Translate

Wednesday, April 2, 2014

100 Guerilla Marketing Ideas: Grow Sales With Zero Budget...

 
Not everyone can afford to hire a marketing consultant, so we offer you a spectrum of kick-ass guerrilla weapons to arm your marketing war chest with. A lot of small businesses are facing budgeting setbacks and low cash-flow which can lead to a downward spiral of less advertising, less promotional activity and less sales. The ultimate result? Staring into that dark abyss of zero revenue.
Don’t surrender to these cash-strapped times. Instead, don some Recessionista fatigues and arm your business with these creative cost-saving tactics. We’ll show you how great sales and marketing campaigns can be low on cost if big on innovative ideas, imagination and creativity.
 
 
The revolution starts here…Read on to pick up 100 low cost marketing ideas that include both online and offline activities.

 

Definition of Guerilla Marketing


Jay Conrad Levinson’s Guerrilla Marketing site simply puts it as “The achievement of conventional goals (e.g. Profit) using unconventional methods such as investing energy and ideas instead of money.”
 
Here is a great blog outlining the tactical thinking and mindset  that can help you win the war.

 

50 Offline Guerilla Tips to help you win the war


Guerrilla marketing behaviour delivers publicity via local unconventional marketing activity that makes people sit up and notice..think “Shock & Awe”.

 

Public Relations and Publicity


1. The oldest guerrilla trick is old fashion PR so keep at it. Pick up the phone and give local journalists what they need most; great news content – its all about spinning your activity to make it a human interest story. The Guerrilla marketing tactics below are your means to this end.

 

Treat Your Premises like A Billboard


2. Give a Graffiti artist some free drawing space by letting him use his artistry on your shutters or paint a mural on the side of your Building e.g Homeless Charity Simon Community building.
In this picture the premises were used as a billboard with a very witty recruitment ad:
 

3. Create in-house exhibitions in vacant display space on your premises to make it more trendy, appealing and noticeable. E.g. Flaghship Department store Brown thomas use art installations from 17 local Artists.

 

Edgy Window Displays



Your Window Display is your Billboard. Get their attention with a head turning window display even if it comprises stuff you may not eventually sell and chances are, passers-by can be turned into passing trade. You may be mentioned by word of mouth and profiled in the media. Some ideas:

4. Get a live display real human beings like your staff work in your windows.
 
5. Create a Smashed window effect as seen in this Apple Store just using window paint.
 
6. Put up a controversial Political slogan to get noticed.
In the picture below homeless charity ‘The Simon Community’ put out a slogan lobbying for Mental health on their premises:

 

Occupy & Pop-up


If you need to trial a regional market or neighbourhood or need to sell on a seasonal basis, use vacant or slack premises that are unused and help regenerate the city in the process.
 
7. Local municipal councils are a great source of vacant units as they need to regenerate old neighbourhoods. Approach the landlord of a vacant block by offering to spruce up their neighbourhood and entice long term tenants through your pop-up activity. There are agencies that help you find them or start a pop up space too.

Here’s an example from a Pub using the vacant hoarding nearby to highlight its location:

Urban Art,  Reverse-Graffiti & Street Propaganda


Great for evoking curiosity and planting brand awareness in specific geographical points in your city. Clever if its used on a route like a bridge with high footfall, allowing you to target specific locations or neighbourhoods.
 
In this picture, local electricity board ESB worked with the municipal authorities to revitalise the cultural quarter in Dublin by using a Street artist to work on the theme of Electricity on an old Building they own in the district:
 
Here is a great example from Ikea:

 
Caveat: Be careful when engaging in street tactics as you are encroaching on public space  - people usually forgive you for imposing your image or promotion on a public space only if it is entertaining, temporary, and an improvement to the environment or aesthetic.

8. Use floor stencilling on vacant urban spaces  e.g. the Movie Troll-hunter was marketed using a stencil on Bridges in the city saying “Troll Below” sparking off curiosity.

9. Use 3d Floor artist to do something mind-boggling outside your premises front door.
 
10. Chalk it up :write your website in chalk outside a major event related to what you do say in the carpark or registration driveway
 
11. Use Reverse Graffiti : Street artists use soap instead of a spray can and  a stencil to scrub out an image in public space.
 

Check out some great examples of Street Propaganda


12. Sustainable design blog, Inhabitat posts some in “Clean Green Street Art hits San Francisco!”

13.20 Cool and Creative Street Ads” by Bored Panda. Here is an example from their blog:
Here is an example of a clever street ad from their blog:
 


Urban Hacktivism

 
14. Play with outdoor installations: turn an outdoor sign or piece of public works into something new and entertaining.
 
15. Yarn bombing is a good example of people decorating the urban environment & using a product in an unexpected but decoratively visible way – an arts and craft supplier for example could supply free yarn to a knitting Circle and encourage Guerrilla Yarn bombing in the locality. Catch some enjoyable examples in Time Magazine’s photogallery on “The Fine Art of Yarn Bombing
 
16. Create Projections onto a blank wall at night and it becomes a natural billboard/ cinema screen e.g. Nokia Snake Game.
 
17. Another great example : LeCool and Dublin city council used open-sourced collaboration on Dublin Park(ing) Day. The message : re-using parking spaces by turning them into landscaped gardens as a way reclaim city space. If I was a garden centre i would jump on a campaign like this with product placement.

 

Get Inked

 
 
18. Body art as Advertising: using temporary body art / tattoos on your staff as they man events, exhibitions or hand-out flyers in the street. Brand them with your suppliers logo, your logo barcodes or QR code even.

 

Hack your Product

 
Use your products in a way you never did before:

19. If you are in electronics, hardware or engineering set up a hacker group workshop or offer your products to a hackerspace in your premises and challenge people e.g. engineering students to find new ways to use your products as part of their thesis.

 

In House, and Community Events

 
Tap into the people in your neighbourhood who use your business by providing them with meaningful events in-store or on your premises:
 
20. Service your existing customers with social events that allow them to make a positive association e.g. a book club in a book store after hours, storytelling evenings in a cafe, coffee mornings with toys for Mums  to socialise in a nursery goods store.

Here a Street Feast is organised by local Publishers for Lecool Magazine drawing in their writers, readers and stakeholders in the city centre they work in:
 
 
21. Offer free exhibition space on your premises to new edgy performance artists, a nearby visual merchandising school looking for practice or Design students. You will be getting some amazing visual merchandising for free that may spread via word of mouth.
 
22. Trade marketing events Get your suppliers to offer a workshop or educational lecture to your clients or customers for free thus getting their collaboration. a DIY store could hold free DIY or upcycling classes using suppliers sponsorship or in-house expertise.

 

Demonstrations

 
 
23. Conversely if you supply into retail: do free in-house events via demonstrations of your product with Q & A sessions and tips on how to use your products in radical new ways.

 

Old Fashioned Door to Door Selling

 
 
24. Need I say more?

 

Flash mobbing and Crowd sourcing as advertising

 
 
25. Use your own staff as Cast or your own customers as a captive audience : Finnair used their hostesses to flash mob passenger with a Bollywood routine to tap into the Indian Market
 
26. If you are selling hospitality, or are in catering organize a Community Street feast or urban Picnic in a vacant lot and or on your high street with neighbouring businesses.
 
27. My favourite example of using grassroots communities to promote an event:: the Haka Flash mobs that took place during the NZ Rugby World Cup

 

Offline Gamification

 
Playful and Entertaining promotions engage people, tap into their competitive streak and can target sales.

28. The most basic application is a loyalty points system on your reward card e.g. Starbucks allows you to collect stars with every purchase. Or award a badge for targeted buying activity and let customers qualify for the next level of rewards.
 
