Live Event - Producer of Lost in Translation

Nov 12, 2024

Hi All,

The feedback we are getting from this live event series is amazing.

In Session 3 of our 5 Part Live Event Series, The New Independent Filmmaker we will be joined by Ross Katz.

Ross Katz is a multiple Oscar nominated filmmaker.

Nominated for both Todd Fields In the Bedroom and Sofia Coppola’s Lost in Translation.

Ross will share with us how he was able to produce these two films on a limited budget as well as share with us all his festival strategies.

Here is just some of what we will cover in this 3rd session:

How can you create a unique and recognizable aesthetic with a limited budget?
What are some strategies to make a film look polished in order to gain an advantage at festivals and with distributors?
In a market saturated with content, how can a filmmaker make their film stand out and grip the audience’s attention?
Given the ease of shooting films today, what elements should filmmakers prioritize to ensure their films are impactful and engaging?
What common pitfalls do independent filmmakers face today?
How can lighting choices, locations, and production design be optimized for a low-budget film to enhance its aesthetic?
How can post-production elements like sound design, color grading, and subtle visual effects enhance a film’s quality without overspending?
What are some common mistakes filmmakers make when trying to cut corners that end up hurting the quality of the final film?

Live Event Details

Date: 11/13/2024
Time: 6 p.m - 8 p.m. EST
Location: Zoom (we will email the Zoom link two hours before the call.)

Do NOT miss out on your opportunity to connect with Ross Katz in the third of our 5 part series on The New Independent Filmmaker.

https://secure.theindustry.co/new-indie-katz-2024/

Here’s what you missed in the first two sessions…

Session 1: Christine Vachon (prod: Past Lives, May December, Boys Don’t Cry)

Christine discussed how she evaluates first time directors, especially those without a big body of work. When Celine Song, first time director of last year's Best Picture nominated Past Lives came to her without a short film, Christine explained how she was swept away by Celine’s vision.
Christine broke out her blueprint for understanding a film’s “make ability.” E.g. how she knows if a project is viable or not.
Christine discussed how a story’s universal appeal can be the driving force for its critical and commercial success. Like when Steven Spielberg explained how he found resonance in Past Lives.
Christine outlined the challenge of assigning financial value to a film based on actors, directors, and international appeal. She noted that understanding these market dynamics is crucial for planning and financing, as the market often dictates the feasible budget for a project, which can impact the script.
Christine talked about her experience working with agents and A-list actors and what she does to convince them a project is worth their time.

Plus, the one screening question Christine asks directors that can make or break a project.

Session 2: Crystal Moselle (dir: Sundance’s The Wolfpack, Magnolia Picture’s Skate Kitchen, HBO’s Betty) and Derrick B. Harden (dir: The Black Sea, SXSW premiere):

Improvised Filmmaking Process: They coined the term "cinematic freestyle," where scenes develop naturally through improvisation, blending narrative and documentary.
Many of the actors were cast on the spot, including locals they met the same day of shooting. For instance, they approached two women working at a restaurant and improvised a scene with them at the location, and it was so successful that they wrote them into future scenes.
Unconventional Funding Strategies: They began production with minimal funding, investing their own money, and continued to raise funds while shooting. They actively cold-called potential investors, leveraging rough cuts and proof-of-concept footage that was edited on set to secure additional financing during production.
The film was shot without a gaffer or traditional lighting equipment. Instead, they relied on natural light and practicals, which gave the DP control over scheduling scenes to maintain consistent lighting, which contributed to the film's authentic look.
Both Crystal and Derrick stressed the need to trust oneself and embrace risk, acknowledging that filmmaking requires unwavering self-belief and the willingness to pivot and adapt continuously.

Don’t miss out on the amazing third session with Ross Katz.

Live Event Details