InFocus Film School Blog

by Renee Sutton

 

Dearly beloved, in the years following film school, you’ll likely pick up a side hustle or two. Taking on work as a wedding videographer is often viewed as a sweet summer gig, with the potential to make a good living at someone else’s party.

 

On the other hand, the idea of working for bridezilla every weekend all summer long could deter some film school grads from marrying into this type of work.

 

Photographer and videographer Maik Hassel (of Nirvana Photography Studios) has been shooting weddings and creating tailored experiences for twenty years.

 

His passion is evident as he speaks about his career.   “It’s really satisfying to build that relationship, to work with somebody and actually build something that is really special to them,” he says. Read more

By Henry Kulick

 

Baby Driver’s essence is captured within the first five, heart-pounding moments. While other films need time to capture an audience, Edgar Wright’s newest directorial debut doesn’t waste any time letting you know just what it is: one of the best heist movies to ever exist.

 

Baby Driver isn’t without flaw, but it’s one of the most enjoyable films to be shown on the big screen this year. Read more

by Johnny Papan

 

When it comes to modern-day cinema, there are a few key elements that will make or break the chances of your film getting made. One of the most important: money. With the millions upon millions of dollars it costs to produce a movie, it’s no surprise that dollar signs light up in the eyes of producers. They want some kind of financial return when investing in a screenplay. There seems to be a formula in this day and age that will justify a movie turning profit. A few of them being:

 

1. It’s based on a work that already exists and has an established fanbase.
2. There are elements of unworldliness or fantasy.
3. A well-known actor or director is attached to the project.

 

For all the Hollywood big-wigs this is fine and dandy. They’ve earned the right to blow stuff up on camera for cash. But what about the unknown up-and-comers? With each passing day, it’s getting harder for the average writer to get a producer to look at their script. There are plenty of tips and tricks filmmakers can implement to try and get their work noticed, but the most important element of all is still the story.

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By Christopher McKittrick

 

Academy Awards aren’t just for established, working filmmakers — why not win one while still in film school?

The Student Academy Awards (originally named the Student Film Awards) is the Academy of Motion Picture Arts and Sciences award ceremony recognizing excellence in student films.

Though there’s an extensive list of rules to apply for the competition, students should consider submitting their work to the Student Academy Awards because the field is only open to film school students – unlike festivals, which are open to the general public. Also unlike festivals, there is no entry fee to submit. Most importantly, many winners have had subsequent professional success in film and television. As a result, the Student Academy Awards are closely watched by the industry for upcoming talent.

The number of awards and their specific names have changed significantly over the years. Today there are four main categories: Narrative (named “Dramatic” until 1999), Animation, Documentary, and Alternative. There are also International Awards for the Narrative, Animation, and Documentary categories.

Here’s how three of the most notable winners in each of the Narrative/Dramatic, Animation, and Documentary categories went from their earlier success to acclaimed careers in entertainment:

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By Henry Kulick

 

The reboot “boom” is headed towards a crash but original scripts aren’t going anywhere anytime soon.

 

As Hollywood sinks its teeth into the early weeks of the 2017 summer box-office barrage, they do so with some apprehension. Insiders in the industry predict that this summer’s ticket sales (bookending around Labor Day) could be the lowest it’s been in a decade.

This shouldn’t come as a surprise to many. Looking back, and then ahead, 2017 is filled with instalments to franchises that have existed for decades. In April, we saw the release of the eighth Fast and the Furious movie, which claimed to be the final title in the series but only time will tell.

With nothing but adaptations and sequels taking center stage and garnering less than years past, it seems that trusted franchises, once capable of driving people to the theatre, may beginning to go a bit stale.

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