29. Gamify the In-store experience: e.g. encourage customers to buy a special basket or combination of goods and reward with a prize, Or the classic “be the 100th customer today and win a free prize” and so on..
 
30. Other games challenge the public to look out for the product and keep it in the public’s consciousness e,g, a Treasure hunt: find the hidden prize in the packaging and you win a year’s supply, get the golden ticket in our next Flyer mailout, spot our Product on the street .. and so on.
31. The key is to blend this offline activity with online tools in this blog: 5 brands with Winning Gamification Strategies .

 

Find a Champion

 
 
32.  Social enterprises and Charities use this all the time: find an important influencer in your sector or celebrity personality that buys or uses their product and use their fame, endorsement and connections to get noticed. It usually helps if you tie this in with charitable activity.

 

Collaboration

 
 
33. Sell your business face to face via Free Business Networking events / Business Speed Dating.
 
34. Shared Services & Collective bargaining- learn from Cooperatives: collaborate with your business network to pool marketing resources, procurement and engage in collective bargaining.
 
35. Barter Products and Services within your business network or set up a system of your own between local stakeholders, e.g. Clonakilty Favour Exchange : A skills and labour system set up to service a local business community.
 
36. Secret Tours get together with other businesses  in your high street, local business network or town and organise a secret tour around a theme:for example if you are in hospitality : a secret food trail showcasing the best culinary experiences for tourists and locals e.g. Fabulous Food & Tasting Trails in Dublin

 

Random Acts of Kindness

 
 
37. Do something to raise a smile and bring Goodwill. For example,  if you are a in the business of providing e.g.  Give Free hugs in a busy high street area outside your premises.
 
38. Pay it forward: be a parking fairy pay for someone’s parking outside a key establishment like Google perhaps and stick your business card in with the parking receipt on their windscreen.

 

Give it away

 
 
39. In the “Nicked” viral campaign from  from Ben Sherman, Display shirts were stuck on the Outside of their flagship window and cameras captured passers bys as word of mouth spread that the products were free : take a look at the Ben Sherman Nicked Window display viral

 

Product placement

 
 
40. Offer your display products as Props to local visual Merchandisers, Theatre or film producers, not the big names of course as they will charge you.
 
41. Support Local community events like family days or parish fairs by offering your products for use – e.g. Beanbag company sponsors a chillout zone at local festival proving the durability of its products.
 
Here the local network of Bicycle related businesses supported a Bike Themed Festival in conjunction with the Municipal authorities:
 

 

Need Inspiration?


Take a look at what marketing, events & design creatives are using around the world today.
Scan through some of these Global Cool hunting curators:

42. The Inspiration Room a space for viewing creative content from all forms of media around the world.
 
43. Lecool has published a compilation of 111 City projects around Europe ranging from popup events, urban farming to sustainable design via their book:  “Smart Guide to Utopia“ Cool Hunting
 
44. Design Trends and Ideas blog The Pop-Up City have great examples of urban hacktivism and outdoor guerrilla campaigns.
 
45. The Trendhunter.com community features micro trends, and cutting edge ideas.
 
46. For spontaneous raw trend information you can also checkout Trendline online magazine.

 

How do you know when you’ve nailed Guerrilla marketing?

 
“Its when the public can’t tell what’s advertising and what’s not.”

 

Expert Roundup



47. Robert Lum of shares creative and unconventional marketing strategies in his blog:
 
48. Here’s 50 more ideas! Short snappy ones from “Bootstrapping blog “a great site for startups needing cost effective strategies:

49. Luke Abbott Social media professional in paddypower.com rounds up:

50. Amy-Mae Elliot has a cool roundup of videos in Mashable in:

In Short: Offline Guerrilla Marketing is about using your Marketing Mix in an unexpected way in unexpected places with unexpected tools: shock, raise eyebrows, titillate and pull at your public’s emotional strings at street level. Or do something altruistic and service your community thus buying you a positive human interest story  spin and goodwill in the press.

Key takeaway: Keep it Local: It’s got to be high concept, appealing and relevant to your local community and target audience.

What Next? Go Global: These real world tactics are extremely effective in themselves for getting your brand and business noticed out there. But combine these marketing tactics with the power of the Internet, social media and the various online tools available today, and hey Presto! You’ve just generated food for viral online content.

 

50 Effective Online Guerilla Marketing Ideas


Online tactics can broadcast and amplify the local Guerrilla Marketing activities you’ve executed offline, but they can also help you build an online following, raise your brand’s awareness, connect to prospects and customers you would never have previously been able to reach, and transform all of your efforts into a comprehensive, strategic, global dominating marketing plan.
But how to get started on the Intraweb? Below are 50 idea’s for you to turn into Guerilla Marketing weapons.

 

Start with the basics:



Social media presents a huge opportunity for Guerilla Marketing and increasing your revenue and customer loyalty.

Below are a number of steps you can take that will allow you to maximise the possibility of traffic and connecting with new customers. Think of having these social media accounts as setting up an online platform (HQ) for you to conduct your guerilla marketing campaigns from.

51. Spend a little bit of time setting up a Facebook business page and configure your timeline view for best results. Add lots of content in the about section and be personable so that people can connect with you as a person and not just your brand.


Facebook is free, and your customers (and a lot of new prospects) are more than likely already using it, so it can be a great source of direct traffic.

52. Find other pages where your customers and prospects hang out already and post there as your page. Other people viewing those pages will see your posts and if what you’ve said is interesting (or if your logo is interesting) they will click over to your page to check you out. Add value to the conversations and avoid (at all costs) putting out promotional updates for your products/services on other people’s fan pages.

53. Make it as easy as possible to get more likes for your Facebook page.

54. Setup a Google+ business page. Google+ is probably the best single thing you can do at the moment to boost the organic placement of your website in Google’s search results.

55. Setup a Twitter Account. Twitter can be an incredibly powerful tool for finding new customers for your business and its important to have an account so that you can secure your brand name on Twitter if possible.

When setting up the profile make sure to be personable in your profile box and customise the background. Put your brand name in the background if possible and the URL to your website in both the background and more importantly in the profile section.

56. Connect all of your social media accounts so that you only need to post to one place for all accounts to be updated. This free tool will allow you to distribute your Facebook posts to Twitter, Google+ and LinkedIn. Now you will be able to focus on being really active on just one social network; whichever you feel has the largest number of your target demographic of customer.

 

Content Marketing for Success:


Content marketing involves creating valuable or entertaining content and publishing it online so that people can find it, become interested in it, take value from it and get to know you and your business before they’ve bought from you. It helps establish your authority in your industry.

57. Write blog posts

If you don’t already have a blog, perhaps its time to start one? You can start a free blog on WordPress.com or Tumblr.com, if your current website doesn’t have blog functionality built in and you don’t have the budget to get one added. Just make sure that you put a clickable URL back to your main site on your new free blog. Also use your brand name as the account name when setting the blog up:

99

Think about whether you have the time to commit to a blog before starting it however, as it will be a waste of time if you don’t post at least twice a week over an extended period of time.

58. You could write guest posts on other blogs where your target market read. This is a great way of getting yourself in front of potential future customers and making them aware of your existence and your knowledge of your industry.

There is a hidden bonus with these posts. Not only will you potentially get direct traffic when prospects read your post and click through to your website, but you will also get an SEO boost from the link to your website at the bottom of your post.

59. Write how-to articles for article directories and how-to blogs. For example, perhaps you own a building company. You could write DIY how to articles showing people how to hang pictures, paint a room correctly, fix taps in the bathroom. These could be published on your own blog or on an article directory like ezine

60. Sign up for a Dlvr.it account. Dlvr It is a free service which will facilitate you publishing an RSS feed to your social media accounts. RSS stands for Really Simple Syndication and it is a quite straightforward to setup. If you have a blog, it will have an RSS feed that you can easily copy and paste in to Dlvr.it which will automate posting about your blog update on social media.

