Guerrilla filmmaking refers to a form of independent filmmaking characterized by ultra-low micro budgets, skeleton crews, and limited props using whatever resources, locations and equipment is available. The genre is named in reference to guerrilla warfare due to these techniques typically being used to shoot quickly in real locations without obtaining filming permits or providing any other sort of warning.
Independent filmmakers typically resort to guerrilla filmmaking because they do not have the budget or time to obtain permits, rent out locations, or build expensive sets. Larger and more "mainstream" film studios tend to avoid guerrilla filmmaking tactics because of the risk of being sued, fined or having their reputation damaged due to negative publicity.
Van der Linden labels a central factor in the decline of the MCU “storytelling entropy.” Classic films, you may have noticed, concentrate practically all the energy in every facet of their production toward the expression of specific themes, stories, and characters; at their best, their every line, gesture, cut, and invention represents the tip of an artistic iceberg. Take, to use a popular example, the lightsaber introduced in Star Wars, which Van der Linden calls “not just a weapon, but a metaphor” that “symbolically communicates a lot about the philosophy of its wielder, and about the larger world that it exists in,” condensing “a multitude of meanings and ideas into a simple, singular object.”
Gerrit van Dijk studied as a fifteen-year-old boy at the academy in Tilburg. He was not very satisfied about the school. "You only learn technique. The creativity you learn is no creativity at all. You know exactly what colour socks you should wear and what your hair should look like, but not how to put something on paper." After finishing his study, he initially became a teacher. His painting career ended abruptly when he saw Norman McLaren's films and bought a double-eight camera. He made his first film It's Good in Heaven, seeing his shift to film as a logical continuation of his work as a painter, and considered his films moving paintings. Over time, Dijk moved away from classic filmmaking, instead creating collages combining photographs and image-by-image technique. He also experimented with various techniques, including cels, cut-outs, rotoscope, pixilation, and live action combined with animation. I move, so I am