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“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
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Sound is not the enemy! – – Lee Haxall, Editor, Crazy Stupid Love, Meet The Fockers (Emmy Award Winner)
Sound is an excellent carrier of emotion. And film is about emotion. – Gary Rydstrom, Sound Designer – Saving Private Ryan, Jurassic Park (winner 7 Academy Awards)
I like off beat stuff, weird sounding films and subtle sound tracks as compared to bombastic. – Ron Eng, supervising sound editor – Mulholland Drive, Coraline
The rule of thumb for good sound is: does it tell or promote the emotional content of the scene, does it support and/or reveal the story. – Tom Johnson, re-recording mixer – Alice In Wonderland, (winner 2 Academy Awards)
Motion picture audio is one of the least understood parts of filmmaking. It is often neglected by film students and filmmakers alike. It is boring, scary, too technical and not considered important by most filmmakers. Until they get in to the editing room and realize that by not paying attention to audio earlier they are screwed.
This book is intended to shatter the myths and mysteries around film audio and give both students and experienced filmmakers the knowledge and tools so that their films will sound like they have come from the Hollywood studios without huge Hollywood budgets.
For the book, I have assembled a lineup of Film Industry Heavyweights in all areas of audio production for film and television. This group consists of location recordists, sound designers, picture editors, sound editors, re-recording mixers, and post-production supervisors.
This all-star cast has won Oscars and Emmys in addition to awards from various film industries worldwide. Interviews include, Gary Rydstrom, Tom Johnson, Jim LeBrecht, Ron Eng, Harry B Miller III, Peter Kurland, Lee Haxall, Ken Karman, David A. Cohen and a host of others discuss their methods and secrets. (Click on the names to go to their IMDB page.)
“If you read only one book on sound, this is the one, and, after you’ve read it, you’ll never, ever, ever say, “We’ll fix it in post.” – William M. Akers – author of Your Screenplay Sucks!
Sound Conversations With (un)Sound People – 440 pages
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