions of all time (as we know it). And with my paranormal group, Aether Paranormal, questions are essential. But we all know that asking questions, often, only leads to more questions.

Which lead me to this one: Are we all born good?

This is a tricky question that I want both of my main characters, Katie and Steven, to undertake, consume, and breathe in Born Good. I want this film to let all the ghosts hang out. I want the skeletons to not just come out of the closet — but to walk, and be free from their self-inflicted coffins.

We all have reasons for hanging on to what we shouldn’t. And we all have reasons for letting go of what we hope comes back. It can be tough. Blinding. And hurt. A lot. But when we find that balance… when we do it right, it can be really liberating, too.

It's less about how we're born, and more about the choices we make. Choose wisely. :)

Jentri

ROAD TO LIBERATION

Say hello to my (new) little (feature) film, Born Good

Hey Friends!

Want to see how quickly film magic happens? You are about to experience the manifestation of something GOOD this year, so stay tuned, Sweetnesses! :)

Recently, I wrote a new script that we'll be filming this year in Austin and surrounding Texas areas. We'll be shooting this magic with a 7D and over the course of a week (or two). It'll be a challenging, exciting, and magical experience for me to be involved so intimately with such tremendous talent.

The idea is to take around a 60 pg. script with a solid STORY, and use actor improv to fill in the middle. Only there's no fluffy stuff... it's like a heavy cream centered, heart shaped chocolate cream puff. YUUUMMMMYYY.

Rolls like this:

The title: Born Good. Tagline: Some of us are born good. Others have to dig a little deeper.

Born Good is a dramatic dark comedy about a twenty-eight year old hot southern mess, and aspiring country music star, Katie, who returns to her tiny hometown in Texas to tend to some unfinished business, before traveling to Nashville to become the next big thing.

Born, raised, and still living in her hometown is, Steven, who secretly wishes he could be a comedian, while running his family's B&B and Hollaback Funeral Home business, but he doesn't have much hope for his dreams or future.

After Katie learns of her potentially life-threatening illness, she decides to visit Steven, and reveal a secret so big that it will change their lives forever.

Starring
Katie Page and Steven Goff
Writer-Director
Jentri Chancey
Director of Photography
LeVan Owens
Art Director/Art Goddess
Ia Enstera
Sound
Taylor Perkins
Art/Web Design/Photography
Shad Chancey
Photography
Gabri Means

Other crew/cast TBA

Produced By
4020 Productions

I'll be posting new word on the development as we move along... expect goodness.

"Everyone has inside of him a piece of good news.
The good news is that you really don't know
How great you can be.
How much you can love
What you can accomplish
What your potential is"
Anne Frank

KATIE PAGE

STEVEN GOFF

Facebook

Twitter

Website
www.borngoodfilm.com
coming soon

Expand You.

To make a successful movie, do you have to first be a successful artist?

Is success really in the eyes of the beholder(s)? Subjective? Or is it across the board?

Have you been feeling frustrated, like we have with LIS, trying to reach your audience and make them care about what you've got going on? You're not alone, cutzies!

In order for us to make successful films, we need to continue marketing, not only the project, but OURSELVES by continuously creating our best art. What have you been working on lately that's going to advance your agenda? What have you been working on lately that's going to get you noticed eventually, therefore, propelling others to want to learn about what you've got going on? What can people watch NOW that will make them want MORE?

I know this has been a big realization for Lorie and I this year with Lost In Sunshine. But the first step to becoming better is acknowledging what's worked, (check) and what's not worked, (check, check) so you can stop the insanity, Sweets. Stepping out into the great unknown with our passion project has taught, and continues to teach, us valuable lessons. And that's what I'm hear to share with you today.

No one cares about characters they have no relationship with. In example: If we care about Heros, perhaps we'll go online and make ourselves one via some game, to see who wins. But that's Heros, not your low-budget movie, or Lost In Sunshine... a little indie ditty that hasn't been sung yet! We mistakenly thought they'd (you would) care about the characters if they (you) only "got to know them." But hot cakes, we're living proof that this is not always the case. Before you throw your pancakes on the griddle, you've got to have the right recipe. And that recipe's you. The characters come later, with the maple syrup. Ya feel me? ;)

This year, I've decided to expand my writing-directing portfolio with a spiritual/inspirational documentary that's in-the-making, What I Know For Sure, an additional (untitled) narrative, which I hope to shoot before LIS, and a mixed genera flick with Aether Paranormal (Paranormal Productions) currently in post. In addition, I'm writing more than last year. Lorie and I are talking about expanding our story with a LIS novel (aka online fiction) that will serve as a novelistic prequel vs. the current character blogs we have from Sunshine's characters, Lyn and Bob, right now on the website.

