Cover image for What they don't teach you at film school : 161 strategies for making your own movie no matter what
What they don't teach you at film school : 161 strategies for making your own movie no matter what
Landau, Camille.
Personal Author:
First edition.
Publication Information:
New York : Hyperion, [2000]

Physical Description:
xi, 243 pages ; 21 cm
Added Author:
Format :


Call Number
Material Type
Home Location
Central Library PN1995.9.P7 L28 2000 Adult Non-Fiction Non-Fiction Area

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You don't have to go to film school to make movies as it made clear in this practical handbook that offers 161 strategies to make movies no matter what. A lot cheaper than a year's tuition. the book has solutions for surviving both the large and the small crises of filmmaking. From how to finish (or get started on...) your script, through dealing with jealous actors, abandoned lovers, mutinous crews, and angry investors, to what to do when it's all finally in the can. 'If you are crazy enough to make a film, be smart enough to buy this book' - Slamdance Film Festival

Author Notes

Camille Landau and Tiare White are graduates of the American Film Institute and the USC film school. Together they have made over 30 short films, many of which have won awards in festivals throughout the world, and Freestyle, an award-winning feature-length documentary. They are currently in post-production for their first dramatic feature, Three Loves, and live in Southern California.

Reviews 1

Publisher's Weekly Review

Filmmakers Landau and White believe that "if you want to make films, make films." Since only four students in each class of 45 at the country's top film schools get chosen to direct an advanced narrative film, the authors urge hopefuls to honor the trial-and-error, Blair Witch-approved method: "if you want to be a filmmaker," they advise, "put down this book and pick up a camera." Though some of their imparted wisdom reads like an After School Special dialogue, the authors do project a healthy dose of industry know-how that could prove useful to those who have never entered the cutting rooms and bursar's offices of NYU, USC, UCLA or other prestigious establishments. The book offers concrete, creative suggestions for initiating a writing schedule, pooling financial resources (or choosing the right low-APR credit card) and feigning confidence in the face of blind fear. Among their best advice is this insight: "Your short film is only as good as your feature script" because "all that work and money [spent on the short film] add up, at best, to the invitation to submit a script to someone's office." The authors' enthusiasm for their subject is matched only by their delightful irreverence toward the industry itself, crediting doughnuts, duct tape and Red Vines as the stuff that reel dreams are made of. (Aug.) FYI: Landau and White are in preproduction for Three Loves, their first feature film. (c) Copyright PWxyz, LLC. All rights reserved

Table of Contents

The Creditsp. ix
Introductionp. 1
Chapter 1. Everything you need to knowp. 3
Chapter 2. The sign you've been searching forp. 10
Chapter 3. If all you really want to do is direct, what are you waiting for?p. 25
Chapter 4. Napkins, stoplights, and showersp. 33
Chapter 5. Fix the script, the rest will followp. 46
Chapter 6. Sultans, dentists, and Uncle Alp. 57
Chapter 7. It's the budget, stupidp. 73
Chapter 8. Get the rights or get a lawyerp. 84
Chapter 9. Hustlingp. 88
Chapter 10. Hype, for cheapp. 103
Chapter 11. Friends, enemies, lovers, and thievesp. 117
Chapter 12. It's a sad dog who can't wag its own tailp. 129
Chapter 13. Getting through the most terrible, wonderful few weeks of your life so farp. 136
Chapter 14. The road trip testp. 143
Chapter 15. Hire the actors with the shiniest shoesp. 159
Chapter 16. The emperor's paradep. 174
Chapter 17. Donuts, red vines, and keeping the crew together: The care and feeding of the setp. 179
Chapter 18. Grace under pressure: Directing under firep. 186
Chapter 19. Sex, lies, and 16mmp. 193
Chapter 20. Don't make things more difficult than they arep. 197
Chapter 21. Location, location, and locationp. 207
Chapter 22. The lost, the stolen, and the brokenp. 216
Chapter 23. How I learned to stop worrying and love the soundp. 218
Chapter 24. Uses for duct tape and other quick fixesp. 227
Chapter 25. Don't leave the set without itp. 229
Chapter 26. Don't wait until the mix to fix itp. 231
Chapter 27. Point(er)s of distributionp. 234
Chapter 28. One or two more things before the lights come upp. 242
Chapter 29. Do it againp. 244

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