61. Create videos and post them to YouTube. YouTube is a completely free resource and the 2nd largest search engine in the world. It is a great place to get direct traffic to your website and also to get an SEO benefit as video’s regularly show up in the first page of search results (SERPs) on Google. You can also publish the video’s to your Facebook stream and your Google+ account.
All you need is a good smart phone or a digicam and you are all set to make a video starring your gorgeous self, or something else related to your industry. For example if you are a Veterinarian perhaps you could take some video of the animals in your practice doing something cute.

62. Post your video’s on your blog and add a bit of descriptive text around them to activate interest and conversation in the comments section of your blog. Ask questions at the end of the piece.

63. Does your business involve something that you could take photo’s of? Perhaps you are on the road a lot and could take pictures as you drive around of scenery? Or maybe you do something creative (nail artwork, tatoos or graphic design)? Why not take your completed designs or photographs and post them to Pinterest, your Facebook timeline and Google+ stream.

64. After a month take all your photo’s and pictures and create a photo collage video and upload it to YouTube for extra traffic and an SEO boost.

 

Amplifying what you do offline:


Having a plan that incorporates online and offline can make a big difference to the success or failure of your guerilla marketing campaign. Below are some idea’s of how you might give your offline efforts a big boost.

65. Amplify your offline graffiti art campaign by videoing the whole thing. Film meeting up with your graffiti artist, travelling to the venue, the preparation of the work and everything that happens until the end. Think of a few questions to ask the artist and yourself. Turn the result into a cool viral video for YouTube and Facebook.

66. Amplify your everyday activities. Do you or your staff do something during the normal course of your working day that people would find interesting? Why not film it and create a viral video of the daily activities in your premises?

67. For ideas, online PR & Social Marketing firm Simply Zesty sends the latest Virals
Check out the Simply Zesty viral video archives.

68. Run online/offline promotions
Does your business service the public in some way? Maybe you could give away a freebie like this pop up eatery < http://www.cheapeats.ie/2011/02/18/crackbird-pop-up-restaurant-starts-next-week/ > did in exchange for having prospects & customers tweet about your business.

69. Put a QR code in the window of your premises and connect it to a mobile page on your website with the details of your business and a list of the benefits of using your firm versus your competition.


70. Run a QR street campaign

Simon on the streets used QR codes very creatively to raise funds for homeless people last Christmas < http://theinspirationroom.com/daily/2011/simon-on-the-streets-qr-codes/ >

71. A funny word of caution – How not to use QR codes:

 

Digital marketing you can do for less than $5:


Below are some idea’s about how you can leverage the website Fiverr.com to create cheap but potentially beneficial marketing effect online.

72. Hire a cool sounding voiceover guy to speak over a video you create from images or powerpoint slides to showcase your business

73. Create a mobile landing page for your QR code that will increase the number of likes to your page.

74. Get a bunch of people who live near interesting places to hold up signs with part of a message you want to transmit on them. Compile the videos into a promotional clip

75. Have Ozzy the dog draw a picture or create a marketing message for your product or services

76. Can’t afford a graphic designer but you want a professional Timeline cover image for your Facebook company page? Lydia will do it for $5

77. If you are comfortable editing your website, Marcus will create an SEO report and email it to you

78. Maybe you could use something like this in the intro part of a company video.

79. A good selection of guerilla marketing options can be found here

80. Perhaps you need a catchy jingle or other original and whacky music to accompany your video? Check this out

81. Need a script written? Check this out: Script Writing

82. A cautionary tip: on Fiverr.com you will find a lot of people that will be will be happy to increase the number of fans, followers and connections in the various social networks. You will also find offers promising to tweet a massive following with your marketing message. These services are a waste of your money because the fans/followers you will receive will not be targetted and as such will be low quality.

 

Guerilla Marketing Traffic Getters:


Traffic is the online equivalent of people walking into your shop or office. Your website should be designed to turn the casual visitor into a customer who is dying to spend their cold hard cash in your business. However, before your website has that conversion opportunity, you will need to get the traffic to your website in the first place.

83. Post a link to your latest blog posts on Digg, Reddit and Delicious. Well you’ve written the content, why leave it to gather dust?

84. Start a discussion about your latest blog post topic. Use big forums like boards.ie or whatever your regional hub of activity to start a discussion around the topic you’ve blogged about. You can usually paste a link to your post in on most forums as long as you are genuinely trying to have a conversation about the topic, and as long as its not your first post on the forum.

85. Give your exact target market something fun to do online. @betfairpoker do this really well.

86. Join some community forum’s where your target market would typically hang out. Put a link to your website in your forum profile signature and then join the conversations happening on the website. Say valuable things and make a contribution that is helpful.

87. Search on Google+ for people who would enjoy or find value in your product/service. Particularly those who are very active in your niche. Add them to a special circle and message them asking for their feedback on what you are doing.

88. Have you got something to say? Why not host your own Radio Show?? Don’t just drone on about your products and services, talk about issues relating to your niche and give tonnes of value away for free.

89. Interview someone your target audience would find interesting. Blog about it, or have them on your Blog Talk Radio show. Or have them on your Podcast. Or even better do all three, and then bundle the MP3 and a transcription as a downloadable reward for joining the email list on your website.

90. Setup an email newsletter. Even if you are just emailing special offers out once a month its better to have on your website than nothing. You can use Mailchimp who are free and will keep you compliant! This will be huge for bringing traffic back to your site.

91. Create an on-line community specific to the primary related area of interest of your target market. For example say you have a clothes shop for babies. Perhaps you could setup a Facebook page or group, designed to help mum’s with issues they’re experiencing with their newly born babies.

92. Record a weekly podcast, and publish it to a page on your blog and to iTunes. This free software and some time is all you need!

93. Team up with another business owner in a related but non competing business and do a Joint
Marketing Venture online. Your JMV should involve the creation of content (any form) designed to attract the perfect target market for both of your businesses.

94. Setup a LinkedIn group for your niche. Social Media Ireland is a very successful example of this run by Niall Devitt.

95. Setup a LinkedIn group for your target market. For example, if the decision maker who decides to buy your products/services is the CFO or Financial Director of a company, why not setup a group called Chief Financial Officers Ireland?

96. Setup or join a meetup group where you can make industry or customer connections. For example I run the user group for WordPress in Dublin, because my company builds primarily WordPress web solutions and because I love WordPress and want to connect with other users.

97. Host a weekly webcast. At the moment this awesome new tool is free. CynoCast will allow you to offer a new level of interactive webcast experience to an almost unlimited number of attendees.

98. Run a multi-platform competition to generate interest in your brand and products. If you give
something you sell as the prize you’ll ensure you attract your exact target market.

99. Showcase your expertise by answering questions in LinkedIn’s Answers section.

100. Finally, and this isn’t exclusively an online tip but more of a general one, wherever possible show people the passion you have for what you do.

 

Conclusion:



Guerrilla Marketing is a growing trend: executed correctly, it can be targeted at the people you want to turn on the most.  Be diligent and consistant. Be creative and have fun with it!


http://tweakyourbiz.com/marketing/2012/08/08/100-guerilla-marketing-ideas-grow-sales-with-zero-budget/

My Top 5 Slightly Illegal Tips For No-Budget Filmmakers...



 

Courtney Fathom Sell is like a reincarnation of the young John Waters. Obsessed with making transgressive low-budget movies on Hi 8 and possessing little regard for societal norms (his company is Slumlord Productions), Sell embodies the DIY spirit taken to its sometime illogical extreme. And in it's in that spirit that indieWIRE presents Sell's Top 5 Slightly Illegal Tips For No-Budget Filmmakers.

