NIGHT SHOOTING : FILMING ON LOCATION AT NIGHT

Shooting at night s probably one of the toughest things you can attempt as a low budget filmmaker, this is because, no matter what you are shooting on, your camera needs a good amount of light to capture a good quality image. Shooting at night reduces your light sources drastically if you are shooting in urban areas and if you are shooting in the woods, the middle of country side or even somewhere that isn't usually accessed after dark it becomes even trickier business to get that light onto your cameras sensor.

One work around is to shoot 'Day for Night', which involves shooting the scene in sunlight (works best shooting on  cloudy/overcast day) and then grading in post to make the image look a little like twilight. I tried this early on when I started making films and really hated the results, I've always found it better to shoot in darkness and bring in whatever light I can. The result is always a far better image.

Having a budget usually solves this problem by hiring huge spotlights and generators to help make up for the lack of good light, but this is expensive and something that is usually saved for large budget productions. If you, like us, are usually make stuff on spit and buttons, then you'll need to come up with more creative solutions to work around your lack of light.

Here are 3 tips to help you get the most out of shooting at night and how to take that into account when you are looking for your location.

1. PICK YOUR LOCATION WISELY

The easiest way you can start to combat shooting at night is by picking your location wisely. A few years ago, when we were working on preproduction for Creepsville, I would wonder around at night looking for the best lit streets, alleys, carparks, you name it and once there I would look at how much light is already there from street lamps, security lights. Then I would look at what other extraneous light sources there were like shops signs, obviously the more light the better. This means less light I have to bring along with me, which in turns means less disturbing people and less drawing attention to yourself.

Legacy of Thorn (2014)

On Legacy of Thorn, when it came time to shoot the infamous 'bridge scene', I spent months looking for a bridge that we could shoot on without being disturbed that would also give us enough light to cover the action. The first one we tried, we scoped during the day, took note that it had street lights above it and figured it would give us enough light. On returning in the evening, not only did we find that most of the street lights were broken, but it was also a well known hangout for crackheads who made themselves a problem very quickly.

We eventually found something closer to home that fit perfectly and although it had some street lighting, we still had to make up the difference with our own portable flood lights.

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2. PORTABLE LED LIGHTS

Chances are, if you are out shooting in the woods, on the street or in an abandoned factory at night, you're not going to have access to power. This always something I try to avoid, simply to make life easier for us and give us more freedom in lighting. However, if its not possible, we bring out the portable, rechargeable LED'S. These are bright flood lights that charge on the mains and give around 3 Hours + of continuous use and weigh next to nothing. They are fairly harsh, but used correctly (with gels or diffusion) are a great way to light dim sets when there is no good natural light. They cost around £45 each when I bought them in 2013, there are now better cheaper options out there too.

Cleaver : Rise of The Killer Clown (2015)

On shooting Cleaver : Rise of The Killer Clown, we were shooting a scene in a car, in the middle of the night, in a residential area. The last thing we wanted to do was pull a generator out there, or we certainly want to run cables across the road. The street lamps gave us some coverage, but nowhere near enough once our actress was in the vehicle. In stead we matched the street light colour on LED's with gels and just used whoever was free as light stands. It matched the natural light, but it gave us the extra light we needed to make the scene more visible.

Cleaver : Rise of The Killer Clown (2015)

These lights are great in place of having to drag a noisy generator down and even then it takes an expensive generator to run even our low wattage work lights, never mind our red heads or spotlights. Using these also means that should we need to, we can use a smaller generator to run other low power things like charging stations and smoke machines.

P.S. Before I could afford my own portable LED'S I made some for about £5/$7 each, find out how HERE.

3. FAST LENSES

One the best weapons to combat low light situations is using a fast lens on your camera. This is something that wasn't even really a choice when I started out filmmaking, if your camera's fixed lens sucked in low light (which they all did) then that was that. Now even the most inexpensive DSLR'S can capture great low light images with the right lens attached,  If you're shooting on an interchange lens system camera, you should try and have at least one fast lens that opens to at least f/1.8. This will help you get more light into your camera and make picking up a usable image just that little bit easier. Its best not rely on this, but it can give you that extra boost once you've done the above. There are also cameras like the Sony A7S/A7S2/A6300 that can shoot in incredibly low light with out damaging your image, but I still advise taking location and lighting into account even with miracle cameras like that available.

When shooting the infamous 'Bridge Scene' on Legacy of Thorn, even with choosing the best location for light and having the portables there, I still ended up shooting almost every shot on my Canon 50mm f/1.8 to get a better image. The downside of this is that the depth of the image was very shallow, but the upside was that I got a better image and because we were shooting in a wide open space it meant that the close focal length didn't impact what I wanted to get too much.

