Creating a Film? Honor People's Time

      The film industry is populated with wonderful individuals. However, it also draws some narcissists and self-promoters who speak excessively and loudly, without asking questions or highlighting others. Their self-centeredness is evident not only in their dialogue but also in their overly long and tedious films.

      To these individuals, I would say: We understand, you’re an artist. You’ve been encouraged to express yourself. Perhaps for years you were denied this outlet, and now you have the opportunity. That’s commendable.

      But please keep it brief.

      This isn’t just because lengthy speeches and films can be irritating, but also because they can damage your career. A compelling seven-minute film is more likely to be featured at a festival than a 20-minute one, as the shorter film allows programmers to include two or three other concise and impactful shorts, showcasing a variety of voices.

      In Praise of ‘Golden Hour,’ a Short Film That Delivers

      Maureen McEly, courtesy of the filmmaker

      One of the finest shorts I’ve come across recently — and as the editor of MovieMaker, I view many — is “Golden Hour” by Maureen McEly. In less than five minutes, it presents a mother who persistently visits her deceased daughter in a virtual realm, incurring significant costs in the real world. It poignantly addresses themes of grief, parenthood, and how businesses exploit our emotions.

      It flows well, features a twist, and leaves a lasting impact that you might consider long after watching. McEly is transforming it into a feature film that I'm confident will be fantastic because she knows how to narrate a story: “The Golden Hour” looks incredible, yet it spends no time on unnecessary elements like prolonged impressive shots of dew on leaves.

      McEly acquired her storytelling skills through years of experience in a field that she acknowledges “some in the filmmaking community may regard as inferior: reality television.”

      “What I routinely did was listen to two-hour discussions and identify the most crucial two minutes — the vital interactions where everything shifted,” she explains. “This ability to distill a story to its most engaging and significant moments has been essential… as has the other principle that permeates all reality TV programming: Never allow people to lose interest.”

      She is also aware that “as a debut filmmaker seeking attention for my work, I’m an unknown competing against thousands of other films. Thus, I aimed to create a genuinely short film that maintains tension and captivates the audience from start to finish. Convincing people to invest five minutes of their time is far easier than asking for 25 or even 15, and it was an exhilarating challenge to infuse so much intensity and emotion into such a brief timeframe.”

      During a recent panel at the popular genre festival FilmQuest, two distributors discussed how long they will allow a feature film to engage them.

      “In the first 30 seconds, I can tell if you know what you’re doing,” stated David Lawrence from Glass House Distribution. “Striking openings are crucial.”

      Gato Scatena from Scatena & Rosner Films remarked that he gives a film “a legitimate 10 minutes.”

      “Hook your audience in the first five or ten minutes, and they’ll remain engaged for the entire 90,” Scatena said.

      This mindset also applies to scripts, he noted: “At the script level, the inciting incident should occur within the first ten pages.”

      Moreover, there is the aspect of respect. Kurt Vonnegut once claimed that a story should “use the time of a total stranger in such a way that he or she will not feel the time was wasted.”

      This perspective is relevant to life as well.

      Main image: Daphne Steele, left, and Becca Howell in “Golden Hour.”