Filmmakers Forum

In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

The story revolves around several characters and their various sexual behaviors and how it affects their lives and their loved ones. From the opening shots, the cinematography grips the audience and gives them an intimate look at the daily lives of the protagonists. Zelker utilizes mirror shots and other brilliant techniques to add the realistic feel of being there in the scene.

Not one to let something small like a "budget" get in his way, Zeke refinanced his home twice to help get his vision out. After attempting to go the traditional fund-raising route (which he likened to "pulling teeth from an infant") Zelker decided he had to do it all himself. He was able to raise the budget through private equity and loans and succeeded in completing his film…all from his hometown of Allentown, Pennsylvania. Mr. Zelker was adamant about filming from home, as it serves not only as his inspiration but gives ISO the "everyday American town" feel that is intrinsic to the film's message.

Re:In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

Mr. Zelker,

   We are excited to have you here with us. I grew up in PA, Lebanon and York mostly, and I'm very proud to have a fellow Pennsylvanian here to answer questions about making films. :)

I'd like to ask a question about scripts. I generally see only a handful of individuals, or perhaps only a single person with credits on a script. Would you recommend having more people involved in a script, and how many people do you let read the script before you would say it is finalized?

Thanks,

Ryan

Re:In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

As a new filmmaker and writer, can I find success in Hollywood without living there and if so what is the best way to get my movie or scripts noticed by an agent?

Re:In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

Ryan reminded me that you may want to subscribe to this discussion so you're notified when new questions arrive, and when Zeke answers your questions!

Re:In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

Howdy Ryan,

Please call me Zeke! I personally have a tough time working with a team of writers. What I do is write a draft that I am happy with, spell checked, etc then I send it along to 10 people I respect to give me their honest feedback. If people all have the same problem, well then there's a problem. I write from a director and producer's perspective. Let at least 50 people read your script before you say it's done, especially if you are sending put to producer's to read the script.

I do have an example where I hired someone to write a script based on my concept because I was busy producing other films but I never truly liked what he was doing, then I passed it along to another writer, still wasn't right so here I am now rewriting the 20 something draft of it. I will still give them credit, but I will take the lead writer credit, since I have the most words down on the page. There are WGA guidelines for this.

Have you ever been to Dorney Park? This is where I learned everything I know about the biz.

rjsprague:

Mr. Zelker,

   We are excited to have you here with us. I grew up in PA, Lebanon and York mostly, and I'm very proud to have a fellow Pennsylvanian here to answer questions about making films. :)

I'd like to ask a question about scripts. I generally see only a handful of individuals, or perhaps only a single person with credits on a script. Would you recommend having more people involved in a script, and how many people do you let read the script before you would say it is finalized?

Thanks,

Ryan

Re:In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

I have been in this business for over 10 years and still don't have an agent, not sure I need one, but someday I might, especially with my upcoming project. Concering success it determines what you classify as success. I am seeing revenue from my films now, I'm not living large mind you. I believe my filmmaking is a business not a lottery ticket. The best way to get noticed by an agent is to have a really great piece of property. Go to places where they might be and be nice, somewhat aggressive but smile doing it. People remember quirky things, hence why I streak whenever I can.

matt60iya:

As a new filmmaker and writer, can I find success in Hollywood without living there and if so what is the best way to get my movie or scripts noticed by an agent?

Re:In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

zekezelker:

Have you ever been to Dorney Park? This is where I learned everything I know about the biz.

...and Wild Water Kingdom! Hell yeah! We tore up those water slides. Sorry, I'm Ryan's twin sister. I butted into the conversation because I can't resist PA references. Anyway, hmmmmm.... questions about filmmaking. Well, I studied film in college and had the opportunity to make a few shorts while I was there. They were just for fun and nothing really came out of them. But I would have to say the most frustrating part is that I'm a planner. I like to plan out every detail, plus plans B, C, and D. Most of the grubby college guys I was working with wanted nothing to do with this kind of organization. They just wanted to grab a camera and run around with it on a steady cam. Failure to understand staging, props, setting, angles, lighting, and sound quality were major frustrations. So how about you? Are you more of a planner or are you a more "fly by the seat of you pants" kind of guy? Do you have a pretty solid script and story board in place before you proceed? Do you take time in setting up scenes with prop placement and light? About how many takes will you do of a scene? Thanks for the insights. 

Re:In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

My great grandfather started the Park and my first job was as a clown selling balloons. Anyway, I am definitely a planner. If you take a look at InSearchOf, there is no way we could have made this film without planning and a lot of dedication. We shot throughout a year with people from all over the country. The script is king, without a good plan you will not make a good a film. I sit down with my DP and draw out, create shot lists, and camera diagrams for every scene. Yes this takes days and weeks but if you don't know how you're going to tackle a scene or shot before production you will waste a lot of time and money. I believe in rehearsals. I believe that everything in a frame is purposeful in telling the story. All of these things lessen the amount of takes you will need, thus saving money.

csprague:

zekezelker:

Have you ever been to Dorney Park? This is where I learned everything I know about the biz.