Actually, that adverb is something of a misnomer; it's pretty clear that some of these tips are entirely illegal and as such indieWIRE can't advocate them. While this kind of dedication and creativity demands a certain admiration, these opinions are strictly those of the author.
Sell's latest film, "The Hole," will screen this Sunday at Brooklyn Grange through Rooftop Films, presented by IFC.

Let's face it, making films is always better when you're breaking rules, dodging bullets, and narrowly avoiding the police. As a no-budget filmmaker with nearly hundreds of completed projects under my belt, I can honestly say that if you want to make your movie, you should simply make your movie. Nothing, and I mean nothing should hold you back, even if it's slightly illegal.

I have learned many ways to avoid being arrested, detained or even killed. I cannot promote the idea of putting others in danger; nor would I want you to get hurt or in trouble during the making of your film. So here's some tips -- not reasons to break the law --that will hopefully allow you to create your project in the most independent fashion.

1. Beg, steal, or borrow what you need.

I'm not saying that you need to go out and hijack a RED; I've shot almost all of my work on a Hi 8 video camera and occasionally a cell phone. But if you're going to use the equipment you've somehow 'obtained' to make your films, you have already paid and in my eyes, the only crime is letting that camera go unused.

Though borrowing is probably the best, most efficient way to go about this, there is certainly no problem with a little begging or lying to get what you need. To me, begging shows initiative and lying shows heart. If you happen to be in film school, make sure to befriend the equipment rental students. Though I refuse to share names, I do know many filmmakers who have utilized their school's equipment long after they either graduated or dropped out. However, if you are going to be so bold, please obey the no-budget filmmakers' golden rule: Make sure you put the equipment to good use!

2. Who cares about shooting permits?

The idea of getting a shooting permit for a no-budget, small crew project is ridiculous to me and as long as you're not holding up traffic or hurting anybody, who cares?

Still, this one is tricky; it can lead to lawsuits if you don't go about it in the right way. When it comes down to shooting a scene on the street, I just go out and shoot it. If you are accosted by the police seeking some form of permit, either be a great talker or have forge a reasonable-looking fake document that you can flash at them before you get back to work. If you are told to leave and it doesn't look like there's a way out, simply continue rolling the camera and get your scene anyways! Just be sure you're wearing good running shoes.

A great example of this was done by a close friend of mine who needed shots of his main subject portraying a bank robber being arrested by the police. He figured that if his actors made a minor commotion, he would be able to get the shots he needed -- and without paying the city or the police for their cameos. He directed his subject to begin acting up on a sidewalk in the Financial District during the lunch rush; happily, the actor was immediately accosted by the big boys in blue. They were so involved in figuring out what was going on that they completely ignored the camera set across the street. Not only did he get the scenes he needed, but the cops dismissed the disturbance as the antics of just another drunk and told him to leave the area.

Another, simpler method is to dress like tourists and pretend you don't speak English. They may leave you alone if you act confused.

3. Promotion to catch their attention! 

For no budget filmmakers, promotion can be the hardest struggles. Either the press has never heard of you, or they don't care about your film, or you've pissed off one too many people while making your masterpiece and created a lot of enemies who have vowed to never help you out.

My favorite form of raising promotion is raising controversy. It's easier to receive attention by shocking the public than by handing out dull flyers that will likely end up in the trash. I appreciate the idea of 'flyering' ever telephone pole in every neighborhood within 100 miles of your city, but it's not as effective as it used to be. In high school , I was arrested for covering every tree in my neighborhood with offensive film flyers promoting a horror film I made with a group of friends. The image on the flyer was of the main character throwing up, and the local police considered it as lewd as urinating in public. Charges were dropped when the film finally screened at the local film festival and it had the largest audience of the event. Ah, how legal issues can sell a project!

I now like to call every news station in the city telling them that something exciting is happening at a certain location and staging a fake event that promotes the project upon their arrival. Word of mouth is the best promotion tool, so other methods of getting attention could be by prank calling radio stations pretending to have something intelligent to say and when they get you on the air, simply plug away. Or, if you want to be a bit more extreme, just fake your own death and leave a false suicide note that promotes your film. Tell them to screen your movie at your own funeral. Imagine that publicity. Then, once the air has settled, just begin making movies again under a new name. This idea however is only suited for the most extreme, most passionate, and probably the most insane of the lot.

4. When they say "No," ask, "Why?" When they say "No" again, do it anyway.

This one is my favorite. I grew up in a small, conservative community and I began questioning authority at a very early age. I hold the same mentality while making a film. Most of the time, people who tell you "no" are simply doing it out of habit. Therefore, it is always beneficial to stop and think, and to never go along with something just because they said so. I understand this is a broad idea, yet it is extremely important for the independent artist. If I had a dollar for the amount of moments in my life when people told me there was no way in hell I could become a filmmaker by making movies on a Hi 8 video camera, I would be a millionaire. (At least then I could afford a better camera!)

If someone says no to you, including the police, ask them why. Challenge them. Get them angry. Make them question themselves. When they say no to you again, follow through with your scene anyway. The power of protest can be amazingly strong. Imagine how many amazing films would not have been made had the filmmaker followed the rules. Just be sure to map out your escape path.

5. Screen your film anywhere! And I mean, ANYWHERE.

Whether your audience consists of one person or 500, you have accomplished an extremely difficult task and deserve the opportunity to present your masterpiece to the world. Therefore, screen your movie anywhere! Use the side of buildings as your canvas. Project your film outside movie theaters. Never turn down the opportunity to present your movie, even if the venue is a crack den, porn shop or redneck bar. Just be sure you have a small, light projector to quickly pack up and run away with when the cops show up.

I have just about screened my work at every type of venue or platform imaginable, from family living rooms to abandoned bowling alleys and warehouses. Don't be discouraged if the audience doesn't react the way you planned, as each screening is a gamble, especially in locations not generally suited for seasoned filmgoers.

A great story I heard from fellow no budget filmmaker was how he once used his school's computer library to screen his work by uploading it online and playing it on every screen in the room. Though I'm sure the 'screening' didn't last long, it is exactly the type of attitude I adore and appreciate in a filmmaker. Maybe next time he could try doing this technique at a city library, town hall or even at an Apple store!

In the end, we have the freedom and opportunity to make the films we want to make, without any loss of creative control. Please do not let anything stand in your way. I look forward to seeing your film.


http://www.indiewire.com/article/my_top_5_slightly_illegal_tips_for_no-budget_filmmakers

The Rights And Wrongs Of No-Budget Filmmaking...




