International Filmmakers: Jonny Von Wallstrom
As a filmmaker, I've experienced the highs and lows of an industry that often feels like an uphill battle. Behind the scenes of every successful movie, countless scripts have been rejected, dreams have been shattered, and filmmakers have faced rejection and financial hurdles. It's a reality that every aspiring filmmaker must confront. You continually ask yourself, how do I make an excellent documentary?
I remember the day I received my first rejection from film school. It felt like a blow to my aspirations and a dent in my confidence. But little did I know that this was just the beginning of a long and arduous journey. Throughout my career, I've faced numerous rejections, funding denials, and setbacks that have made me question my place in the industry.
However, it's important to remember that even the most renowned directors faced their fair share of rejection. Steven Spielberg, the mastermind behind iconic films like "E.T. the Extra-Terrestrial" and "Jurassic Park," was turned down by film school three times before he began his remarkable career. Martin Scorsese's breakthrough film, "Taxi Driver," was initially denied funding by multiple studios. These stories serve as a reminder that rejection is not the end; it's merely a stepping stone toward success.
In film school, I was taught to despise action movies. I was told that they lacked artistic value and were too commercial. Yet, these films were what ignited my passion for filmmaking in the first place. The likes of John Rambo and Chuck Norris inspired me to tell thrilling and engaging stories. However, the industry demanded conformity, forcing me to abandon my love for these films.
Despite my reservations, I entered the industry, hoping to make a living doing what I loved. But I quickly realized that to survive in the cutthroat world of filmmaking, I had to compromise on my artistic vision. Collaboration often stripped away my projects' unique and unconventional aspects, leaving them generic and unremarkable. It felt like a constant battle between staying true to my creative instincts and meeting the demands of the industry.
One of the most devastating moments in my career was when a dream project I sold to HBO was abruptly killed during development. An executive's decision halted the film's progress, leaving me frustrated and disillusioned. It was a harsh reminder of the industry's unpredictable nature and how easily dreams can be shattered.
Over time, I began to question my place in the film industry. The constant struggle for funding, the compromises on my artistic vision, and the lack of opportunities for original storytelling took a toll on my mental health. It seemed as though success came at a steep price - sacrifice in relationships, financial stability, and personal well-being.
But a midst the challenges, I found a glimmer of hope. I realized that if I wanted to make films that resonated with audiences and stayed true to my vision, I needed to carve my path. I decided to focus on creating films that I believed in, regardless of whether they fit into the mold of what the industry deemed marketable.
This led me to embark on an ambitious project - a series of 52 films, 52 letters to myself and other filmmakers. In each film, I explore different genres, styles, and themes close to my heart. I aim to share industry secrets and strategies, inspiring others to break free from the confines of conventionality and embrace their unique artistic visions.
My journey has taught me that success cannot be solely measured by box office numbers or critical acclaim. It's about staying true to your passion, overcoming obstacles, and refusing to let rejection define you. It's about embracing the journey, no matter how challenging.
So, to all aspiring filmmakers, remember that rejection does not reflect your worth or talent. It's merely a detour on the path to success. Stay true to your artistic vision, embrace the unconventional, and never lose faith in your ability to create meaningful films.
Together, let's rewrite the narrative of the film industry and pave the way for a future where originality and artistic freedom thrive. Let me know how you make your documentary.
CHAPTER 2:
Building A Platform
A filmmaker must build a platform around what they want to create. He/She must discover what is their path that will enable them to make one documentary after another. This is probably not the traditional way that is used for applying for grants, but it is important to establish.
A filmmaker should invest more time in building a concept around their filmmaking - create something that is consistent that can be developed into something. Then build films that you can get paid to do around that i.e., courses, advertising (directing commercials), DOP, travel agency work - find a way to sustain what it is you are trying to do and build a platform around that type of work.
Pre-Production Research
When doing research, filmmakers should try to find a "path" to a story. In order to do a film, the filmmaker needs to have enough information to form an idea. Try to determine what will work on the festival circuit, what will work in the media - more important – what angles have not been done. Then apply these angles to find a path to a project. Sometimes, it takes a little time to find a path but the filmmaker must "trust in the process." Then, it is important to always re-evaluate what the story is or will be by the end. When you already have a character to start with, then the process is much easier.
Part of research is finding people that may have written an article or already done research about the topic and try to get them interested in the project.
• Develop a list of names;
• Start contacting them;
• Ask them if they would be interested;
• Talk about the concept of the film (this is what we are trying to say; this is why we are making it; this is why "we" are making it;
• Talk about intentions and what you expect from people;
• Talk about how long the project will take;
Go to meet and do a pre-shoot; just do a sit-down meet over coffee or something. Then pick your characters/interviewees and return and do a shoot. For international acclaim, films need good reviews and great distribution. The Q&A sessions are very important in communicating the purpose and objectives of the project(s). Also, it is important to build good relationships with the subjects of the film.
CHAPTER 3:
When beginning a project, it is best to think about something that will interest you for several years. The filmmaker must try to think about all the layers of a film or project that may be involved.
For example:
You need a STRONG TOPIC;
You need a STRONG CHARACTER;
You need a topic that could be
interesting to the MEDIA;
TV might be interested in years from now;
For example, climate change; refugees
JVW does not write a "formal" script. Instead, he uses an outline to organize his ideas for a project. In his outlines, he writes the key scenes, structure and parts.
He also does a lot of shooting not knowing what the story will be and uses this as part of his method.
His method is the following:
STEP 1
first, he develops and idea that he is interested in but it has to be something that will also be interesting to other people in 3-5 years;
then, he begins to develop a narrative structure for his character; for example,
what is the start, mid-point and end; what is the conflict;
how does it evolve (what key scenes are necessary); and try to make it evolve
[WHO IS THIS ABOUT -
WHAT ARE THEY GOING THROUGH?
WHAT WILL CHANGE?
HOW?
STEP 2
research characters - unique angles; what's been done and what has not been done yet;
try to develop your idea into something unique.
Next: STEP 3
look for characters that can embody your idea; who can it be? where are they located? what conflict do they have?
STEP 4
This is when he starts shooting; he does a first research shoot;
He shoots for real - like it will be used in the film;
The research shoot is also used to evaluate the character in the film; sometimes it's more than one character but the important thing is to make sure the character holds up or not.
STEP 5:
Then, he returns home and goes to the editing room; he examines the material and tries to develop the story idea further;
He tries to develop and strong character structure that will hold up throughout the entire film [think about what the conflict is and how it will develop throughout the film];
Then he returns and does the actual shoot and now he has a solid idea of what he is after.
STEP 6:
The first time he does not try to DECIDE what he is after he REACTS TO THINGS;
The second time, he has intent with what he shoots - try to shoot the scenes that are missing and that are needed to tell the story;
Once this shoot is done - usually - you have a strong character and story;
Then he writes and edits into a trailer.
STEP 7
Then, he returns to the editing room - edits and creates a trailer;
Then he writes a proposal for the project .
STEP 8
Then he "pitches" the idea for his film;
He goes back and forth - shoot then research;
He edits scenes to find a story;
Then he develops proposals as he goes along;
Finally, he funds the film and finishes the editing of it;
STEP 9
*WRITING A SHORT SYNOPSIS IS VERY IMPORTANT BECAUSE IT FOCUSES YOUR IDEA;
*IT IS IMPORTANT THAT THE FILM BE FOCUSED AROUND THE MAIN CHARACTER'S STRUGGLE;
*THE CHARACTER IS THE KEY TO HAVING A STRONG DOCUMENTARY.