...and Wild Water Kingdom! Hell yeah! We tore up those water slides. Sorry, I'm Ryan's twin sister. I butted into the conversation because I can't resist PA references. Anyway, hmmmmm.... questions about filmmaking. Well, I studied film in college and had the opportunity to make a few shorts while I was there. They were just for fun and nothing really came out of them. But I would have to say the most frustrating part is that I'm a planner. I like to plan out every detail, plus plans B, C, and D. Most of the grubby college guys I was working with wanted nothing to do with this kind of organization. They just wanted to grab a camera and run around with it on a steady cam. Failure to understand staging, props, setting, angles, lighting, and sound quality were major frustrations. So how about you? Are you more of a planner or are you a more "fly by the seat of you pants" kind of guy? Do you have a pretty solid script and story board in place before you proceed? Do you take time in setting up scenes with prop placement and light? About how many takes will you do of a scene? Thanks for the insights. 

Re:In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

zekezelker:

Howdy Ryan,

Please call me Zeke! I personally have a tough time working with a team of writers. What I do is write a draft that I am happy with, spell checked, etc then I send it along to 10 people I respect to give me their honest feedback. If people all have the same problem, well then there's a problem. I write from a director and producer's perspective. Let at least 50 people read your script before you say it's done, especially if you are sending put to producer's to read the script.

I do have an example where I hired someone to write a script based on my concept because I was busy producing other films but I never truly liked what he was doing, then I passed it along to another writer, still wasn't right so here I am now rewriting the 20 something draft of it. I will still give them credit, but I will take the lead writer credit, since I have the most words down on the page. There are WGA guidelines for this.

Have you ever been to Dorney Park? This is where I learned everything I know about the biz.

Thanks for your prompt reply Zeke. That is really great information to know. Lately, maybe its been since I started working at Spout, I've noticed some pretty awful, or pretty amazing, lines in films. It always gets me thinking to, who wrote that? Either good or bad, the script has a lot of influence upon me.

The other thing you mentioned sounds like storyboarding. That all makes a lot of sense. Having a "rough draft" of the shot before the shot even happens sounds mandatory. :)

I have definitely been to Dorney Park. Selling balloons as a clown sounds like a fun job. Sometimes I think going back to where we start helps us to remember the lessons we've learned. :)

As a director, how do you handle actors? Have you ever had any actors who have caused problems, or deviated from your scripts? If so, how did you handle that?

Re:In Search Of Filmmaking Advice? Ask Critically-Acclaimed Director Zeke Zelker!

Ryan, Have you seen InSearchOf? you can download it for 2.99 at http://299.insearchofmovie.com We have some lines that people quote back to me which is always strange for the writer to have someone love the lines that they have written, I guess that is what we strive for.

Working with Actors is fun, I love it. It depends on the project whether or not I mind them improving. With InSearchOf they couldn't because the story is so tight that if they screwed something up it could affect the rest of the story, not kidding. We have put the orginal script online for sale and people can see what was written on the page v. what ended up on screen. The big thing with working with actors is know what you want and know how to get it. If an actor sees that you are a push over they will have control. Directing is matter of control. It's your vision, make it happen.

rjsprague:

zekezelker:

Howdy Ryan,

Please call me Zeke! I personally have a tough time working with a team of writers. What I do is write a draft that I am happy with, spell checked, etc then I send it along to 10 people I respect to give me their honest feedback. If people all have the same problem, well then there's a problem. I write from a director and producer's perspective. Let at least 50 people read your script before you say it's done, especially if you are sending put to producer's to read the script.

I do have an example where I hired someone to write a script based on my concept because I was busy producing other films but I never truly liked what he was doing, then I passed it along to another writer, still wasn't right so here I am now rewriting the 20 something draft of it. I will still give them credit, but I will take the lead writer credit, since I have the most words down on the page. There are WGA guidelines for this.

Have you ever been to Dorney Park? This is where I learned everything I know about the biz.

Thanks for your prompt reply Zeke. That is really great information to know. Lately, maybe its been since I started working at Spout, I've noticed some pretty awful, or pretty amazing, lines in films. It always gets me thinking to, who wrote that? Either good or bad, the script has a lot of influence upon me.

The other thing you mentioned sounds like storyboarding. That all makes a lot of sense. Having a "rough draft" of the shot before the shot even happens sounds mandatory. :)

I have definitely been to Dorney Park. Selling balloons as a clown sounds like a fun job. Sometimes I think going back to where we start helps us to remember the lessons we've learned. :)

As a director, how do you handle actors? Have you ever had any actors who have caused problems, or deviated from your scripts? If so, how did you handle that?