top 5 MAKING OF sites

MAKING OF
http://makingof.com/

Natalie Portman is one of the founders of this site with tons of great EPK videos of behind the scenes kind of things.

ART OF THE TITLE SEQUENCE
http://www.artofthetitle.com/

Art of the Title Sequence has great info and in depth interviews and videos on the title sequences and effects for the coolest opening or closing sequences of film from the earliest days to the latest craze.

SOUNDWORKS COLLECTION
http://soundworkscollection.com/

For sound design, sound mixing, film scores, and all things audio - these videos are amazing and insightful for one of the most under-appreciated aspects of filmmaking - sound.

JOHN AUGUST BLOG
http://johnaugust.com/

John August, the screenwriter behind BIG FISH, GO, and others, shares opinions and ideas.

DREW'S SCRIPTORAMA
http://www.script-o-rama.com/table.shtml

An old classic that still has and adds screenplays, even separating the "transcripts" from the "screenplays", where one is a transcription of what was in the final edit, the other is the WRITER's intent. Great reads, especially if you read unproduced drafts or early drafts of film classics. I still recommend reading THE GREN MILE or SHAWSHANK REDEMPTION for the art of effeciency in screenwriting and description.

The State of the Union of Columbus Film

I pay attention to the constantly evolving, ever changing Columbus film scene. I have read recently several people’s points of view of what they think is going on, and most of them seemed uninformed as to what is actually happening and what people are making TODAY, as opposed to 2-3 years ago. In my opinion, you need to see more than just a trailer from 2007 to make any real judgment of where we are at as a community. I make this state of the union as an observer, not a president or leader. I am not a leader and do not seek to be one.

I respect all forms of filmmaking, whether it’s commercial production, art films, drama, comedy, sci fi, action, horror, whatever. Everyone has the right to create whatever they want and do it however they want. I may not like it, but I respect their right to do what they feel like doing. I’m not in a position to dictate what anyone else should make, as I’m not that arrogant to think I know what is best for anyone other than me.

With the 2nd annual 48 HOUR FILM PROJECT, we saw a very high increase in quality films. Last year’s 2008 had about 4-5 exceptional films, and this year there were 9-10, and not everyone who participated last year did a movie this time. Between the initial screening and the BEST OF COLUMBUS, awards show, more of the movies showed that Columbus is getting better quality and seeing these movies on the big screen simply showed that off. Even the least polished movies of 2009 were better than the same level of 2008.

Several new players have entered the field in the last two years. With RAVE, VITAL FILMWORKS, and a few others moving to town and creating commercial and film work, a pretty high bar has been set. People working in broadcast and production like John Jackson, Tim Baldwin, and Bryan Michael Block all entering the fray of indie filmmaking, we’re seeing even more high quality work like AIDAN 5 hit the web and festivals.

We’re seeing a lot more crossover from the professional film & video realm into indie filmmaking with Greg Sabo/Sabostudios and Scott Handel/Ohio HD Video getting more involved in the guerilla filmmakers, offering discounts or special indie packages. DP’s like Al Laus and Alex Esber doing indie films when they work on such high end projects demonstrates the lines blurring from professional to indie.

From the nearly 10 year old guard we are seeing dramatically increased quality too. John Whitney’s MEASURED SACRIFICE helped define what is possible with the 35mm film adaptors (D.P. Gil Whitney) and a somewhat unique storytelling. Anyone claiming John makes typical Hollywood fare simply isn’t watching the movies, but making assumptions. You actually have to see the movies to judge without being ignorant. Louie Cowan has made TWO DOORS DOWN, a web series sitcom.

With cinematographers like Gil Whitney, TJ Hellmuth, Mike McNeese, and Howard Newstate demonstrating the shallow Depth of Field in their work, using either higher end cameras or the 35mm adaptors, we are seeing a much more cinematic style permeate Ohio filmmaking.

In terms of HORROR, a genre with legs still, Bo Buckley & Fearmaker Studios have returned to Columbus. Their latest movies look to be of a very high quality and shot with significant budgets and done professionally. Cut Throat Entertainment had a very successful premiere this week at Studio 35 for their HORROR short film. Not necessarily HORROR, but William Lee, by far and away the longest running Columbus filmmaker, continues to make William Lee features, and has been getting distribution and TV deals cut for his movies. No one can deny the perseverance and never ending dedication William Lee has for his craft.

