Hi,
Here’s a hodge podge of input for you. Perspective is general but includes big budget level filmmaking. For independent filmmaking (low budgets) made outside of the Hollywood system, things are a lot looser (i.e., anything goes if the time has come for your idea..)
Become good in as many of the craft, creative, and public relations aspects of the business as you can; you have started to do this so keep it up. Every opportunity to make film should be seriously considered; muliti camera shoots of local dance recitals, participating in the 48 Hour Film Project, moving to a major media center, film school classes, etc. etc. The paths taken to become a director are very diverse. Some big name directors started in local public access TV (e.g., director of The Exorcist); I don’t think there is an age limit for working in public access TV, esp if you have work to show. One of my hero’s, Roger Corman, started out working in the mail room of the studio he later put on the map. Many at your age or younger were passionate about getting to the theater and watching classic movies day in and day out; Martin, Francis, Quentin; and numerous famous British, French, and Italian directors. Access to the classics has become so easy, compared to the way it was for them. (Many DVD’s include very informative making-of docs.) You will need to have drive, ambition, and physical stamina as a director, more so than with other roles in filmmaking (run and lift weights?). At the end of the day’s shoot, directors are the last to leave the set and the first to show up a few hours later for the next day’s shoot. At the time when you were born, at the Hollywood level, there were basically two paths, one for those inclined to do lights and cameras; and one for those whose focus was on storytelling (scripts) and directing actors. The way the business was set up, those in the first group became Directors of Photography; those in the second, “Directors.†These roles have stood the test of time although the paths for getting there have become more varied. (However, note that being on a big budget set is like being at the union hall.) A lot of the activity/decisions swirling around the director, and sometimes associated with and performed by young energetic workaholic directors, falls to another key person, the Producer. (Francis Ford Coppolla has said in an interview that Director is the last job in the Western World where it is acceptable to exercise the unlimited unquestioned power of a dictator and he brought up the name of Napoleon; actually, I think he was referring to the combo role of director/producer.) In your spare time, when you are not busy drafting script ideas, shooting or editing video, or watching movies, consider reading books about directors you like. My faves include books about Corman; Norman Jewison (Heat of the Night); and John Frankenheimer (directed original Manchurian Candidate and other classics; was friend of Robert Kennedy and drove with him to fateful rally; cracked up over it; pulled himself together to become an award winning TV director; and did some more great movie work). I don’t see much point in reading about what I call underachieving geniuses, such as Orson Welles or Stanley Kubrick. No one’s going to let you spend money for ten years for making a movie, unless own the bank, (If looking for poor examples, the later “finished†projects of Orson Welles is the place to go to see how bad audio can be in the work of a major artist; exception, Touch of Evil.)
I see that compusolver just came through before me. I think we are sort of saying some of the same things, except that I provide bonus details and asides that are helpful or confusing depending on you POV; and was lazy about using paragraphs. To save on time you can just read his piece. :D
No Time Like Now!
REGARDS ... TOM 8)