Episode #2 Definition of a Hustler
So. When I began doing this for a living, it came to point where I was being forced to up my production value, but
not have a larger budget. I was finally dealing with bands that had some sorta situation behind them. Bands with exposure,
but they weren't giving up the 'BIG' bucks because it wasn't film.
The most effective way of improving your production value is LOCATION. When you stop shooting in front of cars, dogs and fences then your videos began to take on some texture. Admittedly I've done my share of the aforementioned, but normally it's been at the behest of the artist. WInk.
Once your start working with different type of locations, you can begin to tell stories and not simply rely on a 'performance' video. Which now is basically what you see in most of the 'low budget' videos. It's hella easy to light a huge hanger, or pack a club. But. Where's the story?
I got into Directing videos because of my love of old movies and old MTV. I grew up on MTV. Ran home from the bus stop just to watch Men without Hats and Michael Jackson. So that still influences me. Every chance I get to 'tell the story' I do. Sometimes the budget or time constraints want let you or the artist simply can't see past the Ti**es and rims.
When you're scouting a location think about these things in this order.
1) Is it free?
2) What are my chances of getting it for free?
3) And if I have to pay... Can we barter?
Forget whatever shame or inability to talk somebody out of something for free.
Seriously. You gotta go in there like a car salesman and when you're done, they have to feel like they're makin' more of you by giving it to you 'FREE' rather charge you. I shot a band in a Mental Instution.
I was watching a lot of Girl Disturbed and Beautiful Mind at the time and I kind of what wanted the girl in the song to go there. The Film Commission in your city is your best resourse. Use them like a triple pack of Magnums during Howard's Home Coming Week. They get paid to help you.
If you don't use them... They gettin' paid for free... F**k that. I ask them for the most outrageous scenario first and then come with what I really need. I told them I was shooting a Hip-Hop Zombie Horror Movie and need a hospital. Point is. I showed up did my thing, they asked me for a commercial in return.
Made hella cool contacts at the spot and got it free. The more you can do for free, the more you put in your pocket. The less equipment you 'own' the better your profit margin. Equipment houses have insurance if you got clumsy Electricians and Grips. Shmell me?
A location can make or break your vision and the overall texture of your video. I find myself trying to set up scenes I've
seen in old movie of TMC. I watch a lot of VH1 classic and BETJ, the old joints are like textbooks.
Parents couldn't afford film school, so I was self-taught. Not that it matters. But. I approach this thing initially from a purely business aspect first, becuase well. I own a business.
I don't have a a time clock. I am my time clock. So if you can secure actors, actresses, crew and location for free then you can still put together a Hot Joint and Eat at the same time. As long as you next video is better than your last, or at least 'DIFFERENT' than your last than your evolving and Evolution is what it's all about.
Louie Fattz Grind Spot