Don't write your low budget script until you do this!
Is "cinematic" just shooting into the shadows now?
I'm asking because I keep seeing these same videos over and over, “Put the camera on the shadow side. Boom. Cinematic.” Apparently! Is that it? Is that really all there is to cinematic? I’m not sure. I’ve been thinking about it lately. Who decided that’s the gold standard? Who gets to say this is cinematic and that isn’t? Don’t get me wrong, shooting into shadow can look great. It’s moody, stylish, and has its place. But it’s not a rule. And definitely not a shortcut to meaning. Cinema is more about what the image feels like. What it’s doing for the story. Sometimes that means going flat, harsh, or over lit, like in Uncut Gems, where the glare and chaos make you feel the pressure. Or The Florida Project, where everything looks bright and sunny… but you feel the weight under it. And sometimes, yeah, you go the opposite way entirely. Dogtooth isn’t pretty, it’s awkward, stiff, clinical. But that’s exactly why it gets under your skin. I guess what I’m trying to figure out is this: Maybe there’s no one “cinematic” look. Maybe it’s not about which side the light is on, but whether the image is honest. Still figuring it out. But that’s where I’m at right now. So here’s the thing… When I shot Don’t Sell Me A Dog, I didn’t follow the “cinematic” playbook. No shadow-side obsession. No backlight fetish. I shot most scenes from one angle. Let the actors play it out. No resets for coverage. I did run the scenes a few times. No trying to “build” a scene in the edit. Just let it breathe. It wasn't because I couldn't! It was a decision. I wanted the viewer to feel like they were there. Watching something real unfold, not watching the director show off with five setups and a smoke machine. Because sometimes, “cinematic” isn’t about the lighting. It’s about the truth of the moment. And the truth doesn’t always need a fill light. Nothing fancy. But I think they feel honest. Still figuring it all out. But this one worked for me.
You have a project, now it's time.
Film In A Day! Possible or Not?
What if you made a film in a day? Grab some actor mates, throw them into a story that plays out in real time, 90 minutes, two hours max. No tricks. No resets. Just one location, one scenario, one shot at telling it. Could you do it? I haven’t. Yet. But I think it’s possible. Might not be the greatest but who knows... Most indie filmmakers talk about it. Few actually try. I was going to say loads have done it, but honestly? Only two maybe three filmmakers really comes to mind, and even then, they took longer. But yeah, it can be done. I know that because Adolescents did it. They shot each 60-minute episode five or six times, but in some cases, take one or two made the cut. Raw. Real. No net. So how does an indie pull it off? Rehearsal. That’s the key. Block it like theatre. Build trust in the actors. Keep the tech simple. I almost did it on Don’t Sell Me A Dog, didn’t have the crew. But looking back, I could’ve made it work with less. Much less. So here’s the point: If you want to make a film, then make a film. Not when the money’s right. Not when the weather clears. Not when someone finally gives you permission. Get a few mates. Rehearse the hell out of it. Grab an iPhone, a boom mic, and go shoot the thing. Then release it. Good or bad, who cares? If it’s your first, then guess what, you’re a filmmaker now. No one can take that from you. Don’t talk about the film you want to make. Make the one you can. And stop piling on excuses, there’s already too many filmmakers doing that.
No Crew. No Gear. No Excuses.
Shot The Note (it’s on my YouTube channel) with what we had. No big lenses. No backup team. No budget to hide behind. Just an idea, a few hours, and the guts to make the damn thing. And guess what? It exists. Unlike that ‘perfect’ project you’ve been talking about for the last three years. Yeah, that one, the masterpiece in waiting. Still waiting. We shot on a €400 Sirui anamorphic lens. No monitor. No focus puller. No fuss. Just a story, a plan, and momentum. And here’s the thing: It’s finished. Which puts it ahead of a thousand better-funded projects still “in development.” Or stuck in someone’s head. You don’t need a Netflix deal. (It would be nice.) You don’t need a grant. (Sure, a budget helps.) You don’t even need permission. (Well… except for some things like locations or roads. Be safe, not stupid.) What you do need is to stop talking, start doing, and learn by making. The Note wasn’t meant to be perfect, it was meant to be done. That’s the difference between filmmakers and filmtalkers. Harsh? Maybe. But here’s the truth: With the tech we’ve all got access to now, there’s no reason you can’t start. None. The films you make now don’t have to be blockbusters. They just need to get made, so you can grow. So you can level up. No crew? No problem. No gear? Use your phone. No excuses. Just results.