Last weekend, I attended day one of No Budget Film School's "The Art & Science of No-Budget Filmmaking" at Raliegh Studios in Hollywood. The event was run by Mark Stolaroff, who probably knows as much about no-budget filmmaking as anyone. Mark used to be a principal at Next Wave Films, the former low-budget financing arm of IFC that helped launch the careers of Christopher Nolan, Craig Brewer and more. Mark's also out in the trenches producing films, so the information he has to offer is up-to-date and relevant.
I've been thinking for a while that a lot of filmmakers focus on the wrong aspects of moviemaking when there are only limited funds to spend. (ie., You don't need to devote your entire budget to a RED camera or Arri Alexa in order to create quality content.) Mark brought clarity to this notion, and I'd like to share some of my top takeaways with you. Without further ado, I present "The Rights and Wrongs of No-Budget Filmmaking":
  • A "no budget film" refers to making a movie with the amount of money you can get together right now or tomorrow. If you're planning on mortgaging your home to finance your movie, you're no longer in the arena of "no budget filmmaking." Don't go into debt.
  • There's really no need to obsess over the latest or best technology. If you can shoot in HD and obtain quality audio, you'll be able to make do.
  • Embrace your limitations and refuse to spend money wherever possible. How much money you spend is directly related to how good your movie will look, not how good it will be. If you don't have the money for a big crew, that's fine. You'll be able to move more swiftly with a small crew, anyway.
  • Make sure everyone involved in your production embraces the do-it-yourself (DIY) style. If members of your crew do not and you foresee them being a distraction, cut them out like a cancer.
  • Your film won't suffer for what it doesn't have. If you try to emulate the look of a big studio film on no money, there's a strong chance it won't turn out well. Aspiring to keep everything on an even level -- production value, sound, acting, etc. -- will keep your expectations realistic, whatever your budget may be. (It's the relative lack of money, not the absolute.)
  • Write for what you have. If you only have access to X number of locations, actors, shoot days, etc., write for those limitations...and make things feel true. Create your story to meet your available aesthetic.
  • The no-budget films that end up going places (like to Sundance or South by Southwest) are usually the ones that are most unique. It's important to take a step back and ask objectively, "How unique is the content I'm setting out to create?"
  • When it come to production value, it's a myth that your no-budget film film has to look great for it to be a success. (After all, great production value without a good story is worthless.) It's far more important to focus on story/script/dialogue and performances than it is to obsess over whether your camera shoots in 4k. If you're going to obsess over production value, concern yourself with locations and production design before over having to use the expensive camera.
  • Coverage. Plan accordingly so that you can get plenty of it. If you shoot with two less expensive cameras instead of one that's expensive, you'll be thankful when you're in the editing room. If you're only shooting with one camera, allow for enough time so that your DP can capture all the angles you'll need later in post-production.
  • Don't shoot on film. 35mm and 16mm are expensive! Solid state (and DV tapes) = much, much cheaper.
  • Rather than rent, buy or borrow your camera. When you buy, you obtain leverage and independence, and you'll be able to shoot whenever you'd like.
  • Never be afraid to ask for anything. Whether it's locations, equipment, etc., the worst response you'll probably get is "no." (Or "get the hell of my property!") You'll be surprised what you'll be able to obtain for free.
  • Work with actors who are committed and are happy to be there. While it never hurts to have a known name or two attached to your project, if they're not up for your DIY approach, it's not going to help your production flow smoothly. No budget films are about launching careers; they're showcases for what talented filmmakers can accomplish on micro-budgets. You can work with some more well-known actors on your second film.
  • If you have extra money to spend anywhere, it doesn't hurt to put it into your audio. Audiences are forgiving of a funky image; bad audio can be unbearable.

 

"Rosebud, Dude!"...






No Budget Filmmaking: The Myth. The Legend. The Truth. ...

READ THIS : Please bare in mind that this is just how I have approached filmmaking. These are things that have worked for me, they may or may not work for you. I'm not saying there is a right way or a wrong way to do these things I can only speak from my own experience and point of view. There is also no substitute for hard work. With that in mind Read on. 
 
 
It's fair to say that No Budget filmmaking is becoming more common, the drop in the price of technology and accessibility to cameras and computers has seen to that and made it all tremendously easy, I mean its highly likely that right now your reading this on something that capable of shooting and editing a movie. So I'm shocked in this day and age that people consider it, not only a myth, but actually something to be looked down upon. In a world where you can make a film and even edit it on your phone, some people still view no budget filmmaking as nothing more than a legend and a fabrication of truth. As someone who spent the first decade as a filmmaker working with pence to make my short films, I want to talk about the truth.

THE MYTH


"The No Budget Film Is A Myth"

I've been confronted with a school of thought recently and it has kind of shocked me. Especially as back in 2009 I made my first feature with zero funds. I've always been incredibly proud of the fact that myself and a handful of people looking to break into the industry as actors, camera ops, sound techs, etc, achieved on little more than belief. Yet some people look at this kind of achievement as somehow less valid, because little or no money passed hands.

A still from Dead In The Woods
I think that no budget filmmaking can be 'A Myth' if you want to be. If you're looking for a reason why you 'can't' go out and make movies then I guess it is quite convenient for it to remain just that, A Myth. I didn't have the luxury, as a teenager I didn't have the money to even own my own camera, So I borrowed my friend's camera whenever it was free and used college editing suites or my friend's computer when he wasn't using it for his own projects. 

The first film I ever shot, was on SVHS and cut on a tape deck in an old dusty room at our local college. It sucked (ironically it was about Vampires), but it taught me a lot about how not to make films. More than I'd learned from any of my extensive reading on the subject. See I just simply wasn't interested in 'not' making movies, I was, however, interested in actually going out and doing it.

I spent the next decade making short films, all of which had no or very little budget and learning each time how to make the next one better than the last. Whilst I was at university, most of the students made 3 films during their study time. I made about 25, not all of them good, some of them terrible, but with each one I learned a new lesson about lighting, about sound, about directing actors and about a bunch of other things that I never would have even considered to be important. All on nothing.

THE LEGEND


I spent the most part of my early teens following low budget filmmakers and trying to learn as much as could from their movies, their writings and sometimes working with some of them. The internet back in 1999 wasn't really the extensive knowledge base that it is now and to learn specifics you couldn't just jump onto youtube and find what you were looking for, you just had to figure it out. I struggled for many years to find a no budget feature though, but I knew there had to be one, but it seemed to just be a legend.
The first appearance of Evil Santa in the MychoVerse
During this time one filmmaker had really stood out to me. Robert Rodriguez, who made his first film, El Mariachi, on £4000 ($7000). After some research I found that Mariachi's budget had been spent on filmstock and that everything else in the film had been snatched up from Roriguez' family and friends. It was at that moment that I realised the no budget film was staring me right in the face.

Film stock was no longer an issue, in 2008 we had inexpensive digital tape (I understand the quality difference, but 28 Days Later was shot on MiniDV and that's good enough for me) and so without that as an expense, the no budget feature was certainly closer to being a reality for me. From here, removing the element of filmstock, I started to see more of my favourite films had been made on little to no money. Evil Dead, Phantasm, some of my favourite movies of all time could have been made today on much less money.

After graduating I had a theory, and that theory was pretty simple. I had made 25, 5 minute long short films on no money, that would amount to 125 mins. I figured that a 90 minute feature was like making 18, 5 minute movies and that was the beginning of the basis for Creepsville.

THE TRUTH


Whenever this comes up, the first argument I get is where did you get the camera, the computer, the etc, etc, etc. Here's the simple honest truth, I had it. Already. I worked 3 jobs whilst at university and saved up for a camera. Because I knew I was serious about wanting to make films, before I ever had the notion of wanting to make a feature, I spent £300 on the cheapest minidv camera on the market. I bought a computer with my own money to edit my footage on, before I ever had the notion of wanting to make a feature. It took me about 10 years of buying stuff here and there to have everything I needed to make movies. The truth is, if you're serious about this. You'll have it. 


Our 1st werewolf (Fool Moon) made with £land Halloween stock 
Now people say "well that's your budget" and I say to that, no. Whether I had made a feature film or not, I would still have had that stuff. Because I just wanted to make movies. I just got to a point where I could sit on my arse all day waiting for money or I could just go and do it. 

See the real truth is that no budget filmmaking is resource based. It's about writing around what you already have. If you want a tank in your movie, but don't have one or have access to one, leave it out. Maybe someone you know has a range rover that you can mount some guns made of toilet paper rolls on. Ok maybe not that, but you get the picture. Work with what you have, with who you have and with where you have.

Our cast were all local, we shot out of hours ( about 6 hours a night) so people just brought thier own snacks. Our locations were all local so there was very little travel involved, it was all just a matter of using what we had accessible.

