Bibliography

Beggs, Scott. "6 Filmmaking Tips From Wes Anderson." Film School Rejects. N.p., 30 May 2012. Web. 17 May 2015.

This is a piece of an interview done with director Wes Anderson. As the title states, it’s a list of six tips regarding filmmaking. Now I took something from each tip but there were two in particular that stood out to me. The first stated the necessity in planning for your film, and also to plan to throw out all your plans. For me this tip would have predicted much of my project. I knew of the importance of planning but to read from a prominent director that it rarely goes as planned and things will have to be changed put my mind at ease about the many setbacks I’ve endured. The other important tip was about not worrying when people don’t understand what you’re doing. My sense of humor is sort of niche and is met with confusion by a lot of people, there’s no way to say that without sounding pretentious unfortunately. So it’s important for me to remember to not change my film style because of the opinions of some.

Brownlee, John. "Flowchart: How To Choose A Typeface." Co.Design. N.p., 24 Apr. 2015. Web. 26 May 2015.

This is a simple flowchart that is meant to guide you in selecting a font. I used this primarily as a way of figuring out how to go about picking a font that is fitting to the nature of my film. I ended up using the provided adjectives for the fonts to find the font that I ultimately decided to use in my film.

Doodlebug. Dir. Christopher Nolan. Perf. Jeremy Theobald. 1997.

I used Doodlebug to learn about the effectiveness of camera angles and how they can be used as a tool to reflect the intended mood of the piece. In a very weird story line the chaotic filming style is a great example of the use of this technique.

Plagenhoef, Scott. "Interviews: Spike Jonze." Pitchfork. N.p., 7 Oct. 2009. Web. 17 May 2015.

This was an interview done with Spike Jonze who directed films such as Her and Being John Malkovich. As a fan of both of these films I found interest in reading about Jonze process. He speaks a lot on what keeps him going as a director, and how each time he completes a film the reward of a final product is always worth the work to get there. This was important for me to read because at the time that I found it I was in big rut in my film and was growing less and less interested in finishing it. This was because of all the roadblocks I knew lay ahead. Hearing this encouragement from a director I like quite a bit was just what I needed to be able to see the bigger picture and be able to visualize the final product.

Sellers, Randolph. "Getting Better as a Director: Learning How to Talk to Actors." No Film School. N.p., 04 June 2012. Web. 17 May 2015.
This article spoke mainly about how to become more confident as a director. Now a lot of it pertained to a situation in which you were working with professional actors but there were pieces that helped me. The most important piece was just a suggestion that you be honest about your passion and vision with your actors and if they care about you or the project they’ll be happy to work to reach that vision. I ended up using this method with my actors saying clearly how this film isn’t just school project to me and they responded positively, and were entirely understanding.

SLC Punk. Dir. James Merendino. Perf. Matthew Lillard and Michael A. Goorjian. Sony Pictures Classic,  1999. DVD.

 I used this film as inspiration and assistance in writing the stereotypical douchebags of my script. Merendino both wrote and directed this film starring to stereotypical anarchist punk and his film was very helpful in figuring out how to keep the stereotyped characters interesting and entertaining.

The Fall. Dir. Tarsem Singh. Perf. Lee Pace and Catinca Untaru. Roadside Attractions, 2008. DVD.

The Fall was used primarily as a sample of great visuals. Although I have no chance of

 reaching the level this film did, it does serve as motivation because The Fall was actually

relatively low budget, it was largely funded by the director. Despite this Singh created a film  incredibly visually stunning, this is to say that a small budget doesn't need to equate to a poor visual film.