Matt Meindl, Sean McHenry, Jennifer Deafenbaugh, and Sam Javor have spun off a pop-art scene almost of their own. Mixing experimental filmmaking with sometimes pop aesthetics, these guys are working their own magic in their own way.

Ohio State’s REEL BUCKEYE group seems to have gone somewhat dormant without the strong leadership of someone like Amira Soloman, but several students in the Film Studies program continue to make movies. Some of the former Reel Buckeye students, now graduates, continue to work in film and video making movies of their own, like Ruth Lang.

Columbus State and other schools have multimedia programs and are getting into film & video production classes. More and more people are finding their outlet for creation in the moving picture and sound via basic classes at their school.

The Columbus International Film Festival has taken an interesting turn. They are one of the oldest film festivals in the country, but only this past year have they started to really reach out to the local filmmaking community. With lower submission fees and more unique programming, they are evolving.

If this year’s Cowtown Film Series, I am bias here, indicates the direction of Columbus Film, then I couldn’t be happier. Over 2 and a half hours of new short films, none of which were from the local 48 Hour Film Projects, and demonstrated a variety of styles and genres. From subject matter including a Holocaust documentary to science fiction to relationships to intense dramas, we had some of the best films I’ve ever seen Ohio produce. For the few that cast stones that Columbus filmmakers don’t make movies about anything important, I can only think they are sadly misinformed or just not going to see the movies being made. Not a single generic horror movie in the line up this year. Columbus has already begun to branch out into new areas and tackle more important subjects, and they are doing it well. Anyone watching would see this.

There are pockets of the Do-It-Yourself filmmakers still out there, unconnected to others, that get seen or bump into each other on the web. YouTube often directs me to the work of other filmmakers who happen to be in our area. As is always the case, there is a lot of untapped potential or undirected, growing talent. Whether by choice or a lack of knowledge of the groups that exists to unite filmmakers, they are still out there, doing what they do, at various levels of skills and talent.

INDIECLUB COLUMBUS has changed management. From the well intentioned J. Michael Lewis, INDIECLUB is now in the hands of Max Groah and Bryan Arnold. Still meeting once a month at the Landmark Gateway theater where they screen movies, finished or not, and discussions and occasional guest speakers, INDIECLUB continues to offer an outlet and meeting place. In 2010, I’d like to see the group cater to a more educational, yet informal, format. Things like test screenings of shorts and features, demos of high end cameras and software are what INDIECLUB can excel at. It can still draw in the professionals, but cater to the beginners and hobbyists.

MOFA, the Mid Ohio Filmmakers Association has been a breath of fresh air. Its function has been mostly to provide a social outlet for people interested in filmmaking in Central Ohio. As with any organization, it cannot go without its controversies and opinions. From whatever bar they choose to meet at to how the group doesn’t do enough to create opportunities for actors, I don’t think any of that matters. MOFA’s primary function is to facilitate a social gathering for the purposes of networking for film professionals. I don’t care if we meet in a gay strip club, as long as there are film people present, I’ll most likely go and it makes no significant difference as to location.

As with MOFA, and the film community as a whole, there are criticisms as to the state of the union of filmmaking in our city. I can only give the same opinion every time. The film community is what you make out of it. If you don’t like it, work to make a change, either within the systems there or on your own. Don’t like MOFA or the way it’s run? Make your own group. Don’t like the movies being made here? Then make your own better movies.

Jeremy Henthorn has taken over as the Director of the Ohio Film Office after graduating from USC for screenwriting. Gail Mezey has still valiantly ran the Columbus Film Commission, securing work for local craftspeople with little or no financial help from the city or state. A film commission’s purpose is NOT to assist local filmmakers, but to bring in outside productions to the city or state. Anyone expecting something else is uneducated as to the purpose of these offices.

If the film commissions bring in more paid work, we can train and have more full time craftspeople for our homegrown shoots. We can have actors who work on larger scale productions and learn set etiquette, raising the overall bar of professionalism brought to more sets. That’s one of the misconceptions of the newbies and the ignorant. The work done at MILLS JAMES as compared to LUCASFILM is 98% the same. One has a name, the other is local. Other than George Lucas, they do almost identical work with the same hardware and software. Similarly, a local commercial shoot is virtually identical to feature film and sitcom work in LA. For the craftspeople like gaffers, grips, hair and makeup, etc. there is no difference in their job except geography. To disrespect local professionals is nothing short of ignorance because these people have never set foot on any real set here or in LA to know the subtle differences.

