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written by No Budget Film School founder and independent producer Mark Stolaroff. To receive these reports in your email box,
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I've got another great guest article for you. When I was hitting
the festival circuit hard with my film Pig last year and earlier this year, we played a number of genre fests, even though our film is more of an "arty
sci-fi", rather than a full-blown genre film. I came to know the filmmakers of many of those kinds of films, however,
as we often traveled to the same festivals together. I remember vividly meeting the filmmakers of The Millennium Bug for the first time, at the 2011 Shriekfest opening party. They were trumpeting one very specific aspect of their film: NO CGI. If you've ever stayed
up late on a Saturday night and watched the SyFy Channel, (or what I like to call, the "sci-fi" channel), you'll
know just what they were so proud of differentiating themselves from--ridiculous, CGI-heavy creature features, with phony-looking
alligators or sharks, or worse, Sharkigators.
I've stayed in touch with filmmakers Ken and Jim
Cran since Shriekfest, comparing notes on distribution and such over beers and veggie pizza in Studio City. After
seeing the film, I was astonished by the quality of their monster, the production design, mechanical effects, and all the
other elements, especially since I figured it was made on a low budget. But then they told me that the entire film was shot
in a 700 sq. ft. warehouse, (except a few shots), with practically no money, and of course, no CGI, and I just had to know
the whole story.
Though I don't often talk about monster movies in my No Budget Film School class, (frankly,
it's not very often no-budget filmmakers make monster movies), I was struck by all the similarities between Ken's
and Jim's methodology and the lessons I teach in my class. Other than a 35 foot monster, this is textbook no-budget filmmaking!
Their film, which has played countless festivals and won over 18 awards, is finally available for the non-festival
public to see, on iTunes and as of December 18th, on DVD through distributor Green Apple Entertainment. Like most no-budget
indie films, it was a long journey to get from idea to distribution, but it makes for a great story below. And if you want
to see for yourself just what the Cran Brothers were able to get out of that 700 sq. ft warehouse, you can purchase your very
own copy of the film from their website:
PS: I also want to wish you and yours a very happy
holiday. Let's hope all your filmmaking dreams come true in 2013!
YOUR RESOURCES: Notes on the Making of THE MILLENNIUM BUG
Kenneth Cran, Writer/Director/Co-Producer/Special Effects
The Millennium Bug is unusual for an independent horror film. While most indie horror films focus on killers or
ghosts or zombies, ours focuses on a 35 foot tall monster rampaging through a mountain forest and later, a ghost town. Making
a giant, Japanese-style monster movie is NOT what indie filmmakers typically do, because the genre is so specialized and requires
numerous special effects that, let's face it, most indie filmmakers simply don't know how to do. However, in the spirit
of the philosophy of “make a movie with the resources you have,” we did indeed make a movie with the resources
that we had available to us. Those resources were, in no particular order:
1. My production design/art department
experience. I'm an artist, and I had done freelance feature and television work in San Diego for almost 10 years,
including a stint with Public Broadcasting.
2. My special effects knowledge. You don't read Cinefex
magazine since its inception in 1980 nor make clay animated movies as a kid without learning something!
3. Jim Cran's tireless planning and organization. Without a pilot house and wheel, ships chug along in circles.
Jim kept us moving in an ever-forward direction.
4. Haunted house designing and building. No kidding!
Jim and I had designed and built the Del Mar Fairgrounds Scream Zone Halloween haunted house attractions in San Diego County
for three years before moving to Los Angeles.
5. San Diego State film school alums. Another good argument
for film school! Our fellow SDSU Aztecs were a great resource, and they knew what they were doing.
both amateur and professional in production. It helps your credibility if you have been on a set prior to making a film
and know how things are run. In other words, professionalism and experience were two of our key resources.
7. Passion, enthusiasm, passion, and enthusiasm. The most important of our resources! I cannot believe how often
I hear filmmakers say about their movies, “I'm over it, I just want to move on.” You had better LOVE your
project, because you will be married to it for two, three, even four years. If you want a divorce after a year, you chose
the wrong project.
These resources were easy because they were effortless. We had them. But we needed other resources,
and we needed to ask questions to see if those resources were available or if we needed to rethink our strategy:
1. Do we try to use CGI or practical effects? 2. Do we shoot on location? If so, where? 3. What is the budget
and how do we get the money? 4. Who will star in it? 5. What kind of camera will we use? 6. Is the script
CGI OR NOT CGI? The first question was reasonably easy. I don't know how to
do CGI, and what's more, I'm tired of seeing bad CGI monsters and effects. So we created NO CGI Films and vowed we
would not use any imagery created inside a computer. Plus, I had some experience building practical miniatures and animatronic
monster suits, and had a reasonable amount of confidence I could pull off these kinds of effects.
LOCATION LOCATION LOCATION. Jim and I knew somebody that had a few acres of forested land north of Los
Angeles, but after a weekend visit, we saw that the “forest” he had boasted of turned out to be mostly scrub.
