Filmmaking 101

Tribeca Flashpoint Media Arts Academy

noreply@blogger.com (PeterH) — Tue, 13 Apr 2010 22:10:00 +0000

Hi Again. I think this explains it all pretty well.

PeterH

By Mark Caro, Tribune reporter

1:33 p.m. CDT, April 13, 2010

Tribeca is the name of a Lower Manhattan neighborhood, film festival, institute and production company, and now it has a strong Chicago association as well.

That's because the company founded by actor Robert De Niro, his producing partner Jane Rosenthal and her investor husband Craig Hatkoff has taken a 50 percent interest in the Loop-based two-year digital media vocational school Flashpoint: The Academy of Media Arts and Sciences. The school now will be known as the Tribeca Flashpoint Media Arts Academy as it opens a virtual pipeline between the 75,000-square-foot Clark Street facility and Tribeca's New York headquarters.

"It really means amazing opportunities for our students," Flashpoint president/CEO Howard Tullman said, noting that his school was "looking for a strategic partner as much as an investor."

"It's state of the art," Rosenthal said of Flashpoint. "It's really an amazing place. It just happened to be the right fit for what we were looking for."

Tribeca has been in expansion mode of late, overseeing not only the Tribeca Film Festival (launched in 2002 and running Apr. 21-May 2 this year) but also a virtual version of the festival, a cinema, a production facility and an institute involved in community outreach and education. Rosenthal said her company has worked with middle-school and high-school students before, but Flashpoint represents the first such partnership with an institution for more advanced students.

Built out in a high-rise kitty corner to Daley Plaza, Flashpoint welcomed its first students in September 2007 and has seen its enrollment grow from 110 students to the current 450, Flashpoint Dean Paula Froehle said.

"What Howard has pulled together in a very short period of time, it's almost hard to believe," Hatkoff said.

The school takes a contrasting approach to the film program at nearby Columbia College, which offers a traditional four-year liberal arts degree. Flashpoint is a two-year immersive program designed to prepare students, college age or older, for work in the digital media world.

Local-based filmmaker Harold Ramis has close ties to Columbia College, and also appears in Flashpoint's promotional materials. He said he still values a four-year liberal arts education, but he's also impressed with Flashpoint.

"It's a really cool facility," Ramis said. Calling Tribeca an institution that "does things right," he added, "I can't imagine this is a moneymaking enterprise for them, but as a pipeline for talent and well-trained students, it's probably a good thing."

To Rosenthal and Hatkoff, the partnership is less about bringing Flashpoint students into the Tribeca fold than boosting an industry in a state of wild flux.

"I've been in the industry for over 25 years, and I've never seen the industry change more," Rosenthal said. "The jobs and the skills (needed) are changing dramatically, and you need to stay forward thinking. The students that do come out of this program will help us keep our industry healthy."

Hatkoff cited a question posed by a Gates Foundation report: "How do we prepare students for jobs that don't yet exist?" Flashpoint, Hatkoff said, is poised to do just that.

Tullman said he envisions Tribeca Flashpoint students getting involved in various aspects of the film festival, such as working with filmmakers and helping them develop marketing materials and trailers. (Flashpoint students already have done such work on projects such as "The Girl with the Dragon Tattoo," distributed by Chicago's Music Box Films.)

Rosenthal said the specifics of the interplay have yet to be determined. "It's too soon to say what students at Tribeca Flashpoint will be doing at Tribeca," she said. "If students have the opportunity to work at Tribeca and if we have the opportunity to work with students, that will be fantastic."

The President and Me

noreply@blogger.com (PeterH) — Tue, 24 Mar 2009 11:30:00 +0000

I am feuding with President Obama.

His unintended gaff to Jay Leno comparing his bowling abilities to those of a Special Olympian has set off minor outrage in these parts.

As loyal readers know, my sister, Mary Beth- here with my dad, won a silver medal at the 2003 Special Olympic World Games in Dublin. I made a film about it and growing up with a special needs family member called "what's two+three?" Click on the link on the right and you can see more.

So when I heard about the President on Leno I jumped into action with the goal to get Mary Beth and the film to the White House to bowl against the President and to screen the film for him.

By Saturday morning my sister was on the front page of the Quad City Times Newspaper (where she and my parents live). That night she was the lead on the 10pm news- showing a clip of my film right after Obama's misspeak. A press release went to the Tonight Show- trying to get Mary Beth to the White House to bowl against the president and have Jay Leno finish what he began. Through other connections we got the film to top Obama aids in the White House. I contacted the Shrivers and the Special Olympics in D.C.

It's rare when you get a p.r. shot like this and I did whatever I could to capitalize. Coincidently, I have just begun work on the next Special Olympics film- the 2011 World Games are in Athens, Greece. I think having President Obama's endorsement would be a great way to raise some development funds.