These days if we're shooting outdoors I try to plan my shots around the widest opening lenses that I have. Its not always possible, but its worth thinking about.

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MJ

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INDIE INTERVIEWS : WRITER/FILMMAKER PAT HIGGINS

Pat Higgins is somewhat of a legend in the UK's low budget indie scene. Since the release of Trash House in 2005 the Essex based filmmaker has gone on to produce a slew of internationally released horror titles such as Killer Killer, Hellbride, The Devils Music, as well as being one third of the creative force behind the 'Death Tales Anthology' series. As if he wasn't busy enough Pat also takes his time to run filmmaking and screenwriting masterclasses for the next generation of filmmakers.

We recently caught up with Pat to discuss his filmmaking career, his inspirations, the state of the UK indie market and his current and constantly evolving film project 'House on the WitchPit'.

Every journey starts with an origin story, How did you know you wanted to make films?

There were a couple of films that had a huge influence on me as a kid. I saw Star Wars on opening night as a three year-old, which was probably a considerable factor, but the other ones that left me thinking "this is what I want to do" were a rerelease of Disney's 20,000 Leagues Under the Sea, (which I sat through fidgeting waiting for the squid fight, but when the squid fight turned up it basically rewired my brain) and Flash Gordon. 

So the seeds of cinema were sewn early. The final piece of the puzzle fell into place with Gremlins turned up in 1984. I was too young to see it thanks to the 15 certificate, so I spent almost a year obsessing over every piece of merchandise and counting down the days until the rental release. That year kind of shifted my outlook to comedy-horror, before The Shining and a grainy tenth-generation pirate copy of The Exorcist shifted my brain and my outlook yet again a few years later.

What made you take the DIY approach to making your own movies?

Once I got out of Uni, I spent a while trying to shift a spec script that I'd written with a friend of mine. As a gradually realised that selling that script was very, VERY unlikely to happen, I began to focus on the idea of shooting something myself just to kick my career off. I set up my limited company in 2003 for a completely different reason; Jinx was originally intended to sell individual stand-up comedy clips to mobile phones (at a point when video on phones was somewhere between bleeding-edge technology and outright science fiction). Remember, this was before things like YouTube even existed. The window for that business opportunity lasted about a second a half. One minute, it was impossible, the next minute it was commonplace. So I was left with a media company with no real purpose, and a burning desire to make a film. So we took some money that we were intending to buy a car with, and make TrashHouse instead.

As we all now filmmaking can be tough, what were some of the downside of going out on your own?

I'm pretty sure I only ended up getting attention because we did what we did at a point when it was stupidly tough to make a movie. According to MJ Simpson, there were about 14 British horrors made in the year we made TrashHouse, whereas last year there were around 250. There were no options in terms of VOD, of course, so we were reliant on old-school distributors and getting our flicks out into bricks and mortar shops like Blockbuster. We managed to overcome so many hurdles to get the early films out there. The hurdle we never overcame was how to get the money to trickle back down to us once it had gone through the hands of multiple distributors. As a result, our first three films lost a considerable chunk (or, indeed, all) of their investment, despite coming out on DVD or limited cinema releases all over the world. Keeping going in the face of those kinds of issues is very, very tough. 

Here's an example. Just last week we re-released our awesome horror romantic comedy Hellbride on VOD (which your wonderful readers can pick up extremely cheaply from http://www.jinxmedia.co.uk - go and do it. It's funny and it's scary and people like it). Now, that movie's been out for the best part of a decade. Out on DVD in the UK, in the US. Various streaming platforms worldwide. Our best estimate is that just over a third of a million people have seen that movie. 

The money from the fine people who purchased the High Definition VOD version last week will be the very first payments that Jinx has ever seen for that film. We shot it in 2006. 

On the flip side, what were the upsides of doing it by yourself?

Well, let's stick with Hellbride as an example. It's a genuinely sweet romantic comedy that just happens to have some fairly horrific bits of business (mouths getting stitched shut, brides hacking at one another with axes) and the odd genuinely filthy joke. If that movie had been made within the system, there would have been two options. You could have lost the gore and the dick jokes and made the thing a PG-13 date movie, or you could have lost the sweet, genuine romantic comedy and made it a full-tilt horror for the Saw crowd. Odd little movies that do their own thing aren't welcome within the system. The majors are massively risk averse in terms of the 'products' they make, and as cinema prices rocket the audience have become extremely risk-averse too, and I really don't blame them. if it's going to cost you north of £50 to go to the cinema once you've thrown in parking and popcorn, you want to make goddamn sure that the movie you watch is going to fulfil your expectations for your evening out. So the wonderful freedom allowed by doing things as a tiny indie is something you just won't find anywhere else.