What are you currently working on that expands you?

The Secret to Finding Investors for our Indie Film(s)!

Hello, Sunshines!

Do you want to know the BIG secret to financing your indie project? Me, too!! So, come on you Crazy Hearts, as we figure this out together. Your perception of what you're doing is about to expand (if it doesn't, at least that sounded cool) 'cause I'm about to share with you a WEALTH of knowledge that'll hopefully take ALL of us indie filmmaking lovers there!

Over the last couple weeks I feel like I've had a string of SIGNS about the direction of our project, Lost In Sunshine, and connecting with like-minded folks in general. And that's what I want to share with you today, Sweets (I can never get away from these things, damn it).

With all the online stuff — social media (Facebook, twitter, etc), transmedia (not to be confused with transfat) and other networks I can't keep track of, I think it's important to explore IF/HOW we're really connected and what that means. So, if you're in it to win it, like Charlie Sheen, this post is FOR YOU! OK... bad example.

FIRST SIGN: EMAIL FROM MARKETING SPECIALIST LANDS IN INBOX
Recently, we were privileged to have a reputable marketing/distribution strategist comment on some of our LIS work. Ouch. That hurt. *Wipes dirt off pants.* One of the comments that stuck out to me was that Facebook was NOT a community. Could I have been wrong all this time? Were those interactive beings merely aliens disguised as humanoids responding to me? Where's my Aether Paranormal team when I need them? Joking aside, however, could this person be right? After all, that's what they do for a living. Could all these seemingly invested hours of what I thought was "connecting" with people, over our movie's message, just be meaningless in the grand scheme of making this film-dream a reality?

If online platfoms like Facebook are not considered an online "community" in the eyes of a specialist, then what is?

I felt frozen with confusion and frustration. But at least it gave me something to think about as I defrosted my dirty pants.

NEXT SIGN: PHONE CALL FROM AN ENTHUSED FRIEND CLAIMING TO HAVE THE SECRET
A good (film) friend called me out of the blue. He'd had a conversation with someone who's very successful in the film industry, who'd shared with him the secret to community building (and inevitably — financing a project) — get out there and network with the like-minded people who will vibe with what we're doing, support it (really support it!) by sharing our projects with others in their network(s). OK, you're pulling my leg... I thought we were doing that. But then again... I'm not even sure of what planet I'm on anymore! :)

THIRD SIGN: AN UNSOLICITED OPINION FROM ONE OF OUR VALUABLE LIS TEAM MEMBERS
A very good friend of ours, who's also a member of our LIS team gave us his unsolicited opinion, which really put everything into perspective (for me, at least). He believes that it's not a big time movie guy who'll invest in our project at all... but that it'll be a WOMAN, who connects with us personally, and believes in our talent, brains, story, team, and over-all message. Because quite frankly, I especially, don't have a proven track record, YET. I get that. I like that. I LOVE the idea.

So, I now had received one detailed email, one phone call, and one unsolicited opinion with basically the SAME message. Could it be a sign?

From these messages, it doesn't appear that financing our film(s) will happen from any online social hook up (although we never say NEVER!). Sure, the online networking part is great, useful, and at times — seems really wonderful & relevent, but if we're looking to finance our films (outside crowd-funding) then we need to be making real (hand shaking) contact, and not just from outter space (however, if an alien finances your film, I WANT TO KNOW!).

Here's a great, inspiring article by Donald Flaherty on filmcourage.com that I feel best describes the intense longevity of the process we must endure if we wish to finance our passion projects.

If you live in Austin, Texas, here are a few women-oriented (sorry, guys!) networking sources to check out, thanks to my enthusiastic friend, whom I sooooo appreciate for this!

http://www.womenschambertexas.com/mm-austin.php

https://austinwomenintech.org/civicrm/event/info?reset=1&id=34

http://www.txconferenceforwomen.org/

The secret to financing your film is that there is no darn secret! Follow these simple steps, and keep rockin' the frack on to your favorite tune (AKA your story/project/brain child).

