By Audrey Larson

We're so excited to present this week's interview with 18-year-old filmmaker Harrison Allen. Harrison's film The Yellow Block​ (2015) screened at nine festivals including the Texas Independent Film Festival and Laguna Film Festival. His second film, Meant for More (2016), screened at the Bonita Springs International Film Festival and the UK Screen One International Film Festival. Harrison is currently working on three other films to be completed: Gluebags, Dawson, and Of Grief and Guilt. Without further ado-- the talented, Harrison Allen! 

What kind of resources did you use when starting out? 

​When I first committed to the idea of creating a film, I had no production equipment whatsoever. I started an Indiegogo campaign to raise money for rentals. I also knew a few students in a high school film program and was able to borrow some equipment from them. We were able to reach our fundraising goal and were able to get everything we needed. 
I also read a lot of books on film history, director biographies, lighting, editing, and directing. The more I read, the more comfortable I felt in the director’s chair. They definitely helped and have had a large impact on my films both from technical and creative standpoints. Some of the books that I felt I learned the most from were: Directing by Michael Rabiger and Mick Hurbis-Cherrier, In The Blink Of An Eye by Walter Murch, Painting With Light by John Alton, Rebel Without A Crew by Robert Rodriguez, and The Art of Character by David Corbett. 

Tell us about your past/current projects:
​
I attempted to direct my first short film, Love, Anonymous in early 2014 and quickly found out I had gotten in way over my head. We filmed 27 pages of script in two days. We had 10 key cast members, 10 crew members, 45 teenage extras and also used a multi-camera setup. We made a lot of mistakes, mostly caused by inexperience, that made the post-production process much more difficult. It still isn’t completely finished.  I took a year off from making films to refine my directing ability. I came back with a better understanding of the role of the director and shot my short film The Yellow Block in June of 2015 and shot both Meant For More and Dawson a few months later. I’m currently in the midst of writing about half a dozen screenplays and will soon choose a project to pursue for my next short hopefully to be shot late this coming summer.

Tell us about a problem you’ve encountered in media production and how you resolved it:

I think getting my ideas and screenplays off the ground and into production has been the hardest challenge for me. Finding the money to put my story on the big screen has always been a struggle. Once I’m in production, everything runs relatively smoothly and according to plan. However, getting to that point is difficult. It takes money to produce a film and as a high school student, money can be fairly scarce. I would love to be able to create high budget films with great visual effects, intricate camera moves, crazy locations, and extensive production design but it just isn’t plausible for me at this stage in my career. Instead, I focus my energy on what I have and create stories around that. By writing films that involve actors, props, and locations I already had access to, I was able to create my films on very small budgets ($50-$250). 
I would eventually like to have the option of creating my more ambitious projects. I feel that not worrying about a budget would give me more creative freedom but for now, these low-budget films are great way for me to express myself without using many resources.

Why do YOU make films? What appeals most to you about this way of artistic expression? What kind of visual stories do you want to tell?

Someone once told me, “Our main purpose as filmmakers is to make people feel human.” That’s become my main motivation behind creating films. Whether my films make audiences happy, sad, or scared, knowing that something I made impacted someone like that makes the whole process worth it. 
From the time I was very young, I knew I wanted to tell stories. For the longest time, I tried telling them through books. Something about it didn’t seem right and I was never able to convey the exact story I wanted to tell. I would have this movie playing in my head but wouldn’t know how to convert it into words. When I discovered film I realized I could visually create an exact copy of the movie playing inside my head.
I prefer to tell stories that take place in worlds anyone could conceivably find themselves living in. I’m a fan of creating raw and real films that ordinary people can relate to especially dealing with scenarios that people are ambivalent about.

Who/what are you inspired by? 
​
Most of the ideas for my films originate from thoughts that come to mind randomly. Brainstorming sessions aren’t very productive in my process. Reflecting on things that I’ve read about or seen, whether it’s graffiti on a wall or a national news story, usually sparks a story. If I get stuck on a scene, I’ll step away until the solution comes naturally.
The idea of creating films first crossed my mind when a friend of mine showed me Wes Anderson’s Rushmore. Something about it gave me the urge to create. Wes Anderson has remained one of my favorite directors since then. I also enjoy directors Louis Malle, Robert Bresson, François Truffaut, Tom Hooper, Jean-Luc Godard, Jacques Demy, Guillermo Del Toro, Lars Von Trier, Roy Andersson, Sylvain Chomet, and Charlie Kaufman.

What’s next for you? What are your plans/hopes for the future?
​
My plan is to go to college in the fall and study Film and Television Production. I’d like to take my filmmaking to the next level and I believe that college is the first step. I’ve applied to Chapman Univeristy, LMU, NYU, RISD, SCAD, Emerson College, and Champlain College.

What advice would you give to other aspiring young filmmakers?

Focus on telling a compelling story using every tool in cinema. Tell your story not just with writing but also with sound, directing, cinematography, editing, acting, and light. A solid story will carry a film whether it was shot on a cinema camera or an iPhone. 
Also, don’t get discouraged. You will have to face rejection many times in this industry and it can be extremely daunting. Nobody likes to pour their heart into a project and then get the door slammed in their face but it is inevitable. Don’t let it get to you, focus on your work and how you can improve. Confidence in yourself and your artistic abilities is key.

