March Blog

I've recently been provided with a list of independent films by Sabrina Colin, one of my peers who appreciates independent film as much as I do. I was told are very provocative and enjoyable. I've seen 3 of them so far, so I can't wait to see what's next.

1. Lifeguard
2. Stuck In Love- really good film. Both relatable and not too cliché.
3. And While We Were Here
4. White Frog
5. Keith
6. Sassy Pants
7. KaBoom
8. The Babysitters
9. The Paperboy
10. Werewolf Boy
11. One Day
12. Turtles Can Fly
13. An Education
14. The Way Way Back
15. Now is Good
16. Spectacular Now
17. Mysterious Skin
18. Dirty Girl
19. Twelve
20. The Last Word
21. Never Back Down- Not sure if it's independent, but was still well worth watching.
22. The Final- Strange and sadistic at times, but it was funny for me.
23. The Other Woman
24. Struck By Lighting


On a side note, I'm in pre-production of my independent component. I'm still gathering actors to play the main characters in my trailer, and I'm really looking forward to see how everything turns out.

Blog 18: Third Answer

What is most essential to creating a profitable independent film?

Answer #3: In order to compose a profitable independent film, one must take the initiative necessary to leverage relationships with fellow filmmakers.

• Strategic collaborations don't compromise the vision
• Not all film crews get along harmoniously
• The department at which a crew member finds themselves carrying out tasks with the most favorable results is unique to them

Research sources I used: 5, 12, 13, 14, 15, 16, 33.

The most optimal filmmaking mindset might not be present in every crew member, therefore production managers must instinctively choose crew members for the greater good of the project.

Blog 17: Fourth Interview

1. What is most essential to creating a profitable independent film?
2. How would you define "profitable" in the context of independent film?
3. What factor contributes most to the success of an independent film?
4. What about independent film appealed to you?
5. Which departments do you most enjoy working in?
6. What do you enjoy doing most in terms of independent film in general?
7. How highly do you prioritize exposure when it comes to independent film?
8. How highly do you prioritize revenue when it comes to independent film?
9. Have significant relationships between yourself and other crew members been created as a result of one of your projects?
10. In the case of independent film, do you most value exposure, revenue, relationships, or the process?
11. How does one usually begin the writing of a screenplay for an independent film?
12. Do you find that working in several departments is a heavy workload, or would you say it allows you to utilize and apply all of your special skills accordingly?
13. How can one determine the marketability/niche market of their project?
14. How does one go about distributing their film?
15. By what means does a producer or director gather actors or other crew members?
16. For a low-budget independent film, what are production designers responsible for doing and how can they best carry out said tasks?
17. How do filmmakers acquire novelty props that they plan to implement into their project?
18. How can location scouts gain access to private locations?
19. How do sound designers act to convey the emotional accordance of a scene through the use of music and sound effects?
20. What is the most advantageous way for the actors, cinematographers, editors, and sound designers to manipulate the perception of a scene in order to achieve its optimal effectiveness on an audience?

February Blog

From 8 P.M. yesterday to 8 A.M. today, I was in the food court at the Montebello Mall. I acted as an extra for a PSA about active shooters and how to stay safe in such a critical situation. There were several groups, all of which had to react in different ways. I was part of Group A, the group that immediately took off into the mall when the gun was fired. Group B had to hide under the tables to ensure their safety. Group C was split into 2 subgroups: the first posed as cashiers at the fast-food restaurants (some of which had to be renamed for copyright purposes), and the second subgroup wore exploding bloodpacks to simulate getting shot by the extremely loud flash-bang gun. Thankfully, we were provided with earplugs, and all the catering was definitely a plus. Here are some photos I took during a rehearsal:

My mentors were not affiliated with this assignment, so my contact was Deputy Ralf Paddock email: RIPaddoc@lasd.org, or (909) 851-7805,  who called to confirm that I would be there. He has access to all of the release forms, which reflect that I was indeed there.

Blog 16: Advisory Meeting #2

Answer #2: In order to compose a profitable independent film, one must be in the mindset of seeking profit in the form of monetary gain by taking advantage of distribution and marketing techniques.

• Films that are marketed well and extensively are apt to gain attention and subsequently generate substantial revenue.
• Marketing is the first impression that consumers get of a film. If they are intrigued by a poster, trailer, etc., they are likely to see the film and tell others about it.
• Without distribution, the availability of the film to the consumers will be lacking and thus the film cannot gain profit.

Research sources I used: 2, 4, 6, 7, 8, 9, 17, and 33.

Blog 15: Independent Component 2 Approval

1. For my independent component, I plan on shooting the screenplay I made for my first independent component, and using the footage, I will make a trailer.
2. In my independent component 2 log, I will describe what I did in detail to outline the course of the film production. The trailer itself should be sufficient evidence since the filmmaking process is not brief.
3. My independent component will provide me the opportunity to put all of the research I have gathered to use, and it is the most logical way to follow through with my 1st independent component. 

Blog 14: Independent Component 1

1. I, Richard Reinaga, affirm that I completed my independent component which represents 30 hours of work.
2. I didn't read a book on how to write a screenplay, however in ROP Videography, I learned how to utilize a template and just build off of that. Also, everyone had to compose a script freshman year for the Multigenre Project and again sophomore year for the Frankenstein Films, so we should all have some level of experience.
3. My Independent Component Log is already up.
4. For my Independent Component 1, I created a screenplay that allows me to apply most of the research I've done so far, and it allows me to be productive and creative, something that no amount of research will exercise.

My screenplay should be sufficient evidence in demonstrating 30 hours of work, which is explained with greater detail in my Independent Component Log. Click here to view my screenplay. Although it is purely expositional (it ends at the conflict), it represents 30 hours of work. Screenwriting is a strenuous process that I have had the fortune of undergoing, and since I tend to be very detail-oriented, none of the possible outgrowths following the introduction of the conflict have appeased me. I simply left it up for speculation with hopes that I will someday have an option that is particularly striking relative to those thus far.

The component helped me understand the foundation of my topic in great depth. The research gave me a considerably superficial perspective on independent film, and this more engaging hands-on work allowed me to gradually apply this information with practicality. This example is somewhat abstract, but since I know what independent film is already, I might as well employ what I've learned since anything else would be tedious. It essentially allowed me to deepen my understanding and offer more admiration to my topic.