1) Get your ingredients together, hot cakes! Unborn babies have to eat, too! Make sure your story is solid, and that you have a tight business plan with talent (on board) to boot! Do you have your script/info ready to hand out at all time on a USB flash drive (I'm getting mine ready this week!)? ;)

2) Love your (heart) song. Believe in what you're doing, because there are plenty of people out there who'll tell you the myriad of ways it can't be done.

3) Turn off your computers occasionally, and turn on your game (AKA social skills)! It's about continuously getting out there and connecting with folks who share your enthusiasm, passion (for life), and interests. Ask yourself, who's actually going to be watching this movie I'm making? Then go out there in the universe and find a way to find them!

Turns out, that may be what we've been missing. When's the last time you left your computer to socialize with a group of people your movie would intimately connect with?

That's what we're doing (more of) this year, and with all our friends for SXSW this week! Make any time the right time to get your in-person connection(s) on! Besides, there's no substitute for a real hug or hand shake.

Happy shaking! J

So, you think you can be a great screenwriter?

Howdy, partners!

This post is for all the practicing screenwriters out there, like myself, who aspire greatness!

I've struggled with insecurities about wholeheartedly trusting my talent, and owning my screenwriting craft, since day one. Sure, I've had people compliment my writing ability, but I'm not sure that insecurity ever goes away completely. I know I have it in me to be great one day, but I'm not sure, nor do I ever think I should be sure, that I'm a great writer. That feels like ego to me, yet I know it's important for us to have great writers out there in our society in order for us to learn from. And if they weren't great, why would we want to listen to them? :)

Are you on your way to becoming a great screenwriter? Of course you are! That's why you're here... researching, reading, determined, practicing... and that's why I want to hear from you, too.

Now, go get a scoop of that go-getter spirit, 'cause it's time to spill the beans, Jack! Let's share what we've learned so far on this epic, often introverted, journey so we can keep improving TOGETHER!

Here's my contribution - a list of things (tips to keep in mind while writing!) that have been on my brain lately as I sit to write new material.

1) Take time to develop characters. Think about how long it's taken you to be comfortable in your own skin. Characters have to do a 180 in 110 pages, so be considerate, before you drive them off the cliff in your ferrari, Spunky. :)

2) Read screenplays you love, screenwriting magazines, and books. There's so many helpful resources out there. I can't tell you the endless amount of times those tips have helped me... if I'm stuck, I'll know that a particular point in the script should be the "play time!" So, I'll go have fun with the character(s) before the big fall! :)

3) When there's not enough tension, consider making your antagonist worse! Make your antagonist be the biggest asshole in the world. Think Karate Kid. Why do you want the kid to win so badly and beat the little shit up? Because he was so awful to him in the beginning, and continued to antagonize him throughout the film!

4) Don't forget to have fun with the characters. Sometimes we get so caught up in drama-drama-drama- or bang-bang-booms that we forget that the audience needs a break. Everyone wants to see the good guys holding hands and skipping along to some fun music, (OK, you can be more creative than this, Sassy pants) at least for a couple minutes! ;)

5) Choose your titles wisely. In a world full of (independent) titles we'll never remember, doesn't Good Dick stand out? That's what I'm saying... what's a good dick? Makes ya think, doesn't it? Is it ironic? See, I'm still thinking about it... wow... seems bold, interesting, something I definitely want to check out. If your title's not at least that interesting, keep trying. Make it count, and make it stand out, among the many, many piles.

6) Write something you'd want to see. What's your favorite genre? If you're bored writing it, then more than likely, someone will be bored reading it. Besides, why would you want to spend a chunk of your life writing something that you'd never want to see translated for screen? Let's make sense out of it before we open Final Draft, Stinker!

7) Put real thought into each characters flaws, quirks, likes, dislikes, name, past, and motives. You will call upon these traits/details to aid you time and time again throughout your story. They will make your story rich, unique, and a stand-out, that any performer would love to sink his/her teeth into! Aren't you a clever jellybean? Sweet... colorful... fun!

