And that’s a great deal. I should know I wrote the damn thing!
(You can also download The AFSG Part Two: for $2.99. Check out Book Downloads under Cool Crap to Own.)
“I am the poster boy for bad decision-making in the Independent Film world!
I have made eight short films, three features and a couple of documentaries, along with a ton of corporate videos, and commercials. I have whored myself on other people’s movies for the last 20+ years. There are certain truths I have learned, and certain things and people I shouldn’t have listened to.
I have messed up my life financially, emotionally, and probably physically and it’s all been for my love of movies. My movies.”
– – from The Introduction
Kelley Baker is the Angry Filmmaker. But his independent films are not angry, they’re honest. He’s angry at the state of independent film. For Baker, it’s about telling the story, not what actors are starring in it.
Kelley Baker worked in Hollywood for 20 years. He’s well known for being the sound designer on six of Gus Van Sant’s feature films, including My Own Private Idaho, Goodwill Hunting and Finding Forrester. He’s also made numerous award winning short films and 3 of his own independent feature films. The latest, Kicking Bird, was made with a budget of $6000 and has played to international audiences.
Each year, Kelley takes his van out on the road with his dog Moses to show his films and conduct workshops on independent filmmaking. Here, with all his attitude, is the wisdom of an Angry Filmmaker, gained the hard way, through experience.
“Finally, a film resource that tells it like it is! – – Jon Gann, Director, DC Shorts Film Festival
“Baker is on fire about making films. You will be too after reading this brutally honest compilation of personal stories and practical advice from the front lines of independent filmmaking.” – – Morrie Warshawski, Consultant and Author (Shaking the Money Tree: The Art of Getting Grants and Donations for Film and Video – 3rd Edition)
“He pulls no punches calling out both Hollywood and very specific directors for being creatively bankrupt. The author then presents his philosophy on the physical process of filmmaking with tips and advice that could only come from someone who has been there and had scars and debt to prove it. That being said, he does not hold anything back, he tells the whole story, warts and all.” – – Nathan Eckelbarge, Microfilmmaker Magazine