You recently shot House on The Witch Pit, a completely different approach to filmmaking, what was the idea behind creating the never 'finished' film.

I wrote the first draft of something that was then just called 'Witchpit' in about 2002, and over the years the script has been through countless reimaginings with only the title remaining the same. Eventually, I came to embrace this. I loved the idea of a movie becoming almost an urban legend in itself. Where people who both thought they'd 'seen' it would come to discover that the versions they'd seen were so fundamentally different that they were effectively different movies. This approach also sidestepped the whole piracy thing that dogged the early stages of my career. I'm extremely excited about some of the versions that will be appearing towards the end of the year. It's not going to carry on forever, though. The experiment, for better or worse, ends on January 23rd 2020, four years after the premiere. I talked about some of these ideas over at http://www.huffingtonpost.co.uk/pat-higgins/why-you-cant-watch-my-new-horror-movie_b_8707724.html for those that are interested.

 

If there was one piece of advice you could give to filmmakers, apart from 'just make movies' what would it be?

Be genuinely lovely to everyone you work with. Treat them like family members. If they let you down, try to understand why and continue to treat them nicely (although you may, of course, wish to avoid placing yourself in that position again). Feed people. Be honest with people. Never force them into a corner or mislead them.

Not everyone you meet will follow these same ideals. The industry has a few unpleasant sharks in the water, and you may well run into some of them. Don't become one of them, no matter what happens. Make sure that every night, when your head hits the pillow, you can sleep the sleep of the righteous and the just. That's more important than anything else. The things you put out there are the things that will come back to you.

Make sure your conscience is clear. If it's not, do something about it.

And finally, what is next for Pat Higgins?

The Witchpit experiment continues for another three and a half years, obviously. I've also got an absolutely KILLER script called Your Lying Eyes (which is probably the best thing I've ever written) which we'll hopefully be selling to a third party rather than making ourselves. There might very possibly be a sequel on the horizon that we aren't allowed to talk about yet. We keep busy, keep trying new stuff, keep breaking new ground. At the end of the day, there will be loads and loads of time to sleep when they shovel dirt over your head. Nobody's death bed wish was ever that they spent their life making less cool stuff.

You can find Pats work and more at  http://jinxmedia.co.uk

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THE WAPAH!! CHECK LIST : 5 Ways to Check Your Location Has EVERYTHING You Need.

So you've found the perfect place to shoot. It has the right aesthetic for your films tone and its functionality matches your script perfectly, but there are some things that you'll want to bear in mind before you start booking your cast and crew.

Once you've found your location, we talked about some ways to do that HERE, you'll need to make sure that it suits your needs and that its a viable venue to set your movie. Not all locations are created equal and there are 5 things that you need to look at to make sure that where you want to shoot works for you. 

I created something called 'THE WAPAH!! CHECK LIST', which are 5 things that you should look at when you are scouting for places to ideally shoot your next film.

WATER
One of the first things I do is check that there is running water on location. Especially if you are going to spend any length of time there. It seems like something that wouldn't be that important, but if you don't have access to running water, trust me, you notice fast. This could just be a bathroom or kitchen and if you are shooting in a standard suburban house or commercial facility then, chances are, that they'll be water for bathrooms/washing/cleaning up/doing hair and makeup/special effects etc. 

Legacy of Thorn (2014)

However when you're out shooting in warehouses, old buildings and abandoned places (as well as out in nature) Water starts to become harder to come by. This is where you need to figure out how much water you need to bring yourself,  for people and for functionality. Drinking water should always be brought anyway (don't EVER let your cast and crew drink from taps in abandoned or old buildings), but you should be aware of how much you need and what you need it for. 

On Slasher House and Legacy of Thorn, we shot in old, non functioning government buildings. They had electricity and some running water (only cold), but there was no water flow to the showers in either case. This was a problem when most people returned from shooting each evening covered in dirt and sticky blood. Obviously before we got there we had to figure out a solution to that. Which brings us to...

AMENITIES  
Based on how much access and the type of access we have to water and facilities, I then look at the local amenities to figure out just how far we'll have to travel to do things like shower/use the bathroom/get refreshments. This should, again, give you a good idea of what you need to bring in terms of equipment, food, water and what you can have access to on the day. What shops are available locally? How far is it to get to them?