8) If the scene doesn't move the story forward, give it the boot! Some of your cutest/funniest/cleverest scenes may have to be cut or moved for the betterment of your entire work. Don't think of it as wasted material, because you learned something, didn't you? You learned how to care for your body as a whole, Sunshine! Scenes cost money to shoot, so on an independent film, especially, every scene should be intellectually accounted for. Don't be afraid of what will happen if you take it out... be afraid of what will happen if you leave it in.

9) "Write from experience," doesn't mean we should write about our boring ass past or extravagant life style that no-one cares about. Sorry, loves! That was frank, wasn't it? How else does anyone say it? :) It means to take pieces of your life that you really know something about, and use it as fuel to guide you. Where has your heart been? Use it to sound intelligent, or unintelligent, on purpose! Use it so that you can speak from a place of authenticity for your characters. Have you been a first hand witness to a spiraling out of control dysfunctional relationship that lead to homelessness and abandonment? Hmmmm... that's pretty awful, but you might know a thing or two about the reactions of those involved. That could be juicy and dramatic for one of your characters to deal with! And, maybe we could learn a little something about life, too, through them!!

10) Respect constructive criticism. More than likely, (or hopefully!) those who give you constructive criticism have read your work, and are coming from a loving place. Don't be defensive. When you open yourself up to improving, and ditching your ego, the sky's the limit! It doesn't mean you have to make every suggested change. Instead, it means you need to consider the good arguments. If one person you trust feels strongly that something must be changed, make sure they have a valid point, and that you understand it. If it's valid... I'm just sayin'... if it's not valid, make an argument back and state WHY!

11) Check and recheck your work for typos, & mistakes especially if you're like me, not the best speller in the world... sloppy work is distracting.

Your turn! What are some screenwriting tips you'd like to share, so we can all eventually become great?

HAPPY WRITING, WITH LOVE,

xo Jentri

Indie Artists: The Skinny on Teamwork & Being Good at Doing YOU.

OK, Honey Buns... here's the sweet skinny on those who aren't good at everything... so, if you're the best at EVERYTHING with a cherry on top, this post probably isn't for you. ;)

Our indie lives often require us to wear so many weaved hats that we can't remember which one we should put on to advance our careers.

Over the past few years, I've been blessed to learn a lot about the production business, specifically through my insanely talented partner, Lorie Marsh, working on Lost In Sunshine.

Being a co-producer on a series of (Aether) paranormal documentaries, I've learned a lot about what can be done on the fly, and in the editing room.

And, because I want to inevitably shoot a BEAUTIFUL film, capture details, and solicit talent, I pay attention to what makes pictures beautiful - is it the lens? Lighting? Acting? Textures? Colors? Rareness? Rawness? Landscape? Skyline? Depth of field? The focus pull? All of the above?

But bottom line is, I'm a writer first. I think it's easy for us indie artists to feel lost when we're being pulled so many ways to make things happen. Seems we're now expected to do EVERYTHING to cut cost. Fair enough. Perhaps we even enjoy the entire process (I know I do!).

But remember this: There's wonderful people out there that aspire to be EDITORS, CINEMATOGRAPHERS, CAMERA OPERATORS, ACTORS, SOUND EXPERTS, ETC. You are not alone. You do not have to do everything (well) yourself. If you know you're weak in an area, find someone that has a firecracker of a heart, and snatch them up! They need experience, too, and will love the opportunity to advance their agendas as well!! After all, isn't filmmaking about TEAMWORK? :) I don't know a lot of one-(wo)man shows. And those guys always think they're better at everything than they really are anyhow. ;)

Be original. Be sincere. Don't spend time worrying about what you're not good at. Anyone can practice to enhance skills. BUT, Talent comes naturally, and can't be purchased. Just focus on what YOU do best, you Courageous Beast, and keep getting better.

Bottom line, being well-rounded is necessary, and appreciated by your peers. But we should be the very best version of ourselves at all times, without apologizing for it. Be GOOD at doing YOU, Sunshine!!!

With love & an open heart,
Jentri

Crowdfunding Lessons & how to unleash your inner indie rock star!

OK, so we (@ Lost In Sunshine) took a chance at putting out a direct-approach video for our latest IndieGoGo campaign, which we're afraid has appeared earnest.:) So, no time to buy tissues, we're working on changing that! If we're too late, we'll take what we learned with us, so the experience won't be wasted.