The Original 'Cleaver' from Clowning Around
It's same when it comes to gear. In this day and age everyone has some form of camera and editing facility on thier laptop, on thier phone, on their tablet, or know someone who does. Just use what you have, don't have film lights, use work lights or bed side lamps or whatever, just go out and do it and play to your strengths. With Creepsville we had what we needed to do it, then ironically the Univerisity allowed us to borrow some old gear after hours during the summer holidays, however the old gear was still better than our current gear and so we went with that, but the lesson remains the same. If you look for excuses you'll find them forever. The irony is, if you look for other ways, you'll find them forever too.


http://iwasateenagefilmmaker.blogspot.co.uk/2014/02/no-budget-film-making-myth-legend-truth.html

The Swiss Army Knife Of Independent Filmmaking...

Over 800 pages long, this handbook is a must-have for novice and experienced filmmakers alike...


 
 


Tuesday, April 1, 2014

The 15 Best Neo-Noir Films...

 Since its beginning with The Maltese Falcon in 1941, the genre of film noir has been the quintessential American film style. It is recognizable around the world and features actors that went on to be stars and a wave of directors that became the best of their time. It has retained its popularity and relevance and with just a few films made over a 17-year-period, film noir still inspires cinema today.

The end of the “classic period” is considered to be Orson Welles’ 1958 Touch of Evil, and Sam Fuller’s The Naked Kiss released in 1964 is considered by most to be the last film noir. There were a few attempts at noir in the 1960s and 1970s, but the genre’s real resurgence didn’t start until the 1980s.

The term “film noir” was coined in 1946 by French film critic Nino Frank and was further defined in 1955 by French writers Raymond Borde and Etienne Chaumeton in their book A Panorama of American Film Noir. While the films of the classic period were not produced consciously as noir, at least up until 1955, they all had thematic and visual similarities which identify what eventually became known as noir. The stories were influenced by the hard-boiled detective novels of Chandler, Hammett, Cain, and others and the striking visuals were heavily influenced by cinematographers and directors who came to the States from Germany before and during World War II. Most of the films were made inexpensively on studio sets and back lots, many as “B” movies. The location shooting done in Los Angeles, San Francisco, and New York have made them the quintessential noir cities.

  While neo-noirs are very conscious of being noir, the films do look different than the classics; the trademark black and white photography with its dark lighting is gone, as are the rain slicked city streets and the fedora and trench coat. But the psychological depth of the movies with its disorientation, anxiety, desperation, obsession, cynicism, and alienation remains. The end result is a protagonist that is an anti-hero, a dangerous woman, bad guys, and the queasy side of life and love. The stories still have the underlying element of crime with the femme fatale being updated as the post-feminist woman who has all of the sexuality and deviousness of the 1940s and 1950s femmes, but the neo-noir femme relies on her intelligence more. The noir protagonist might be a little smarter, but he still gets outsmarted by fate – the fate he chose. Technically, most of the films look great and the writing and directing, free from the industry morality codes of the classic era, produce films that are more violent and overtly sexual.

No remakes make the list of neo-noirs found below. Four period films do. I tried to include only those that had a classic noir structure with a protagonist, a femme fatale influenced by her bad guy husband/boyfriend, and a narrative and feel about it that could definitely be considered noir. All were produced in the US after 1964.

There are well over a hundred neo-noirs to choose from. Films not making this list, but also very good and worth watching are: The Black Dahlia, Basic Instinct, Blue Velvet, Bound, Dark City, Femme Fatale, Lost Highway, The Hot Spot, Klute, Miller’s Crossing, Sin City, and Taxi Driver.
____________________________________________________________

 

15. After Dark, My Sweet

  From the novel by Jim Thompson, the hopelessness of the noir protagonist is portrayed in a punch drunk ex-prizefighter named Collie. When femme fatale Fay picks him up in a bar, patting the front seat of her car saying, “Come on now, there’s a good boy,” you can feel Collie surrendering to his fate. And after he agrees to take part in a poorly planned kidnapping scheme, it’s only a question of how he’s going down.

There is a lot of the Terry Malloy “I could’ve been a contender, I could’ve been somebody” in Collie, but Collie lacks Terry’s moral compass. He thinks he’s smarter than he is and his obsession with Fay makes him even less so. The remorse he feels only makes his fate more certain. It all ends about as badly as it could.

 

14. The Grifters

  The opening scene is done as a triptych that follows our three central characters as they all run their con games on the unsuspecting. They are very different con artists whose fates will intertwine. Roy is a short-con hustler, Myra is a former big-time grifter who has been reduced to turning tricks to make ends meet, and Lily is an employee of an East Coast bookie whose job it is to bet down the odds at racetracks.

Each has his or her own desperation and sees the other as a way to make the big score, but none of them are capable of trust or forming partnerships. Myra and Lily both want a piece of Roy who wants nothing to do with either of them. A three-way power play ensues that gets grimmer with every turn, climaxing in a violent ending that is very noir.

 

13. The Two Jakes

  The sequel to Chinatown was pretty much panned by critics and fans alike, but has proven over time to be a great film in its own right. Ten years after the events that ended so badly in Chinatown, private detective Jake Gittes stumbles onto a case that takes him back to some of the skeletons in his closet. A scandal that is reminiscent of what happened ten years earlier, this time with real estate and oilfields, is at its center.

While many post WWII noir protagonists are haunted by the war, Jake is haunted by a different past: the part he played in the death of Evelyn Mulwray and his inability to save Evelyn’s daughter, Katherine. And while there is some redemption in this story it is of little value to him. In the last scene, Jake pretty much sums up the critical sentiment of the noir protagonist: “The past never goes away.”

 

12. The Long Goodbye

  From the book by Raymond Chandler, this updated interpretation of Phillip Marlowe is a tad on the irreverent side. Gone is the 1940s voice-over replaced by a mumbling Marlowe (you will need those subtitles) who talks to himself as he makes his way through 1970s Los Angeles. This Marlowe is an idealistic dreamer who refuses to give into cynicism despite the corruption he sees around him.

This film is quirky – he lights a cigarette in every scene, keeps a cat in his apartment and has very interesting neighbors – with some bizarre dialogue and a nicely complicated plot. Marlowe looks for the truth when his friend is accused of killing his wife and when a woman’s husband disappears. If it wasn’t obvious up until now, the ending very quickly makes the point that this version of one of the great classic noir detectives is very different than the 1940s version.

 

11. Devil in a Blue Dress

  Returning WWII vet Easy Rawlins loses his job and is faced with the prospect of losing his house. A friend introduces Easy to trouble in the form of a shady character who offers him a chance to make some easy money. All he has to do is track down a politician’s wayward mistress who likes to hang out in black jazz clubs.

Easy Rawlins is the classic noir protagonist: a good, but morally ambivalent man who abandons his better judgment for something he knows is wrong. This film has a great 1940s mood along with bad cops, crooked politicians, a femme fatale and a psychopathic killer you can’t help but like. It also has something that classic noir rarely touched on: racism in post-WWII America.

 

10. Memento

  Leonard has one purpose in life – find the man who murdered his wife. However the trauma of seeing his wife’s death results in a form of amnesia that prevents him from retaining new memories that last for more than a few minutes. So he leaves himself clues. All kinds of clues.

Leonard’s loss of control and inability to discover the truth is all part of the life of the noir protagonist. What makes this film great is in the way the narrative unfolds: the story is told backwards with time loops that create a confusion for the viewer that parallels Leonard’s. Leonard is doomed to living for vengeance that is unobtainable; even if he succeeded he wouldn’t remember it. But he will always have his last memory and with it his strongest emotion: the grief over the loss of his wife.