If we are to make the film community “better”, whatever that really means, what I think we need is to keep improving on our own movies. I personally don’t thrive or improve with a sense of competition, but others do. I can’t say that competition is bad in general, only it’s not productive to myself. For other people, competition makes them excel to much greater heights, so more power to them. Whatever makes you do better, do it.

I like strength in numbers. As an example, I think you get more people to a screening if several filmmakers share their audiences and movies. The cast and crew of 3 movies sharing a venue, and their friends and families create potentially new fans for movies they otherwise might not have seen. By drawing in the general public, we can legitimize our movement to have Columbus filmmaking taken seriously, as a real industry, not a bunch of hobbyists with camcorders.

There is the attitude of some that their way of helping the community as a whole is to be the first one to truly succeed and pave the way. There is NOTHING wrong with that attitude. I may not agree with it, but it is not morally or ethically bad either. This doesn’t hurt anyone. Everyone has their own path to success, and if they want to go at it alone, then I wish them Godspeed, my friends. We are brothers and sisters on a similar journey and I cannot behoove them finding their own way.

The reality is that we are all still somewhat competitors. We are vying for the same market share of precious few investor prospects, screen time, and to be the first break out filmmakers to find the success of the Hollywood industry. Even with the most civil of friendships, every director wants to be the first one to get to the goal line and we are not always thinking the best thoughts for someone else’s success because somehow that will take away from our own, which is rubbish. If my worst enemy gets a 3 picture deal or gets into Sundance before I do, I will be elated because I can use that as examples to how a Columbus Filmmaker CAN succeed, and I will parlay their successes into my own. I have no ill will at anyone else because a win for one, is a win for all to me.

Overall, most filmmakers put the rivalries and pettiness aside and work together to make the community as a whole better. As anything in life, a film community is what YOU make of it. You can bitch and moan or you can actively work to make it better.

I see where we are now and where we were 10 years ago, and I can say that the future of Columbus film looks brighter than it ever has. If you actually look at what’s going on, what people are making now, and how we’re now being viewed by the press and public, you can clearly see a much better stasis than ever before.

I’ve never been this proud or happy with Columbus Film. I salute one and all for their efforts. May we all find the success and artistic satisfaction we all deserve.

People have the right to oppose my optimistic point of view on the state of Columbus filmmaking, but some out there have not been to screenings and are speaking about the state of affairs without actually knowing what they are. Similarly, people criticize the groups without actually attending them, and these people should simply be ignored because they are ignorant, speaking out of turn without any facts.

Also, there are many individuals not mentioned specifically in this, but are not any less worthy of mention. This was more of a stream of consciousness. Producers like Phil Garrett, Dino Tripodis, Mike McGraner, Gil Whitney, Victor Matkovitch, Mike McNeese, Michael Evanichko, Scott Spears, and so many others (apparently most of them named Mike) I’d be writing a phone book. My apologies to anyone who feels left out, but we are all in this together.

Peace my brothers and sisters.

Peter John Ross

Indiana Jones and the Creative Process

Lately I’ve been on an unintentional INDIANA JONES kick. I watched RAIDERS OF THE LOST ARK a day or two before seeing CRYSTAL SKULL. I intended to watch all three of the movies, but after RAIDERS, I didn’t really have any interest in the other two.
I got INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL on Blu Ray for Xmas. I still haven’t watched it. I saw it at the midnight screening of the first night and haven’t seen it since. One of my greatest fears for the film would be the over-spectacle trying to compete with THE MUMMY trilogy or the TOMB RAIDER movies, which to me are grossly exaggerated CGI fests with little to no heart and soul. Unfortunately my fear became somewhat realized with the 4th Indiana Jones movie. Now I didn’t HATE the movie like most fanboys and even the majority of my peers. Don’t get me wrong, I hated the whole Alien-extra dimensional thing as much as anybody else, but I’d rather see a decrepit, aging Harrison Ford doing this than put up with a cheap imitation with Brendon Fraser or even Angelina Jolie in a tight form fitting outfit (hey, I’m secure enough in my heterosexuality to admit this).