I had imagined a tall redwood forest for our primary location, and once we decided not to shoot on location, we knew we had
to build our forest both in full size and in miniature. This created a real dilemma, because we didn't have that kind
of resource (a large facility) in which to build or shoot a forest. After researching soundstages and laughing at the cost,
we decided on a warehouse. We found an inexpensive one in North Hollywood, about $750 per month for 700 square feet. Inexpensive
is a relative term, of course. NOTE: with the exception of a few exterior Jeep shots up in Los Padres National Forest, the
entire movie was shot in this warehouse. And if you think 700 square feet is big, consider this--most apartments in Los Angeles
are 1,000 square feet or more.
CASH MONEY DOLLARS. In terms of resources, money is always the
one in shortest supply. So, what was the budget on The Millennium Bug? I'll end the suspense now: it was around
$250K. Before you throw your hands up and stop reading, however, know that this cost was spread out over three years and includes
deferments, and that we did not have the actual cash in the bank all at once. In fact, between the three initial main partners,
me, Jim, and Mike Goedecke, our initial investment was $5,000 each. Since we all had full-time jobs and savings accounts,
we were able to come up with this initial investment with only a modicum of difficulty, and only making deposits over the
course of a few months.
So, $15k got us the warehouse and materials to build the stage, workbenches, miniatures, monsters, and some expendables.
Obviously, our crew was mostly volunteer, as was the cast. We did not carry insurance, and we did not indulge in sumptuous
craft services. We were frugal to the Nth degree. It's important to point out, too, that we shot 90% of the effects scenes
first and with this money. In fact, I think that all of our monster and miniature scenes cost less than the initial $15k investment.
The rest of the money came in little bits and pieces over the course of the next two years. Family and a few
friends who came on board as key production, notably Dustin Yoder, added considerably to the budget. We always had just enough
to cover our costs. We did get lucky, too, when we shot and edited an industrial video for a marketing company that paid us
$13,000 over six months. That was a fluke, but a happy one. At no time did we have more than perhaps $6k in the bank. And
our shooting schedule was spread out over a year because we had to sign a one year lease for the warehouse. That certainly
gave us time, and we didn't have to quit our day jobs. Unusually, we never used a single credit card during production.
We didn't have to.
ACTORS MUST ACT. This was the best casting experience I had ever had.
Our casting director Susan Papa and her assistants Susan Baker and Jason Bowers weeded out the respondents (we let all actors
know that this was a non-union shoot, pay was SAG minimum, but deferred), and Jim and I only saw the best of the best. I'm
not surprised that we got such competent actors, either. Actors in Los Angeles have to act, so they will work for deferred
pay. Also, I have no problem asking people to work for no money, because I didn't pay myself, either. I just wanted to
make a movie.
CAMERAS DON'T SHOOT PEOPLE, CINEMATOGRAPHERS DO. We needed to shoot miniatures at a minimum of 60 frames
per second (aka slow motion) to make our monster look big (again, my knowledge of special effects was and remains an important
resource). So, one resource we had was a Panasonic HVX 200a high definition “P2 card” camera owned by co-executive
producer/compositor/special effects artist/etc. Dustin Yoder. The camera shot the required frame rate, but it had a fixed
lens. That means the lens could not be removed. The problem with a fixed lens camera is that it generally keeps everything
in focus, which screams video. So, we spent some of our budget and bought a Letus lens adapter and used fast prime lenses.
This means that we were able to get a cinematic look for the film (the next time you watch a movie, pay attention to closeups
of actors- is the background out of focus? If so, that's a cinematic look achieved via, most likely, with high speed prime
One last thought on cameras--since some filmmakers are actually shooting with still cameras now, and
even on iPhones (!), the excuse of not having the right camera is a poor one. Nowadays, everyone has access to some sort of
an HD camera.
IT'S THE SCRIPT, STUPID. I had re-envisioned and rewritten the script from
its original version, and made it more of a realistic endeavor to shoot. The original version of The Millennium Bug
was way more effects-heavy and thus more complicated, with more monsters, more miniatures, more locations, and more overall
complexity. This, finally, is the single most important part of the filmmaking process and a philosophy that you either get
or you don't: Do not write what you cannot shoot with your available resources. Filmmaking is hard enough without the
filmmaker first breaking his own legs and then setting fire to his own house, which is the equivalent of writing a script
with which you have no resources for. In El Mariachi, Robert Rodriguez famously had a school bus scene because he had a school
bus. If I had an old tool shed or access to three Shetland ponies, I would have written scenes around them.
BOTTOM LINE OF THE BOTTOM LINE. As Mark says here on this website and in his No Budget Film School seminars, utilize
your resources. We all have them, whether it's a barn, seven acres of swamp, a '57 Chevy, thirteen red velvet sofas,
an inheritance or a trained llama. Write a story around your resources. What you may find is that, ultimately, the greatest
resources at your disposal are the people around you and their passion and enthusiasm. Nothing trumps passion!
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THE NO BUDGET REPORT. BULLETINS FROM THE FRONTLINES OF NO-BUDGET FILMMAKING.