 

9. Mulholland Drive

  This film has two stories unfolding at once; one real, one a dream. Struggling actress Diane Seldwyn creates an alternate existence to fix what is wrong in her life. Jealousy has destroyed Diane and eventually causes her to hire a hitman to kill her lover Carmilla. Her alternate reality as starlet Betty is the reconstruction of her life and her relationship with Carmilla, who becomes reincarnated in Diane’s mind as Rita. If it sounds complicated, that’s because it is.

Diane’s confused, schizophrenic life plays out in an extraordinary story that has mystery, suspense, and bizarre, unexplained plot points. Diane has created in her mind her own Hollywood movie and her own noir existence of alienation, loss, guilt, and revenge.

 

8. Blood Simple

  This film was produced with a budget of $1.5M, a first time writer and director, and a first time actor in the female lead. A love triangle with a woman in the middle who isn’t trusted by either man leads to a complex plot full of jealousy, paranoia, fear, suspicion, double crosses, murder and remorse, all set in a hole in the wall town in Texas.

It’s hard to say which of the two guys is getting screwed the most. The non-classic femme fatale is just a little bit smarter than the rest of the characters who really aren’t very smart. As the story unfolds each character in turn goes from being the most sympathetic character to the least likable. There are a lot of twists and turns in this one which may be what the memorable last shot is all about – literally.

 

7. Red Rock West

  A small town California noir that has all the elements of a classic era story: a femme fatale married to a bad guy who also happens to be a dirty cop, a good guy/anti-hero who drifts into town and, as fate would have it, gets sucked into his own personal noir hell by a case of mistaken identity. There is also yet another psychopathic hitman from Texas who makes town to carry out a contract.

Suzanne is one of the great neo-femmes and even looks like a skinny Ava Gardner. The wheels are spinning in her head all the time and she has her accomplice in the completely morally compromised Michael whose wheels are spinning in something other than his brain. He seems like a nice enough guy, but is willing to play by Suzanne’s rules. Red Rock West got instant noir credibility by being a “B” movie that went direct to video before becoming an art house favorite.

 

6. The Last Seduction

  Bridget Gregory is the perfect example of the neo-noir femme fatale. She knows how to use her sexuality but also knows that she will need her brain even more. She’s aggressive and plays by her own rules, which are made up as she goes. Bridget leaves New York and her bad guy husband, Clay, with $100,000 of money from their drug dealing enterprise. Clay hires some muscle to find her and the money. To throw Clay off of the trail, Bridget stops in a small town in Western New York where she meets her soon to be obsessed and totally doomed noir sap. Local boy Mike is not too smart and Bridget can work with that. Her goal: kill her husband and get away with the money.

Mike is way out of his league and Bridget maneuvers him into the plot by telling him he has to prove his commitment to her by doing this one little thing for her. The poor guy sees how bad she is but it doesn’t matter, he’ll do anything for her and is willing to overlook her faults. She puts her cigarette out in the pie that grandma had baked for him, but he no longer cares.

 

5. Point Blank

  This movie brought noir into the modern world. Filmed in beautiful muted color, Los Angeles is all reflective glass and steel and gangsters are businessmen in grey suits who hang out with accountants. Walker, his wife Lynn and his partner Reese, intercept a mob money drop on abandon Alcatraz Island in San Francisco Bay. After the robbery, Walker is betrayed by the two, shot and left for dead. Walker survives and lives for only one purpose: revenge. He wants them both dead and he wants his money back.

Time and space are a little out of sync as the film features flashbacks and jumps that confuse reality as well as Walker’s state of existence. We don’t know if Walker is living the events or dreaming them – both of his past life and his quest for revenge. He’s the lone wolf, a man that wants no allies; his separation from all that is around him creates an alienation that is complete and, for Walker, without ending.

 

4. Body Heat

  It’s a hot summer in inland Florida, 1981. The heat is sweltering and the air is so still the wind chimes don’t move. No neo-noir has done better at creating a late 1940s feel in a contemporary setting. Ceiling fans, venetian blinds, long shadows, moody jazz clubs, everyone smokes, and no one has air conditioning.

The story owes a lot to Double Indemnity: a woman with an unwanted husband and an obsessed, easily manipulated lover – this time a not so smart lawyer. Matty Walker hooks and lands Ned Racine in one night and draws him into her very well thought out plan. She manipulates Ned into murdering her husband so they can be together, all while making him think the whole thing is his idea – and that she really loves him. By the time he figures it out it’s too late. For the neo-noir femme survival, doesn’t always mean winning. In noir, sometimes the winners don’t even win.

 

3. Blade Runner

  The opening shot from above pans down on Los Angeles in the year 2019. Processing plant towers shoot flame high into the dark sky. The tall buildings do not let what little sunlight filters through the pollution reach the canyon floor. The fog and rain are constant, falling on the overcrowded, claustrophobic streets populated by people on the fringes of society.

Det. Rick Deckard’s assignment is to “retire” four outlaw cybernetic androids that have come back to earth and are considered dangerous. Deckard starts his investigation at the bad guy Tyrell Corporation, maker of the “replicants.” There he meets the beautiful Rachel who is a different kind of femme fatale. She’s not bad but there is something bad about her: she isn’t human. She is Tyrell’s latest model, programmed with memories that make her think she’s human.

Deckard’s obsession with Rachel is immediate – she’s both beautiful and forbidden. He now has to complete his mission and somehow save Rachel. As the two are drawn to each other their fates become intertwined and Deckard realizes the ultimate existential angst: what does it mean to be human?

 

2. L.A. Confidential

  You can’t tell the good guys from the bad guys in the 1997 film that marks a return to form for noir. The sun drenched California Dream of the 1950s is exposed as a veneer that hides a sordid underbelly of crime and sleaze. Corrupt cops and politicians, high priced call girls “cut” to look like movie stars, renegade police hitmen, narcotics, blackmail, and cover-ups.

The plot couldn’t be much more complicated and the noir detective is a composition of three cops: one tough guy, one good guy (sort of), and one narcissist who is only in it for himself. Two of the guys become involved with the same call girl; one wants to use her, the other just wants her. And all of them are part of the corruption in the police department and complicit in murder. Very much a three act play and in the third act the good guys are finally separated from the bad guys. This is one of the best films of the 1990s.

 

1. Chinatown

  One of the great period films ever made is also the first neo-noir period film. It has a perfect feel for the time, place, and sensibilities of pre-WWII America, when California was still wide open. It’s Los Angeles, 1937, and private investigator J.J. Gittes’ work brings him a mysterious client whose case is much more complex than most of his divorce surveillance work. Evelyn Mulwray is wealthy, beautiful, and a pathological liar. She hires Gittes, telling him she thinks her husband is having an affair. Gittes’ investigation to solve what is now a murder leads to her father, wealthy landowner Noah Cross, who is at the center of a plot to bring water from the L.A. reservoir to the valley, most of which he owns.

When Cross tell Gittes, “You may think you know what you’re dealing with, but believe me, you don’t,” he pretty much defines what it means to be a noir detective. He also foretells future events that Gittes will never completely understand. Gittes is all around the edges of the truth and by the time he sees it, he is too late. The story ends in one of Hollywood’s bleakest and best scenes. It’s the only one that takes place in Chinatown.


http://cinemanerdz.com/the-15-best-neo-noir-films/

More No/Low Budget Filmmaking Tips (Courtesy of RAINDANCE)...




 
 
The fact is, you don’t need to have deep pockets to make an incredible movie.  All the elements of fantastic filmmaking can be achieved for next to no money if you know what to focus on.  Of course, solid preproduction and amazing storyboards, using the likes of StoryBoard Quick, are the best way to go but here are a few tips, courtesy of the Raindance Film Festival to remind you to keep to the essentials of storytelling in order to make engaging films and videos.