The distance between your set and your amenities can make a huge difference. If you're working with a small crew and suddenly someone you NEED has to take a 90 minute round trip to pick up food or take an actor to the bathroom or what have you then you are gonna see a lot of downtime when you're not shooting and this is when thing start to overrun and cause problems. Also, if you've every met an actor who can't shower for a couple of days, then you'll understand how important it is to find somewhere for them to wash regularly. 

On Legacy of Thorn, the school we shot in (and lived in) for 14 days, had electricity and running cold water, but then water only ran in the admin building and not to the showers down in the sports block. We bought solar showers as it was the height of summer, but they were less than successful, luckily we had scoped out the leisure centre before hand, about 20 minutes down the road and told them what we were up to, they agreed to let us use their showers and we scheduled in time in the day for actors (and then crew) to go and get washed if they needed. 

POWER
Obviously if you are shooting a movie, you are probably gonna need power. Although not in all instances, which is why its actually 3rd on the list (that and it helps me spell WAPAH by being here). After checking our water supply and amenities I look to see how much power (if any we have). How many power points are there? Are the functional? Are they wired safely? How many extensions will we need to set up how many lights? This way I can plan exactly what I need to pack in terms of power/lights and if we need a generator or not.

If we're shooting outdoors, we use rechargeable led lights and scout with that in mind to try and find places with decent natural light already, If we're shooting in the day, this becomes less of an issue obviously and its entirely possible to shoot with natural light and some reflectors. If you're shooting in doors at night you'll probably need power. This is also useful for things like recharging gear, batteries, running footage off the camera and making cups of tea (The most important use of power on a British set). 

On Slasher House 2, we needed to shoot in a graveyard, but getting power out there was a problem that we found impossible to solve. To try and regain control over lighting, we asked a lovely friend of ours who had helped us out on a previous film, if we could use there expansive garden to build a graveyard and run power from the house. The only problem is that they only had one outlet we could run power from, we thought it would be enough at a push and very quickly we started to find that we would lose power to the 3000 watts worth of lights we were running. This meant having to pause filming every 20 minutes of so in the pitch black on a -1 December evening. Make sure you have enough outlets to run your equipment properly.

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ACCESS
What kind of access you have to your location is important and it will ultimately determine if the location is right for your shoot. Can you only get in to the location at certain times? Can you access it around the clock? Is it a 6 hour drive away from base camp? Is it near any civilisation at all? Can you drive to it or do you have walk on foot? There is a huge list of things that will make getting to a location a problem and you sometimes have to weight up if that location is worth using if its too difficult to get to.

You also want to be aware about how long you have at the location, if you need to work around a business then you will probably be shooting after hours, if you need nightfall then you'll have to check that you have access at night. Its worth checking if you can house your cast and crew there to. The easiest shoots i've had are the ones where we lived on set (or in the same complex) as there wasn't travel to worry about or driving back and forth from location every day. Plus it makes its easier for everyone to bond.

On Slasher House 2, we had our main location around the clock, which was fine as we needed to shoot at night because of the locations huge factory windows, we just couldn't cover them. This was fine as we could get in anytime we wanted, The only stipulation was that if we didn't leave by 10 when the gates closed, then we had to stay until 5 in the morning when the gates opened. This led to either having to rush through what we were doing as soon as it got dark, or finishing in the small hours in the cold and then having wait to leave. It took us a while to try and swing the right balance, so its important to try and factor these things early on if you can.

HEALTH AND SAFETY
After I've checked all the above, I then do a huge sweeping check that I consider the MOST IMPORTANT one of all. Health and Safety. This really goes to looking at most of the previous things over all, Is the power safe? Is there enough water to clean wounds? (Real ones rather than sfx) Where is the nearest hospital? The nearest first aid kit? and then I look at what has to happen in the scenes and looks at where our actors will be and how to keep them out of as much danger as possible. Looking for things like loose flooring, nails, low hanging roofs, doors, wires anything that I think might be a hazard and just look at what I need to stay away from and what I can clean up or make safe again. 

Its most important of all to keep you cast and crew safe. If they are going to be crawling around of the floor then I'll make sure its swept and that any sharp objects are removed and just generally try and make it as comfortable as possible without ruining the aesthetic. If there are any stunts, I look at how we are going to do them safely and securely and wether we'll need mats or not. A lot of it is really just common sense, like "don't touch that live wire", "Don't hold that 1000 watt light with your hands" or "don't kick this pile of asbestos boards thinking they are plaster" (That one was me on my first shoot). 