Part of what I am coming to realize as my years increase is that many of the things I liked or accepted as a youth are just not with me today. RAIDERS OF THE LOST ARK changed my life just as much as STAR WARS had. This movie is as close to perfection as a film can be. It plays on the emotions just as much as it titillates the eye with action. What most people don’t see in it now is how subtle the supernatural is in that film. There really is only a few subtle hints with the Map Room (which is not supernatural, but it’s almost laser like), then the Ark of the Covenant burning off the German writing on its own box, and then the big FX spectacle at the end. The film is so grounded in reality and so believable, we the audience were ready to take the leap of faith for the ending being an FX and supernatural extravaganza. The same was not true for me in any of the sequels.

RAIDERS was taking itself seriously. There was no detail overlooked and so much passion was put into every aspect. From the incredible dialogue that gets out exposition at every turn without ever being hokey was a miracle of writing. Set design by Normal Reynolds melded the real exteriors in the desert with his sound stage work in London, nonetheless matching Hawaii (pretending to be South America) to those same sound stages. I’m still floored by these simple Hollywood tricks, as I’m so into the STORY and the CHARACTERS, that I forget I’m watching a movie. That’s not true with any of the sequels.

I don’t hate INDIANA JONES AND THE TEMPLE OF DOOM. What most people don’t grasp is that it is a Prequel to RAIDERS. RAIDERS takes place in 1936, and TEMPLE OF DOOM clearly states 1935 at the beginning (shot 3 years later). Supposedly this film helps explain how Indiana Jones goes from being a grave robber to a legitimate archeologist. Now I’ll be the first to say that this is nowhere near as good as the first film, and to be honest the action just goes way beyond reality with the mine car chase and some of the other elements, but I didn’t hate this film.

Now I was never a big fan of INDIANA JONES AND THE LAST CRUSADE. I felt the “McGuffin” (the Hitchcockian term meaning, the item that serves as a plot motivator) of the film being the Holy Grail rang somewhat hollow. What bothered me; even in 1989 was the very cartoony way they dealt with action and how unrealistic it started to become. When Indy and his father arrive at the Berlin airport, it looked more like a Warner Brothers cartoon, and when they drive into a crater from the Messerschmitt plane and get out unscathed and dust off, I truly hated what the series had become.

Next I found and read the Frank Darabont script for Indiana Jones IV, entitled INDIANA JONES AND THE CITY OF THE GODS. I’m a huge fan of Frank Darabont after SHAWSHANK REDEMPTION and THE GREEN MILE (and even THE MIST). As many people already know, Frank was a writer on the YOUNG INDIANA JONES CHRONICLES, the TV series by George Lucas that really was more of an educational show than a real drama or action series. Frank developed into an amazing writer and director in his own right. Frank was understandably upset when George Lucas trashed his script for the latest Indiana Jones feature and was quite vocal about it. I thought for sure it would be every bit as amazing as Frank’s normal writing, but sadly I prefer the movie that was made to what his script turned out like. I was shocked to be disappointed in a Frank Darabont Indiana Jones screenplay. The basic plot is the same, but many of the minor players are different, and sadly I was really disappointed in both this scripts and the final movies’ dialogue with Marion Ravenwood. Ugh, someone should have asked Lawrence Kasden to at least make a PASS at the dialogue, as that is his greatest strength as a writer. He did after all have a strong hand in her character’s creation. Her name is his mother’s first name (Marion) and a street they lived near (Ravenwood).

I read the coffee table book on the making of all 4 Indiana Jones features by J.W. Rinzler and Laurant Bouzereau (Spielberg’s most common chronicler of Behind the Scenes). It was insightful and a nice overview of some detail on the making of the entire series. Luckily I bought it used as this puppy costs a lot.

Next, I found a used copy of THE MAKING OF RAIDERS OF THE LOST ARK from 1981 by Derek Taylor. I’m done reading this and it has been a great in depth read at various perspectives of a semi-outsider on set writing about what everyone does and how it plays a part in the whole. Since I’m much bigger fan of this first film, I enjoyed this a lot as a standalone read.



Now I’m reading the transcripts of the story conferences for RAIDERS OF THE LOST ARK with Lawrence Kasden (screenwriter), George Lucas, and Steven Spielberg. Lucasfilm had taken the cassettes and someone internally typed them up, and now they are on the Internet where they are being enjoyed by many.

For several days these three guys sat around and talked out the screenplay from the earliest concepts to detailed scene descriptions. What will shock most readers is how evocative George Lucas’ visual descriptions are of some of the scenes and how intact they are in the final movie(s). Also, they had the mineshaft chase from TEMPLE OF DOOM and several other ideas that wound up in all the other films discussed in these early meetings. The original name being “INDIANA SMITH” changing to “INDIANA JONES” by Spielberg because of the Steve McQueen movie “NEVADA SMITH” being too similar, and other tidbits are brilliant.

