I've been reading John Gaspard's Fast, Cheap and Under Control
lately. It's a flock of interviews with directors who made low budget features, from arty (Eraserhead
) to exploitative (Grand Theft Auto
) to indie (sex, lies and videotape
). Gaspard draws an assortment of morals from the stories that you may find useful if you're planning to perpetrate your own low budget feature. Worth the read.
Labels: books, reading
Question not at all related to post:
How much should shifts in a show affect your spec? For instance, (SPOILER:) in the season finale of Battlestar Galactica, we found out that several characters were Cylons, and Starbuck has returned. But the problem, we haven't seen how that will play out, so there's no frame of reference for us spec-monkeys to go from. How are we supposed to imitate an aspect of the show that we've never seen?
I guess what I'm asking is should I try to guess what the show will eventually do, or should I just forget about it, and set my episode at an earlier point in continuity (which is what I'm currently planning on doing)?
Picked this book up yesterday at Borders based on the subject matter and your recommendation. I'm enjoying it and would suggest HOW I MADE A HUNDRED MOVIES (and never lost a dime) as a followup. It goes into greater detail into the Howard and Demme stories and provides a "Corman philosophy of Camera" segment that I've found useful.
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