An arm and a leg for a short film

They rarely share the big screen with full lengths, except during film festivals. But the vast global repertoire of short films is something to speak of, and one would kind of wonder why they couldn’t win major awards.

The advantage of short films is also the challenge about them: They’re short. Scenes are indispensably useful, and character developments are launched off the bat. They only run the risk of being boring for brief minutes. But they minimize the misleading elements, the kinds that might be inserted in features due to the confusing wealth of takes.

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The message tends to leap at the viewer whole. If a short film doesn’t have a solid, obvious message, then it’s usually there to set the mood for a big plotline outside of the movie. That much is left to the viewer’s imagination. A short story’s meaning is a good parallelism to this characteristic.

Short films are a challenge in that they are usually an aspiring filmmaker’s amateur attempt to finish a piece. The resources that go into creating one, however, are no joke. These are usually independently funded, and for student filmmakers, they require knocking at the doors of interested donors.

The shoot is a massive haul of scouting for locations, convincing talents to work without a fee, and getting a lot of help from friends. The crew is often a tight band of many talents, working part-time for a passion. They’re not full-time filmmakers with a budget to waste, so setting shoot schedules is any line producer’s nightmare.

Learn more about the life of aspiring filmmaker Samantha Pouls on this blog.


What press junkets can do for a film

The Woman In Black Press Junket

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An important part of film marketing strategy, a press junket is a campaign used to get as much exposure for a movie as possible. Before a movie is released, journalists and film critics from around the world are flown into a preselected location to interview cast members and others involved in the film. Usually, a publicist is present to make sure that the interviews maintain a positive tone and are relevant enough to boost ticket sales. The interviews will be published across many media outlets worldwide, helping to create buzz for the motion picture.


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Press junkets are an exhausting task, but the value they bring to the film brand overrides this negative factor. It’s said that a large portion of a film’s budget is partitioned for this global marketing strategy.

Casting aside their marketing value, press junkets also provide the opportunity for media personalities and the audience to see what their favorite actors are like when the camera’s not rolling. In other words, press junkets offer an exclusive look to the kind of drama that appears outside a film set. The awkward moment between former couple Danny Boyle and Rosario Dawson on the junket for the film Trance is an example and so is the difficult situation which a Fusion reporter found himself in while interviewing Jesse Eisenberg of Now You See Me. An Asian reporter’s interview with Anne Hathaway for Les Miserables turned a bit miserable as the scribe was presented with cold statements like “That’s a very personal question,” in response to his query on whether or not Anne has experienced a kind of poverty to play the role of Fantine. Unfortunately the question is one of the many cultural bombs which the reporter shouldn’t have stepped on.


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For Samantha Pouls, a film student, a press junket is better appreciated by its face value—or brand value, that is. Visit this Facebook page for more film and entertainment news.