Here's a little book you can download, and get
started making your film, (whether digital or
celluloid), right away!
Sam Longoria Digital Filmmaking Handbook
Everything you need to know, crash course.
Read it, and get going!
Sam
filmmaking
film school
film financing
digital filmmaking handbook
Friday, June 6, 2008
Saturday, March 1, 2008
Film School - Education in which order?
Film School - Education in which order?
Film school usually provides a schism, between Filmmaking Technical Info, and the actual Art of Filmmaking.
It's one thing to teach equipment technique and method, it's another to teach what shots mean, separately and together.
How does that affect the filmmaker, who struggles to resolve
the two?
Does it matter in which order they are taught? Of course it does.
Here's a great article about that very thing.
Thank you, Ethan Waters.
Film School
© 2008 Sam Longoria, All Rights Reserved
Film school usually provides a schism, between Filmmaking Technical Info, and the actual Art of Filmmaking.
It's one thing to teach equipment technique and method, it's another to teach what shots mean, separately and together.
How does that affect the filmmaker, who struggles to resolve
the two?
Does it matter in which order they are taught? Of course it does.
Here's a great article about that very thing.
Thank you, Ethan Waters.
Film School
© 2008 Sam Longoria, All Rights Reserved
Tuesday, February 19, 2008
Hitchcock's Gift
Film School - Hitchcock's Gift
“Casting a Shadow,” at the Academy of Motion Picture Arts and Sciences Gallery in Beverly Hills, California in 2008, demonstrates Hitchcock creating a collective vision, shared by he and his colleagues.
Most notably on display is Hitchcock's gift for shepherding his collective vision, which the public knew as Alfred Hitchcock's, to the screen.
Featured in the exhibition is a sketch Hitchcock asked his production designer Robert Boyle to create, after reading Daphne du Maurier's novella “The Birds.” The drawing's style influenced the movie's tone and production design.
Boyle recalls spending most of his first discussion of the project, convincing Alfred Hitchcock that "The Birds" was an Alfred Hitchcock film.
I met Bob Boyle, and his wife Bess Boyle in 1979, in Seattle.
They were lovely people, and very encouraging and helpful.
Mr. Boyle gave me my first location scouting assignment. I hunted
an island setting, for what would have been Sir Alfred's last film.
Don't miss this exhibition, or you will stunt your film education!
Film School
© 2008 Sam Longoria, All Rights Reserved
“Casting a Shadow,” at the Academy of Motion Picture Arts and Sciences Gallery in Beverly Hills, California in 2008, demonstrates Hitchcock creating a collective vision, shared by he and his colleagues.
Most notably on display is Hitchcock's gift for shepherding his collective vision, which the public knew as Alfred Hitchcock's, to the screen.
Featured in the exhibition is a sketch Hitchcock asked his production designer Robert Boyle to create, after reading Daphne du Maurier's novella “The Birds.” The drawing's style influenced the movie's tone and production design.
Boyle recalls spending most of his first discussion of the project, convincing Alfred Hitchcock that "The Birds" was an Alfred Hitchcock film.
I met Bob Boyle, and his wife Bess Boyle in 1979, in Seattle.
They were lovely people, and very encouraging and helpful.
Mr. Boyle gave me my first location scouting assignment. I hunted
an island setting, for what would have been Sir Alfred's last film.
Don't miss this exhibition, or you will stunt your film education!
Film School
© 2008 Sam Longoria, All Rights Reserved
Saturday, February 9, 2008
British Director Mike Leigh @ 65
Film School - Mike Leigh
I've enjoyed Mike Leigh's films since I saw his Gilbert & Sullivan
feature, "Topsy Turvy." That was so satisfying, I had to look up
his other movies, and I'm hooked. Totally in awe of the man
and his formidable talent.
Mike Leigh is the pride of Berlin this week, because of his latest
film, "Happy-Go-Lucky." It's getting both audience raves and
critical nods, not an easy thing to do.
Mike's turned 65, giving us all hope that age
doesn't necessarily dry up the creative well.
In this article, he visits with Amy Raphael, about his
award-winning career, film school at the London Film
School, (as both student and instructor), and the
secret of his creative pessimism.
Film School
© 2008 Sam Longoria, All Rights Reserved
I've enjoyed Mike Leigh's films since I saw his Gilbert & Sullivan
feature, "Topsy Turvy." That was so satisfying, I had to look up
his other movies, and I'm hooked. Totally in awe of the man
and his formidable talent.
Mike Leigh is the pride of Berlin this week, because of his latest
film, "Happy-Go-Lucky." It's getting both audience raves and
critical nods, not an easy thing to do.
Mike's turned 65, giving us all hope that age
doesn't necessarily dry up the creative well.
In this article, he visits with Amy Raphael, about his
award-winning career, film school at the London Film
School, (as both student and instructor), and the
secret of his creative pessimism.
Film School
© 2008 Sam Longoria, All Rights Reserved
Sunday, January 13, 2008
Film School - Hollywood Seminars
You cannot overstate the value of a good film education.
Not just distant cinema theory classes, but a full spectrum of interaction with teachers and students, media, lectures, books, and the filmmaking process itself.
The contacts you make in film school are invaluable, providing an introduction to a work and social strata that might otherwise be impenetrable.
Film School
Not just distant cinema theory classes, but a full spectrum of interaction with teachers and students, media, lectures, books, and the filmmaking process itself.
The contacts you make in film school are invaluable, providing an introduction to a work and social strata that might otherwise be impenetrable.
Film School
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