Story – you hear it over and over but it’s true: if you have a good story, the rest will fall into place.  It’s like saying you don’t have anything if you don’t have your health, you don’t have a film if you don’t have a good story.
Firstly, your story must have characters with a specific goal. A specific goal is one that can be measured, so at a point in time we can see whether or not the character achieves or fails to achieve the goal. For example, if your character’s goal is to move out of London – this is a weak goal. We all want to leave London. It’s dirty, expensive and increasingly dangerous. But if the goal of your character is to leave London by noon tomorrow, or else… then we have a goal that is easily measured.
Secondly, your story has a setting. The setting can be usual or unusual.
Thirdly, there are the Actions of the main characters and finally what they say, or Dialogue.
Locations – The fewer locations your story has, the less time and money goes in to moving shot and people in to place.

Camera  - picking the right camera is paramount to quality, but you can still do this on a budget.
Choosing the camera that suits your script and your budget is simpler than ever before. Most likely you will be shooting on a digital camera. Two elements of any camera you should look out for are: compression and lenses. Remember that all digital cameras generate the same signal. What influences the image quality are the lenses you film through and the numbers of pixels per frame (compression)
Get Organized – if you don’t have your plans in order, you’ll be wasting everyone’s time and, likely, your money.
Nothing is more disheartening than showing up to help out on a mate’s shoot only to spend an hour looking for a screwdriver. Disorganization is totally unforgivable and easily preventable by advance planning. Make sure you know where everything is, and make sure everything and everybody shows up at the right place at the right time. If this is not within your organizational ability, partner with someone who is.
You’re Not Lucky, You’re Good:
“I believe that luck is earned through a combianation of hard work and karma, If you maintain your integrity and your passion, success will surely visit you.”


www.raindance.org 

The Realities Of No/Low Budget Filmmaking...






No/Low budget independent filmmaking is a necessity for most filmmakers who want to produce work that will help break them and their friends into the film business, or at least, be recognized by what’s left of the film business. Robert Rodriguez, the king of no budget cinema and the master professor on how to avoid spending money on your indie project even goes as far as to feature a “Ten Minute Film School” on the DVD release of his breakthrough film El Mariachi. The audio commentary in and of itself is one example after another on how to cut costs down to zilch. Although I am a film school graduate, the Rodriguez approach has always been far more helpful and yielded far more positive results. I’m not alone.
 
There has always been a basic system in place, a journey so to speak, that every filmmaker attempts to traverse: a filmmaker gets a bunch of people together, all with different talents and interests and all of them go out and make a movie. This is one of the hardest activities in the world to engage in because a lot of these kinds of projects are achieved through trial and error and generally go against the grain of society’s normal functions. Those with the knowledge and experience to make life a little easier for these cats only work for financial compensation. More on that later. So let’s say that the movie does find its way to completion. That movie enters the festival circuit and wins a few awards or at the very least gets an honorable mention, which in this day and age is considered an award in and of itself. This recognition is not lost upon distributors and soon the film gets picked up and everyone wins. Sure it’s an outdated, bullshit system that doesn’t really work as much as it used to, but the route is still possible and still attempted by many independent filmmakers.
 
It would seem that the production culture of some of these smaller films have driven the “professional” and “working” freelance community to the point where there is now an unofficial and unannounced war against these no/low budget filmmakers.  It would seem that, at least in the big cities, anywhere a filmmaker can go to find help with his or her project is being taken over by freelancers who are crying fowl, engaging in vicious attacks against the filmmakers. An example of this is the decreasingly popular website Craigslist,  where both no budget and low budget filmmakers can list their projects and production needs for any and all to respond to. CL even offers the option to list an ad as “Pay” or “No Pay”. It would seem that some of these pay only freelancers are sick and tired of sifting through the hundreds of no-budget calls for crew and the CL website has unofficially developed into a sort of anti-no-budget zone.
 
New Jersey filmmaker Chris Notarile said, “I believe that while it is improper to abuse or take advantage of free labor, a filmmaker should not be penalized for being resourceful and making a no budget film with willing participants.” Notarile went on to say, “If we just blindly crack down on all no budget productions, the only people we hurt are ourselves and our own community.” Notarile is correct. Without an outlet for filmmakers to inform the community that they are making a project and that they have a need for various talents, the very existence of independent filmmaking is threatened. Of course there are some that would welcome this depletion of projects from the pipeline. Another crewing website, Mandy.com, no longer allows for the listing of No Pay productions at all, unless it’s a short or student film.
 
Beanie Barnes for Salon.com, pretentiously wrote an article, labeling independent film as America’s “next Wal-Mart”, arguing that there needs to be less independent film made for the entire film industry to survive. “Anyone who says we need more of this, without offering any solution to make it better, is part of the problem.” Barnes wrote. ”Many in the industry still refuse to acknowledge that film is subject to the economic laws of supply and demand.” For Filmmaker Magazine, John Yost tackled the subject of low/no budget indie filmmaking by taking on the no pay aspect, in his article The Microbudget Conversation, Unpaid Crew vs Underpaid Crew. Yost wrote, “It’s amazing how much of a difference even $50/day will make to some of us. Just knowing we’re not working for free goes a long way in making us more likely to give our best effort to some poor, inexperienced, yet passionate filmmaker. ” While there is a sort of wisdom and logic behind this thinking, and a great deal of collective examples of this, across many industries, this is only a fraction of the truth. In my experience and in the experience of others I’ve collaborated with, the animosity from crew members who weren’t my friends previous to the project, were nearly identical in both no pay and low pay productions. The common mentality with these specific crew members who were getting paid x amount a day was that they felt they were getting stiffed, regardless of the amount. They’ll always think you can afford to give them a little more and that’s problematic when there are so many other expenses on these projects than payroll. Going back to some of Robert Rodriguez’s comments on the El Mariachi commentary, “once you start spending money you’ll never stop” and this is absolutely true.
 
The other side of this is a much more serious problem. So many filmmakers are not capable of raising what the freelance collective would consider “proper financing” for their projects and some of these worker bees, while incredibly talented, are a bit sociopathic about this reality, insisting that if you can’t pay everyone to help you make the film then you shouldn’t make it at all. This line of thinking is incredibly dangerous, both to film and the art world as a whole. Many filmmakers take their projects very personally and some that I have talked to have no interest in having people on board their projects who’s dedication to the film is only commensurate with the capacity of a paycheck, or exists only when a paycheck exists. No money = no passion is not something that sits right. “You can pay a person to do anything” says one independent filmmaker who asked to remain anonymous, “anything goes, if the price is right. There’s something different about films made by people who are engaged in the project for reasons other than what they can get from it or whether or not it gets picked up.”
 
While I’ve dedicated my life to the pursuit of understanding and demystifying film through making films and writing about film, I have no intention of surrounding myself with people who’s hearts aren’t in the right place. With that said, I agree with both sides of the aisle because I am both an indie filmmaker and a freelance editor. How do you establish a peaceful balance with both sides when freelance film and video makers and pseudo journalists are rising up against the very existence of no and low budget filmmakers, even going as far as to relabel these cats as “bum filmmaker wannabees”, who also often become the victims of cyber bullying in the very forums where they post ads seeking out collaborators. How do you establish an acceptable balance when the hatred for one-another continues to grow. How do you establish a mutual understanding when these same freelancers are publishing media content like the spiteful and mean spirited video that has been gaining views on YouTube. It’s clear that a peaceful discussion among filmmakers and would be collaborators and service providers is desperately needed. Money is tight but we shouldn’t let that threaten the output of independent cinema. From a personal perspective, if I had waited until I had sufficient funds in place for all of my projects, I’d have no projects at all to speak about and I can safely claim that my truth is the truth for most filmmakers.
 
 

You Don't Need No Stinkin' Money...