Also and this is a BIG ONE : Make sure you have Insurance, even if you are just making a little no budget movie, make sure that have insurance that covers you in case of any accidents to your actors and the public, you'll save yourself a load of problems should the worst happen. In all honesty there have been very few accidents on our sets, Thats probably down to a mixture of luck and planning, things do just happen, especially when people are in the heat of the moment during a performance and all you can do is do your best to try and account for what could go wrong. Just be careful and ask your actors and crew to do the same, but try and stay safe.

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MJ

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INDIE INTERVIEWS : LIAM REGAN - DIRECTOR OF BANJO

Liam Regan is a UK born filmmaker who has recently made waves in the indie community with his low budget debut feature Banjo based on his short film Confessions of Peltzer. Since premiering last year the film has played all over globe and solidified Mr Regan's status as a up and coming filmmaker to watch. 

Inspired by filmmaking legends such as Lloyd Kaufman (Who makes an appearance in Banjo) and Frank Henenlotter, Liam Regan wears his love of genre movies on his sleeve with a style and approach that is reminiscent of the golden age of splatter cinema.

Micro Budget Massacre recently caught up with Liam about his experience making Banjo and what comes next.

Every journey starts with an origin story, How did you know you wanted to make films?

Ever since I can remember, I've always been enamoured with horror movies, some of my favourite childhood memories was when my Mum took me to my local video rental store and I would instantly be overcome with goosebumps and have a outer body experience (became dizzy) whilst browsing through the video boxes with gnarly artwork. A few of the memorable films I rented were the likes of 'Cat's Eye', 'Critters 2: The Main Course' and 'Ghoulies Go to College'. 

I quickly became a fan of creature feature flicks and with the addition of Sky Television in our household (in the early 90's) my love for the genre grew further as channels such as Sky Movies Plus and 'Bravo' showcased such milestone films in my life like 'Child's Play 2', 'Puppet Master 3: Toulon's Revenge' and 'Basket Case 2'. 

However it wasn't until the Summer of 1996, when one of my weekly trips to Blockbuster Video resulted in a purchase (My Mum purchasing that is, I was only 11 years old at the time) an ex-rental video tape of 'The Toxic Avenger Part 2', a movie that showcase a dark mixture of horror and comedy, fused with exploitation and ultra violence, I had never seen anything quite like it before, and then when opening my Sky TV guide magazine back in September of 1996, I noticed that the channel Bravo was having a Troma season in October, and this eventually introduced and exposed me to their back-catalog of films. 

Titles such as 'Surf Nazis Must Die' and 'Rabid Grannies' made me excited for every Saturday evening to roll around, with my eyes firmly glued to the TV at 10pm in excitement. So thank you to Troma Entertainment, they corrupted my fragile little mind, to want to be a filmmaker with self masochistic tendencies. 

With more and more people choosing to just go out and shoot their own movies now, what made you take the DIY approach to making your first film?

I realised that nobody was going to give me money to make the kind of movie, that deep down in my heart, I wanted to make. Plus, I'm a nobody (still am) - Prior to Banjo, I had no track record, other than a shitty 13 minute short film titled 'Confessions of Peltzer' and numerous IMDb credits as a production assistant on independent genre movies I've worked on over the years, and why should they give me money? This is a business at the end of the day, and investors at least want to see a return, and I'm wanting to make a movie about a guy who snaps his penis (based on a true story) and summons his imaginary friend, which in turn, manipulates him to shoot up his office. 

Banjo isn't a possession movie, or a zombie movie by the numbers, so it's a gamble - and it was a gamble for yours truly also. Plus, I didn't want to compromise my vision, I wanted this to be purely my movie, with my name on it, I have always viewed filmmaking as immortality in a way, leaving art behind for generations upon generations to discover (now I have panic attacks about all physical media being destroyed and digital rights being lost in the apocalyptic wasteland, long after I die. Paranoia is a bitch!),

As we all now DIY filmmaking can be tough, what were some of the downside of going out on your own?

It's a very long, lonely and self masochistic process. You write the movie on your own, then you have like a hundred people help you during the actual film shoot, and then you're on your own yet again. It can be depressing, self deprecating, yet it's the best kind of film school I have ever experienced. You make a million mistakes, and ruin and tarnish relationships and friendships, but through the blood, sweat, semen and tears, you create your film-baby. 

On the flip side, what were the upsides?

