Q&A: Making Short Films
Short films. We love their emotional potency, but distilling a narrative into 5, 10, or 20 minutes is no small feat. To help the process, Bryce Dallas Howard answers fan-submitted questions about making a short film — where to start when writing, how to optimize production, and the skills that every director should have and hone.
1. Is it too late to get started in film at the age of 30?
Easy question — of course not! And for proof, below are some famous artists who got their start after the age of 30:
Oprah Winfrey, fired in her early 20s as a news anchor, created The Oprah Winfrey Show at 32.
Alejandro G. Iñárritu directed his first feature at 37 and his breakthrough feature (Birdman) at 51.
Ken Jeong started his career as a physician and at 38 transitioned to an acting career.
Clint Eastwood directed his first movie, Play Misty for Me, at 40.
Me (40)! While I strongly identify as a director and have directed for over a decade, I have yet to direct a feature film. I could get down on myself for not reaching that milestone, but that’s glass-half-empty thinking — there’s much more ahead!
Starting in your 30s means you have a maturity and knowledge of yourself that many folks don’t have early on, and that self-awareness will help you navigate the industry. Remember, there’s no deadline or cutoff period for creativity. Your journey is on your time. There’s no such thing as being late.
Question from Carlos C.
2. How do you choose your subject? Do you start with a great character or a great plot?
When I started directing short films, many of them were documentaries of people making an indelible impact on their community. I still keep that mentality now when thinking about a “subject.” Whether the short is fiction or nonfiction, I’m always looking for extraordinary human stories that give the audience hope.
As an actor, I’m someone who connects to character, but that doesn’t mean a powerful story can’t start with a gripping circumstance or place. For example, I’ve always been fascinated with Lily Dale, so over the years I’ve cooked up potential stories, some of which I’ve written out and others I haven’t yet, that take place there or are inspired by the town. For me there’s no rush for an idea to come together — usually I’ll have a concept or character in mind for a long time and it’s only when the right combination of characters and circumstances come together that I’ll jump into formal writing.
The most important thing is if you’re interested in something, follow your curiosity. Keep exploring the subject and write everything down along the way. Imagination is supernatural, so leaning into that dream state of wonder is an essential and inherent part of creating.
Questions from Brendan W. and Ethan B.
3. How many iterations do you go through before a script is final? How do you approach rewrites and getting feedback?
I like to think I’m an input-open director and collaborator. To me, my job as a director is to solicit the best ideas from everyone and then choose. It’s not all on me to make every idea and decision because not every good idea is going to come from me! These same values apply when writing. Writing is often thought of as a very solitary process, and for some writers it is, but I like to surround myself with great collaborators and have many eyes on my script as a form of accountability on story (and deadlines!).
Putting pressure on the script, and early on, by having read-throughs and soliciting feedback from people who don’t know me is key. And when I share a script with others, I ask very targeted questions. There are a thousand ways to break a story and my method might be different from other persons, so when asking for feedback, I want to make sure that I’m being as specific as possible.
If this sounds like an extensive process that probably gives you a hint to how many iterations I go through. The answer is never exact (like exactly 15 drafts); it’s whatever the project needs — and the best ideas win. Once my collaborators and I are confident that we have those ideas on the page (with enough room for discovery on set), then we’re golden!
Questions from Júlio A. and Simeon M.
4. What is the best way to get around having nearly zero budget? How can I give a cinematic and professional look to a short film?
There are a couple technical elements that to me elevate a short film… and disguise the reality behind all filmmaking experiences — that none of us know what we’re doing and there’s never enough time or resources!
Sound: Poor audio is difficult to recover from as an audience member so audio that is balanced, clear of background noise, and at a nice volume will make all the difference.
Lighting: Think about what story you’re telling with the lights — they have an incredible effect on tone, mood, and atmosphere. Fancy equipment is not required but intention is. Familiarize yourself with the settings on your camera or iPhone and be deliberate about where you want to direct the audience’s attention.
Stabilization: A stabilized camera is a happy camera — unless it’s for a specific narrative reason. If you don’t have a tripod on hand, get creative with other materials!
There’s also a saying in many production settings: “Fast, cheap, good. Pick two.” This means, if you want something fast and cheap, it won’t be good. If you want it fast and good, it won’t be cheap. And if you want it good and cheap, it won’t be fast. Knowing this, there are some process elements that will make your “good” even better:
Rehearse, rehearse, rehearse and include your actors in the prep. Effective storytelling comes down to performance so don’t hesitate to talk to actors during the prep period about your vision and their work.
Create mood boards and storyboards as a communication tool. Get everyone on the same page because time on set is valuable! (storyboard hack: take photos of you posing certain shots in your room).
When all these elements are in place, your short film will already feel more professional. But I want to emphasize that what makes something “professional” does not have to do with dollar value. You can throw money at a lot of things, but true cinematic value comes down to a strong story and performance.
Questions from Bjørn O., Efe E., and Balraj R.S.
5. What are skills that any film director should have and hone? And what are common pitfalls in the short filmmaking process?
I recommend that all directors take classes outside of their practice, like a cinematography class, producing class, or a virtual production workshop. The reason I say this is because a director is the link between departments; they’re responsible for making sure that all departments and teams are communicating and working toward the shared vision. What makes that communication more seamless is if the director makes the effort to understand how the other departments function. Plus, when you understand what other roles are doing on set, you’ll have a greater appreciation for them!
As for common pitfalls, I see a tendency in filmmakers to be overly precious with their work, and that creates a host of issues. Number one problem: preciousness prevents feedback. It’s good to have strong opinions, but make sure that your willingness to receive feedback is just as strong.
Questions from Hannah P. and Joe R.
6. How do you come up with a catchy title?
I love this question! I know we shouldn’t judge a book by its cover and we shouldn’t judge a movie by its title… but we do. So in my mind, a title should resonate with many people. That’s why it’s very important to run the title by a lot of people — those who are familiar with your project and those who have no information — and say, “Here’s a title for a movie. What comes to mind for you?”
I also recommend searching for inspiration outside of movies and television series, like in painting or song titles. Sometimes I’ll even wander the aisles of a bookstore, pick a book at random and ask, “What’s should the title be?” With my eyes closed, I’ll flip to a page and pick a phrase, just to see what chance and luck has to offer. It’s easy to get in a rut when it comes to coming up with a name, so shaking up how you find ideas can bring a fresh perspective to the process.
Question from Teri R.