Lesson 1) Inspire people to donate to your campaign with your message, don't bore them to death with your knowledge/hopes/dreams, cuties! ;)

Our demographic has always been specific. But the real question appears to be whether or not our (your) target audience will know what the hell transmedia or social media is, and if they'll contribute/get involved. In addition, if we have a chance at our target audience contributing, assuming we have the wherewithal to reach them, they'll have to understand it.

Are you seeing question marks on your forehead in the mirror?
GREAT NEWS! You're not from Mars...:)

Lesson 2) Whip out your silver spoon, Sunshines, it's time to feed greens to those cats who are hard core chocolate lovers! When not sure your audience will understand what to do, don't insult them or go postal! Just be clever ole you, throw on your creative beanie, and figure out another delivery method!

This reminds me of the show don't tell rule in screenwriting. How will your audience know what to do, if it hasn't been done before?

Lesson 3) Show your audience by example, whether it be via video or instructional. But remember, don't be a BORING wizard! Be a playful pup!

Why should someone care about (y)our project/story anyhow?

Good question.

Sometimes people don't know they should care until you let them know why they should. As an indie artist, I personally back/support/produce material that inspires me. Fills me up. I'm not looking for the most original idea I've ever heard (1800's miner comes back to life and performs satanic rituals to rid the small town of its disease - although that could be good...) or the greatest indie project on earth (c'mon, I'm just a mid-aged white girl from TX, who wrote a dramatic comedy about a small town girl!!... although, my great grandmother was 50% Charokee... hmmmm), but I do look for things that speak to me, ask questions, have an enthusiastic spirit and partners that believe in the message.

What inspires you??

Lesson 4) Respect constructive criticism the same way you respect yourself. :)

Remember that little thing we talked about continuously getting better...?

Well, YEAH! It's part of the process that only you can fight, or work to get right!

Love, Love, Love, LEARN, LEARN, LEARN, and unleash your inner indie rock star, baby!
<3 Jentri

Getting personal: My independent film, Lost In Sunshine, and indie documentary, What I Know For Sure

With eight hundred dollars in hand, I once took off alone to NY at the age of 19. Growing up in a small town (no, no, really small - population 300!) I somehow left with this fearless attitude that I could do anything I wanted. Call it naivety, call it good parenting. I had the will to shoot for my dreams, and I was off!!

It was two whole weeks before I returned back to Texas. :)

What I learned from that experience is what I didn't want to do. Very important. And that I wasn't so fearless. NY scared the shit out of me. I didn't know how to get around, talked the nice person at the closest convenience store into cashing my MO's when I needed them, and ate a lot of muffins for dinner. :)

By the time I was 21, I had lost a lot of what had once made me feel whole as a child - a real home to go home to, a long-term relationship, and a cohesive family that was stable and healthy.

In addition, I had shamefully dropped out of school, worked endless minimum wage jobs, and found my friends in less than desirable places. Yes, I was playing out a role that was full of insecurities, heartache, drugs, dishonest people, and a little hope... just barely hanging on to a valuable existence. There was even a time when I lived out of my car. I wasn't sleeping in it, which would've been very different, but I didn't have a home address. I stayed with friends, and worked as much as I had to - just to pay my car payment and for pizza.

Working on my current documentary, What I Know For Sure, and giving the audience an honest portrayal of me and my beliefs has been more challenging than I'd hoped. Consequently, it's forcing me to look into my past, and face what should've perhaps been faced long ago. Could this be the best therapy?

As I write, I realize this has become a bit of a dumping ground, too. But perhaps that's where my doubt, questions, and quest for the cosmos first arose - though those challenges.

Writing has always been an imperative tool for my sanity, too. I can't imagine my life without it, just as you wouldn't imagine living without air. And filmmaking is what brings everything and everyone together. Once it's created, it's like an imprint of your soul - waiting to be relived by others who are intrigued by the journey (or trailer!) enough to watch it.

As I move forward in my 30's, I find all of my hardships, past and present, to be highly beneficial! Mostly, because hard times are accompanied by something we can at least look back on and laugh about. Especially in writing Lost In Sunshine, my sweet disheartened baby, who also hangs on to hope... even when it feels hopeless.

And just look where we are now. :)

Thank you, Lyn and Bob, for making my life seem so flawless.
:)
Jentri

"What I Know For Sure is Nothing."
-Story Musgrave