Creative freedom and expression, I had producers, actors, you name it drop out during pre-production, due to the extremities and content of the initial drafts of the screenplay. However I felt like I managed to strike the right balance, and I was able to hire the people I wanted to work with and move forward with the project, and held the vision I always had for 'Banjo'. I remember the first draft of the screenplay having at least 12 rape scenes, I remember being heavily influenced by hardcore exploitation horror movies during that period. I cut that down to 1 rape scene, which people never mention in reviews or interviews. 'Banjo' is essentially a rape-revenge movie, but has never been branded by that genre, which has puzzled me. 

So after that hard work, your filmmaking journey is far from over, what happens when the film is done?

The film is finished and everyone thinks you're rich and a millionaire, when in reality, you're broke as you have ever been in your life, and are clutching at favours, and you'll meet a dozen people wanting to take advantage of your current desperate situation. People you would class as friends will inevitably end up on your shit list by the time the year is through. You'll make another million mistakes on trying to find a sales agent/distributor for your project, and then you'll waste a shit load of money on film festivals that don't even consider your movie, even though you have paid them an extortionate fee to at least watch the movie. I think the best way I could put it is: "Life is not a movie. Good guys lose, everybody lies, and love... does not conquer all."  

Every film is an experience and more importantly a lesson, what did you learn that you'll take with you to your next movie?

Don't write too much dialogue, create more action sequences and make a much more fucked up movie. Lloyd Kaufman (President of Troma Entertainment) is my favourite shit disturber, he dealt with "taboos" and subject matters that the Hollywood system were too afraid to conquer back in the 70's and 80's, and I'm wanting to carry on that tradition. The key is to make a movie that nobody forgets, sure they can love it, or hate it, but they'll never forget it, that's the dream. I absolutely love making films, it's what I was put on the earth for, and I don't care if I need to max out more credits cards, or take out more loans or work as many legally available hours I can at my day-job, nothing will stop me from creating, it's the best therapy out there. I want to entertain people, I consider that as one of the major importance in life, other than finding the cure to cancer. 

And finally, what is next?

I'm currently writing a rape revenge/black comedy titled 'Parents Evening' which if you put the following movies: 'Heathers', 'Jawbreaker', 'Detention', 'Class of 1984' and 'I Spit On Your Grave' in a blender, you would have the 'Parents Evening' protein shake ... full of bodily fluids. I hope to shoot that in 2018, and if anyone wants to give me money for 'Banjo 2: Make Room for Daddy' I would be more than happy to bring those characters back, but it all depends on the success of the home video/on demand release of 'Banjo' which is due out on Amazon and iTunes by late 2016. 

For more information, feel free to add me on Facebook at http://www.facebook.com/refuseliam or follow me on Twitter @refuseliam

For more information on 'Banjo' please like the page at http://www.facebook.com/banjofilm or follow us on Twitter @banjomovie

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FINDING LOCATIONS : 3 Easy Ways to Find Your Next Film Set

As we've talked about before, finding the right location can make or break your movie. Shooting your film in the right place adds so much production in terms of style, look and value that to over look it is setting yourself off on the wrong foot.

In big budget movies, it not uncommon for sets to be built on a sound stage wherever possible, this is usually due to the amount of control the creative team needs over the set, i.e being able to remove walls, lighting, shooting around the clock. If you're shooting on a budget its unlikely (although not impossible) that you can build your 'Church Interior' or 'Canadian wilderness' from scratch as a set on a sound stage. This usually means that you have to find something the preexists in the world.

This is both a blessing and a curse. Finding a pre-existing location means that you have less control over things like weather, power, access, angles, food establishments and the list varies drastically from place to place, meaning a lot of prep and compromise most of the time. The upside however, is that you get something real, something that you can't build, something raw and lived in and that is really what adds the value to your films.

FINDING YOUR LOCATION

Following are 3 ways of sourcing locations when you are working on a limited budget, These 'suggestions' are by no means the best , or the only, ways of finding the right location for your film, but hopefully they'll help you think creatively about what you need and help you look at where you shoot in more productive way.

1. UNIQUE CIRCUMSTANCES

Douglas Prison : Isle of Man

Finding locations can be tough going. Especially if you need anything outside of student flat or family home, things start getting difficult pretty quickly. This is when you need to employ some of your unique circumstances to finding what you need. By 'Unique Circumstances' I mean this, Everyone has access to something unique that no body else has access to, in terms of locations.

This is basically looking at what you have access to personally. Can you make a film out that creepy looking shack your dad built at the bottom on the garden? Does your Aunt work at a High School after hours? Does your mate have the keys to the warehouse on a weekend? All these are great starting points to finding a great location to shoot in that isn't 'Mark's Studio Apartment' and also a brilliant way of getting the creative juices flowing. There a few things than coming up with a  scene or even an entire film based around an amazing location. 