You can view the trailer for The Yellow Block​ on Harrison's Vimeo page. You can also check it his IMDb page. 

By Audrey Larson

Nicholas Roberts, age 17, from Basking Ridge, New Jersey has been making films since he was 12. His favorite parts of media production are screenwriting, directing, and cinematography. He is the co-founder of his own production company, Avenue Production Company (currently in the midst of re-branding), which offers a wide range of services including videography and editing. He has written and directed several short films such as “Palooka”, about a boxer's inner thoughts during a fight, and "Don't Say It". Nicholas also won an honorable mention in FYP’s Summer of Screenwriting contest for his short script “Grandfather and Grandson”.

How did you get into media production?

I got my start in media production when I was in 7th grade and my parents let me watch Friday the 13th for the first time. I thought that the idea of the character Jason Voorhees was so cool and I wanted to portray the character in my own film. I planned and planned, but I never actually came close to filming. However, I took all the things that I had learned and I applied them to making another horror movie. I called it “The Door”. It was a simple half-a-minute short film about a murderer following someone into their house and killing them. The whole idea was that what you imagine is much scarier than what the director could show you, so the camera was pointed at the door for the whole film. The killer walks in, you hear the struggle, then the killer walks out.

What kinds of resources did you use when starting out? 

When I started one of my most valuable resources I had were the classes I was taking at the NJ Film school which I still take today. Unfortunately, I am nearing the end of courses at the film school. My last classes will be in June.

Tell us about some of your current projects:
One of my current projects is a longer film called P&H. I'm not sure exactly how long it's going to be but I think it will be around 20 or so minutes.

By Audrey Larson

​We're so excited to present our new blog series, Filmmakers of the Future! Each week we'll feature a young filmmaker (age 25 and under) and get the scoop on their experiences, projects, and advice for YOU. Without further ado, meet our first young filmmaker...Jamie Dolan!

Jamie Dolan, age 20, is from Rockaway Beach, Queens, NY. He is an actor, writer, and producer. He produced and co-wrote the feature film "Forgetting Sandy Glass" (post-production), and has written two other feature-length screenplays that are currently in development. He founded his own production company, Sandy Glass Productions. Some of his hobbies outside of the film business include basketball, trying out new food and coffee, meeting new people, and fashion.

How did you get into film production: 

I actually started out as an actor at an early age, acting in school plays when I was in 5th grade. But, it wasn't until freshmen year of high school when I found an acting school and began to study and try to learn the ins and outs of the business. As the years went on I continued to study. I kept pushing and fighting to be the best I could be, and to actually understand this business without getting ahead of myself and jumping in before I was ready. And that is one thing I strongly, strongly recommend that youth not do. Look, study, read, and listen as much as you can. Don't try to rush into the entertainment world before you're ready. Because it is a BUSINESS and you will get swept right off your feet. First impressions are everything. I know everyone wants that agent & manager, the overnight stardom. But that isn’t usually the case. Once you are strong and confident in what you do, you'll stand your ground and nobody can take advantage of you. 

Tell us about a challenge you've encountered in media production and how you resolved it:

I studied every single day, every week for years in high school. I missed out on social gatherings and events. I was in class, I was out there networking, I was reading. I made a lot of sacrifices. Around age 17, I wrote my first storyline for a movie I wanted to make— a short film. I had put in all the time and work, I was ready to show something. I put together a small group of people, which soon enough fell through and went downhill. It didn't work out; everyone went their separate ways. What did that leave? That left me behind with an amazing story to tell, and a burning passion to bring it to life. I was back at square one, sitting there with a great story and a 34-page short film script.

​But, actually I'd like to mention a very, very, inspiring actor-filmmaker. That is Mr. Bryan Cranston. If you don't know who he is, you should do your research. This man didn't really get his big break until later in his career. Let me tell you, this guy is probably one of the most genuine, crafty, artistic, actors out there. A lot of the business consists of money, fame, and that's it. So, when you still have true, genuine artists out there like Cranston, you have to show respect. And I do respect this man as an actor/person, because he is brilliant. ​

What advice would you give to other young aspiring filmmakers?

Pick up a pen and a piece of paper— start writing. Doesn't matter how bad it may be, just do it. We are in a media generation right now; write short skits, make a YouTube video with some friends. Just get involved and try to learn and grow from actually experiencing it. And if you're just starting out, chances are that you won't be working on a big studio set and being able to gather experience. That is why I am telling you to start creating your own work. Even if it isn't good at first, you'll get better. And there is no better way to learn then to actually be involved. So take classes, read books, study new movies, study old movies, learn the ins-and-outs of the business. Prepare yourself as much as you possibly can so when the time comes, you are ready and better than ever.

Jamie's film "Forgetting Sandy Glass" is available for worldwide pre-order on Vimeo. You can follow the film on Instagram and Facebook. For more about Jamie, find him on Instagram and Twitter @jamiemdolan or visit the Sandy Glass Productions website.