Teen filmmaker in action. My friend Jake Kreager is only seventeen but he's already a veteran filmmaker. He and his cousin cranked out this suspense film in two days without a script or even a cameraman. You can follow Jake on YouTube here.
Even though I've been doing it since I was nine-years-old, I haven't written much about filmmaking on this website. It's an unfortunate oversight, because I feel we're in a very exciting time for filmmakers of all levels. The ease, affordability and prevalence of digital cameras, editing software and video-sharing websites has given a whole generation the chance to flex their filmmaking muscles. And though this has also given us way too many videos of kittens riding Roombas to the screaming chords of "Eye of the Tiger," the chance to express, create and share with each other is unprecedented.
So filmmakers, indulge me while I tell you how young people once made movies before all this technology made it so darn easy...
My interest in filmmaking began in the mid-1970s when my grandfather gave me an 8mm camera which, even for the time, was a primitive device. It looked primitive — a black metal box with a pebbly surface and a small lens. There was a trigger to expose the film and a large silver lever to operate the zoom. You had to focus manually and though filming in color wasn't an issue, there wasn't any sound. Fresh film was always in short supply. A reel cost about $10 — half of my monthly allowance — and there were still trading cards and that copy of Starlog magazine I needed to purchase, too! Needless to say, my early works had a certain "economy" to them. A typical film was three minutes, an epic would grow to nine. Everything had to be filmed on the first take.
The first film I ever made was entitled "The Horror of the Desert" and starred me, my sister, and the three kids who lived next door. We were all between the ages of 11 and 15. The plot was simple enough. I put on a bright blue papier-mâché monster mask, draped myself in an old blanket and menaced the other four for a total of six minutes. Granted, "The Horror of the Desert" wasn't a long on plot but at least there was lots of running and screaming. (Okay, there wasn't any screaming because, as I just mentioned, the camera had no sound.) Instead, in the true tradition of silent film, there was plenty of melodramatic pantomime. Finally, one of the neighbor girls drives a wooden stake through my monstrous heart, a technique which apparently works as well on aggressive space aliens as it does on vampires. The film was a huge hit, the least among the other neighborhood kids who immediately lined up to be in my next production.
Editing of my 8 mm creations was done by hand. I had a cheap, manually-cranked machine through which you could watch your footage on a tiny screen, slicing out the unwanted bits and reordering sequences by taping the strips of film back together. The basic concepts behind editing haven't changed with the newer technology, but the results and rapidity of the process have improved exponentially. What I can now edit by computer in thirty minutes might've taken an entire day in 1979.
By junior high, I was dabbling in stop-motion animation and practical special effects. The latter usually involved creating elaborate miniatures complete with painted backdrops and then setting them on fire in my backyard. By the end of college, I had several "co-producers" assisting me and troupes of amateur actors to do my bidding. And by the mid-90s, I was constructing elaborate parodies of science fiction and fantasy films under the name "Aneurysm Theater."
Technology advanced as well. Eight mm film gave way to videotape and finally digital media. But the real boon didn't come until the home computing giants, Apple in particular, created video editing software which more people could afford and understand.
All this was fun, but it had yet to become a serious venture.
In reality, filmmaking didn't become part of my profession until the early 2000s when I was tasked with creating law enforcement training films in Arizona. I produced six videos in all and that experience paved the way for my current work with the Oregon Coast Aquarium's Oceanscape Network, a web-based project which is extremely video-intensive.
So why am I telling you all this, young filmmakers? Because whether you hope to make film your profession, or it's just a fun hobby, you have tools at your fingertips I couldn't even imagine when I was starting out. And as with the publishing world, the internet and associated technology now allows you the opportunity to reach an audience without having to go through the traditional "gatekeepers" of those industries. Take advantage of it. If the past is any indication, this field's just going to get better and better.
RELATED: For examples of my filmmaking, visit my profile on Stage 32.