I always 'try' to write locations based on something I know we have or can get access too, even if that means taking a pause from writing for a moment and throwing it out there to people I know with a "Does anyone have access to..." and usually I receive a "No, But I have access to...", sometimes this will dictate where the film is set and sometimes the direction a film will go.  You have to be creative and compromise when it comes to low budget filmmaking. 

Slasher House (2012) Douglas Prison : Isle of Man 

For Example, I originally wrote Slasher House to take place in an old run down mansion, when we were offered an abandoned prison, it was too good to pass up and we adapted and it worked out for the better, both visually and thematically. It also meant we had to adapt one scene to be set in a 'Gallows' which was a pretty awesome, if not terrifying, experience and also added another dimension to the film.

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2. YOUR NETWORK

After you've spent your first couple of movies exhausting and exhausted your family and friends locations, you should have begun to develop a 'network' of people to work with, to show your work to and who also make movies. This is your community and these are the people you can turn to for help. 

Other filmmakers are a great conduit for resources, this is because, just like you, they spend their time making movies and, believe or not, have come up against most the same problems you have when it comes to getting locations and come out the other side. Its a great way to to find creative solutions to problems, by talking to people who have already solved those problems and getting their advice.

The biggest advantage of this, is that it gives you a new perspective and helps you think outside the box. One of the biggest mistakes I see people making in terms of locations is that they need something so they look for "INSERT LOCATION HERE" and that alone, when one of the key ways to solve the problem is finding something that can do the same job, but provides earlier access. Other filmmakers will have been through this and will be able to help advise you and what can substitute your needed set. 

Legacy of Thorn (2014) : High School Oldham : Main Building

Legacy of Thorn (2014) : High School Oldham : DT BLOCK

What I mean is, for example, on Legacy of Thorn we needed a hospital, but getting one that looked operational was tougher than we could have imagined. Instead we found a section of our old college that looked very similar to a hospital corridor (along with first aid room) and dressed it up to stand in for it. Throwing in some posters, a couple of extras in long white coats and nurses uniforms and we had a what we wanted but without the red tape of shooting a real hospital. 

Sometimes its worth talking to other filmmakers about how they made it appear that they shot in a location.

3.  JUST ASK

Possibly the simplest approach to finding the right location is to find the location you are after and just ask. It seems like there might be more to it, but its really as easy as that. Sometimes if we need a specific location we just find the place we want and then ask. Sometimes we're successful and sometimes not, but no one has ever done anything worse than say 'No'. Usually people just want you to cover electric or a small charge to use it, sometimes they might even just let you have it for free as long as it doesn't conflict with business hours etc.

The real issue with this approach is that it can become a numbers game and thats a lot of ground work, but if you're willing to put that work in, you'll almost certainly find the location that you're after. Just find the type of location you're looking for and make a list of suitable candidates, from here your kind of politely cold calling and explaining your project and what you want to do. Some people won't care, some will be interested, but won't be able to help you and you'll come across those who will do whatever they can to accommodate what you're doing. Its pretty much that simple.

Slasher House 2 (2016) Warehouse 

Slasher House 2 (2016) : Warehouse

For Slasher House 2, we needed a government facility (or something that could pass for one). We actually live in the town that has the government facility that solved the Enigma Code (now a tourist attraction), but they were a flat out 'NO' out of the gate. We decided that we would have to found something that could work instead of and figured a 'Lazer Quest' could work. We emailed every Lazer Quest in a 100 miles radius and out of 25 we got a response from 2, we met with one. It didn't work out due to the times we needed, but we had the location should we want it. 

We eventually went in a different direction that worked out better for us, but I'll talk about that in a future blog. 

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I should point out, that its important to be honest and up front here, telling them you're shooting a family drama when really you're shooting a gore soaked torture porn is counter productive when you turn up on the day and start spraying the place down with food colouring and syrup and if they think they've been fooled, chances of them signing a release form are slim and even if they do and then find out they've been lied to they'll just flat out refuse the next filmmaker that come knocking and its your job to make sure that we pave the way for everybody in the community.

Just like any aspect of filmmaking, employing creative thinking is your friend and if you think about what you need in front of the camera creatively you might even surprise yourself in what you come up with what you think of outside the box or sometimes its as simple as just asking. 

MJ

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INDIE INTERVIEWS : FILMMAKER JASON IMPEY

Jason Impey has had quite a prolific career as a filmmaker. The UK based filmmaker with titles like 'Tortured', 'Home Made' and 'Fluid Boy' under his belt has almost 100 director credits to his name on IMDB and wears his love of exploitation cinema on his sleeve. 

