How do I properly convey my filmmaking visions, and to whom?

Hi Charles,

That's great that you have so many ideas! I think if you do have so many, it might be a good idea to really focus on the ONE or TWO that are most exciting to you and develop those. Have you looked into writing or film contests or festivals that takes submissions for young writers/filmmakers? Here are just two examples I found online (maybe there is something similar in your city/state, too):

http://austinfilmfestival.com/young-filmmakers-program/young-filmmakers-competition/

http://www.sarasotafilmfestival.com/community/young-filmmakers-showcase

f you pursue a college education in filmmaking, you'll have opportunities to make some of these ideas into reality as well. Those school projects can become really helpful material as you get older and enter the professional world and want to show people the kind of art you make.

Keep watching and reading as much as you can on the subjects that interest you, and continue developing your ideas - it's all experience that will help you pursue your dreams of filmmaking. Best of luck!

Have you talked to a university that has a special major in Film and Television? They could give you some ideas and if they have time, take a look at your work. You might know someone from your high school or a community college that could give you some brainstorming ideas of a path you want to go.

Charles V. asks: "How can he properly convey his filmic ideas?" Then he queries about where to pitch them, and to whom. Apparently, you've been writing log lines, synopses, outlines, treatments, and I suppose screenplays in master scene script format. You already know that pitching your ideas, with their formal film script development package, as described above, is a must; since you got to finance your production. It costs lots of money to produce a "flick." Just to get inside some person's office suite is difficult, and sometimes you got just two or three minutes to sell, not just your ideas, but yourself! Constrained with such a short time interval, you may opt to skip showing the script, and simply deliver a quick but powerful verbal description of the action structuring your work. Maybe, said producer or producers, will ask you for this question: "What is the principal dramatic proposition of your screenplay?" And most times, if at all, not even that. Better have a good longline handy, to quickly catch their attention, for he or she, or even they, may kick you out of there in the blink of an eye. These folks can be very impatient and eccentric in some ways.

Moreover, even if you've written tons of screenplay material, without the proper credentials, you won't get through the door; or else, if you tried to send your script work to their office, say, via registered mail, what happen 99% of the time is that it gets dump in the trash. The point here is that you need to be registered as a writer in one of the guilds, either the eastern division and/or the western one. There's a cost to this professional registration; yea!, it's not cheap to be part of the writers' guild. I'd like to be more helpful and informative, but I've got cut this little advice session shirt.

Tell you what, Charles, let me speak with my Professional Contacts, for they may be better equipped or situated than myself, to answer in details such queries. I'll try to comment back on this particular post. I think that your questions are valid and need better answers, for I'm an eclectic film artist and I do many things in this area, including blogging. Well, good luck Charles!