munverst kheyali

As I read "How Not to Make a Short Film" I felt more and more cheated, not by the book but by my film school. Why hadn't my instructors taught me this stuff? This is a book every film student, every filmmaker must read before writing, producing, or directing a short film. It's a must-have resource that guides one through filmmaking's precarious decisions and shows how to avoid the many errors in judgment that mark mediocre films. Written by Roberta Marie Monroe, an award-winning filmmaker, and former Sundance Film Festival short film programmer, Roberta brings to the table a wealth of knowledge about every phase, from conception to production to distribution.

For filmmakers, film festivals are the major outlets and they have become the judge, jury, and sometimes the executioner when it comes to evaluating the worth of a short film. By knowing what not to do you can greatly increase one's chances of having your work being seen and appreciated. In this respect, the book walks you through the minefield of mistakes that aspiring filmmakers and seasoned pros make, so that you don't have to make them yourself. In addition, the book features interviews with many of today's most talented writers, producers, and directors, as well as provocative stories from Roberta's own short film experiences.

The book is laid out in a most pragmatic fashion and follows the steps one would normally take in producing a short film. The first chapter on the script story talks about keeping it fresh and lists a multitude of storylines to avoid, storylines that have become mundane through overuse. When programmers say, "Been there, seen it," you lose them as well as your audience. This chapter I found most fascinating as it allows us inside the programmer's mind and the primary selection criteria, namely what's the story and why should I watch it? This chapter also covers the script evaluation such as hiring a consultant and the pros and cons of getting feedback from friends.

Another chapter discusses film length and how it should match the story. DP Geary McLeod comments, "Every single frame has to work, it has to move the story forward. 'Economical' is what short filmmakers need to remind themselves." The book goes on to point out that it's also easier to find a slot for an 8-12-minute film versus a 28-minute opus. Meredith Kadlec adds, "Don't fall into the trap of trying to prove how MUCH you can do, rather [show] how WELL you can do it."