THIS should be required reading for any aspiring screenwriter, as it is indicative of the creative process when you are hired to write a screenplay for a director and producer. Most movies are made from a story idea from the PRODUCER, not a spec script written by a writer and sold. A screenwriter has to adhere to what the producer and director dictate, so reading a fairly extensive transcription of several of these story sessions was insightful in a way that most people will never know. For those hoping to make a film within the industry and not some homemade, “let’s put on a show” no-budget indie film, then this should be a priority to obtain, print, and immerse yourself in it.



Seeing how the germ of an idea from the writer, producer, or director gets bounced around the room and then winds up being written in another form demonstrates the collaborative process. Combine that with the insights from the previous sources (books, DVD extras, etc.) and seeing how it is then filmed, and you have a complete view of the creative process of what goes into making a movie.

Sooner or later I’m going to watch KINGDOM OF THE CRYSTAL SKULL again. I’ve only seen it once, so I’d like to give it another chance, but I already know that basically I wish they had never made a sequel to RAIDERS OF THE LOST ARK. It was too perfect and worthy of Oscar ® consideration while the sequels are pale imitations with too much action and nowhere near the passion and heart of the original.

- Peter John Ross

Metonymy & Polysemy

I got lucky. In preparation for editing on this feature film from another local filmmaker, those who keep up with this here bloggy blog are aware that I faced a technical problem. To reiterate, I had footage that was supposed to be 23.976 frames per second being recognized as 29.97 frames per second. I could not tell if this was a user error or a technical glitch. I approached one of the creators of the software and I got a response by the next morning (if only the local director was as expedient at answering emails…).

He suggested 3 different things to try, 2 of which I already had. The 3rd idea however was something I had never heard of, and it was to use a simple program called “AVIFrate”, a simple EXE file that you run and you can change the header in the AVI or MOV file and dictate how all computers see its frame rate to any of the standard frame rates. This works without a hitch, as I tested it on a couple files. That means I’m in business with about 2-3 hours work as opposed to 29 hours of re-digitizing tapes of footage or 60+ hours re-rendering the files to the correct frame rate. I just knew there was a work around, and this saves the day with no cost and very little time.

This week is much slower on the regular work front, but I am then inundated with freelance. Whilst though not forsake mine soul for but a little while? Oh Fleance, I have not what you desire, which is the ability to control myself and not kill your dad Banquo. These are the cursed thoughts that nature gives way to in repose.

I want to take a full day off and edit my own material. It has been taking too long and I want to get ‘er done. Ere the passing of another cycle of the moon, I shall have completed one, lest the demons of the muse forbear upon my whims.



In the last few years of my life, I have increased my reading exponentially. I read a piece of fiction; then alternate with a non-fiction film-related book. Right now, I’m reading THE MAKING OF RAIDERS OF THE LOST ARK from 1981 by Derek Taylor. I love these old straight to paperback BEHIND THE SCENES books. I have several. Some of the best perspectives on making these classic films can be found in the old paperback MAKING OFs. In the MAKING OF SUPERMAN 1978 by David Michael Petrou, I read an insane amount of stories about how the Salkind’s (producers) tried to fire Richard Donner (director). Alan Arnold’s ONCE UPON A GALAXY THE MAKING OF THE EMPIRE STRIKES BACK has some wickedly interesting tidbits on drug abuse, ego, and power struggles and this was written by their PUBLICIST!



I wondered what ever happened to these books and then I realized, looking at my 3 book cases of film related literature, they became these full sized, glossy color picture books.

The book for films were like this:


Now they are more like this:


Now, I like these, but somehow I prefer the well written words to the sidebars to a photo gallery. I really miss the sassy stories and much more educational idea of the text versions of the books.

- Peter John Ross

IN THE TRENCHES OF AN INDIE FILM on DVD

The feature length documentary IN THE TRENCHES OF AN INDIE FILM is now for sale on AMAZON.COM for only $15.99

CLICK HERE TO BUY "In the Trenches of an Indie Film

This movie makes a great guide for first time filmmakers attempting to make a feature length project, covering pre-production to post production and the marketing and promotion of the a film.

Bonus features include tutorial videos on storyboards, make up FX, editing, and more.

Support truly independent movies! Especially ones I produce....

- Peter John Ross aka Sonnyboo