MicroBudget Massacre talked to Jason about his approach to DIY filmmaking and the pit falls of taking on the daunting task of making feature length movies with very little money. 

Every journey starts with an origin story, How did you know you wanted to make films?
My story starts way back when I was just 5 years old and loved sitting at home watching good old VHS’s and TV. I was a bit crafty and watched a few horror videos at a young age I sneakily got my hands on and have been hooked ever since. I really enjoyed viewing all this stuff - but it went further in my head. I was interested in how and why a film was made, why shoot it that way, why use those shots, and was very intrigued as to how it was all put together and ended up being in my hands on this tape. 

This lead to only one thing, I armed myself with my fathers family home movie camera and went out shooting amateur shorts at the age of 10 getting my dad to edit them together on the VCR. Eventually this hobby led me to college to study media and filmmaking and I have never looked back since. It makes me happy, is a way of life and I honestly could not imagine doing anything else! 

With more and more people choosing to just go out and shoot their own movies now, what made you take the DIY approach to making movies?

As I was so young and inexperienced when I started making films it was the only real way to go about it, but I am so glad I did as I learned so much by just going out and giving it a go, and if anything it just fuelled my curiosity in to the world of film and allowed me to discover a real passion I have. I grew a better appreciation of independent filmmaking and discovered I actually really like raw DIY movies and it pleases me to contribute to this society.


As we all now DIY filmmaking can be tough, what were some of the downside of going out on your own?

Finance is always going to be a downside for me unfortunately. Its sad but true that DIY filmmaking can cost a fair bit of your money and extremely hard to make money from, but don’t get me wrong, it can be very rewarding and in some ways wouldn’t change it for the world, but living as a full time freelance indie filmmaker I’ve had the odd tight month and a few scary weeks here and there not knowing where the hell my next pay cheque is coming from.


Another sort of downside I would say is restrictions on your production. Its not always possible to get on camera what you hope for if your doing it all yourself, however there is an up side to this as it makes you think outside the box and can sometimes make the process more creative, it certainly keeps you on your toes!


Time is one of my biggest enemies. Theres never enough of it to get everything done, mainly on the actual filming days and this leads to a major downside for me - stress! I can get really down and a bit depressed when everything starts falling apart like running out of time, not being able to get a location, not finding enough cast members, when it goes wrong it can go wrong bad and be very upsetting and get right on top of you, however you have to try and remain strong and keep trying as when you do get through it you hopefully have a movie there that you can take some pride in and be proud that you made it.

On the flip side, what were the upsides?

Through making films in a DIY manner I’ve met some great people that share the same passion and interests as I have and become good friends. I have had fun times, and being on a indie film set is really one of my main ways of socialising. A real upside is when everything is complete and you realised you actually made a film, that is your special piece of art that will last and can be seen again & again, it feels like a real achievement when you get through it and you have something to show for it, and at the end of the day I’m doing something I love doing so I can’t really complain that much!


You've Produced and Directed nearly 100 films now including shorts over the last 20 years, what is your process for making so much stuff so quickly?

My main way of achieving such a prolific track record of films was just literally go out and make stuff. I managed to get a few good people together and had a bit of equipment as I freelance in the world of film anyway which allowed me to have access to the odd thing I needed, so luckily I was able to phone up who I thought I needed, grab my camera and go out guerrilla style and just shoot stuff. 

I would even sometimes just map the rough idea out back in the day and ad-lib the film and just shoot the coverage I thought I needed to tell the story in a location that was quiet that I thought we would not get bothered at! A bit naughty I know but did the trick, and some of my best work was made this way! As I did most of the jobs on the production myself I really only needed a simple idea I could play with, a few people in front of camera and a place to shoot, once that was sorted the rest was just fun playing about and being creative.


Apart from 'Just make movies' what advice would you give people starting out making their own films?

I would say if you want to make a film don’t run before you can walk. Start with a short, find your own style and way you like to work. Experiment and play about a bit before you get too stuck in and choose who you work with very wisely, it only takes one bad seed to ruin a production.

And finally, what is next for Jason Impey?

Well, I am a lot slower at making films than I used to be. I have become a lot more fanatical how I like stuff over the years and become more OCD with everything. I also take on a lot more freelancing work to get by as a filmmaker, but there are new productions on the way, including shorts and a feature in which I am returning to my roots - the horror genre!

You can check out more of Jason's work at his official site : http://jasonimpey.co.uk

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