Here are links to the article and Mary Beth's TV appearance- best seen on a PC with Internet Explorer as your browser. Scroll down to the March 21 10pm newscast. She is the lead story.

http://www.qctimes.com/articles/2009/03/20/news/local/doc49c45fcfc92b2023408526.txt

http://www.kwqc.com/Global/category.asp?C=79072

PeterH

Taking Chance

noreply@blogger.com (PeterH) — Sat, 28 Feb 2009 22:28:00 +0000

In the news this week was the Obama administration's decision to revisit the policy on allowing pictures of the caskets bringing home dead soldiers. The previous president did not want pictures such as the one here to see the light of day. I am glad about Obama's decision, it's both patriotic and symbolic, but I also understand if family members of the deceased would choose not to want photos like this be seen.

All of this ties in with a new HBO film that screened at Sundance called Taking Chance. It stars Kevin Bacon who plays a real life colonel who accompanies one casket back to its final resting place. I say often that one of the things I like about films is when they take me some place I would never get to go, and this film does that. We follow Bacon's character on his journey from Dover Air Force base to the family in Wyoming. It was fascinating in its simplicity.

I have always thought Kubrick's Paths of Glory was the best anti-war war film I have seen. I think Taking Chance is right there with it. We get to see the very real and very unglamorous after effects of war. I have seen some reviews from its Sundance screening that weren't all that favorable, but I liked it. It's small and quiet and dignified and pays its respects to the fallen soldiers.

See it if you can.

PeterH

The Oscars

noreply@blogger.com (PeterH) — Sun, 22 Feb 2009 17:45:00 +0000

A quick post about tonight's Oscars. I don't really care about the awards, especially this year with times so tough it seems strange to celebrate millionaire celebrities and studios when things are so haywire in the world. I look at it sort of like this year's Super Bowl between teams I don't care about. I'll catch a little maybe, by Monday morning the highlights will be everywhere to see.

I miss bad songs and streakers and Cher in a bad dress. Bring back those Oscars or make it a 60 minute highlight show.

That said, here's what I hope happens:

Best Film and Director- Slumdog and Danny Boyle. I've met him, interviewed him, great guy, great filmmaker, I liked the film. Please win.

Best Actor- Sean Penn.

Best Actress- Meryl Streep

Supporting Actor- Heath Ledger

Supporting Actress- Viola Davis

Documentary- Man on Wire

Foreign Language- Waltz with Bashir-

Adapted Screenplay- Doubt

Original Screenplay- Frozen River.

I bet I am wrong more than half the time, but I am not in any pools, those are the folks I want to see win.

PeterH

No Subtitles Necessary

noreply@blogger.com (PeterH) — Mon, 09 Feb 2009 12:32:00 +0000

This past weekend Oscar winning cinematographer Vilmos Zsigmond was in Chicago speaking with filmmakers and on Sunday holding a master class for students and industry professionals.

That's Vilmos on the left and director and cinematographer Jim Chressanthis on the right at yesterday's master class, and those are my Flashpoint students there in the front row.

There were two events on Saturday. On Saturday morning from 11-2, in an event only open to students and industry professionals, Vilmos and Jim screened clips from their work, discussed their techniques and choices and took questions from the audience. It was really fascinating, especially if you are a filmmaker.

On Saturday evening, in an event open to the public, they screened Jim's film No Subtitles Necessary: Laszlo and Vilmos and took questions from the audience. The film is excellent- it appeared at Cannes last May and is on the festival circuit now. It depicts the friendship between Vilmos and Laszlo Kovacs from their escape from Soviet controlled Hungary in 1956 to their arrival in Hollywood, and how they helped shape the look of American films from the late 60s to today.

After the screening I was lucky enough to get to go out with them and have a drink and talk film. It was my personal highlight of the weekend.

Here's a quick list of some of the films Vilmos and Laszlo has photographed.

Vilmos:
McCabe and Mrs. Miller, Deliverance, Scarecrow, The Sugarland Express, Close Encounters of the Third Kind (won the Oscar), The Deer Hunter, Heaven's Gate, Blow Out, The Witches of Eastwick (where Jim Chressanthis was his intern). To date he has shot over 80 films.

Laszlo ( mere 70+ films before his death in 2007)
Targets, Easy Rider, Five Easy Pieces, Shampoo, Frances, Ghost Busters, Little Nikita, Say Anything.

This will be the first of several posts about the weekend. More to follow soon.

Peter H

Sundance Film Festival- a wrap

noreply@blogger.com (PeterH) — Fri, 06 Feb 2009 03:09:00 +0000

This is my last piece on this year's Sundance Film Festival, I promise. This time it's my overview of the experience.

First and foremost I had a great time. I was only there for maybe 85 hours, but I went to seven film screenings, three panels, three parties and lots of hanging out. I saw some great films, bad films and some in between. I met a lot of industry folk and learned a few things.

Among the things I discovered:

Independent Film is in flux. The small little film that goes big- Sex, Lies and Videotape, Blood Simple, She's Gotta Have It, Stranger Than Paradise, all 20-25 years old- is a thing of the past, BUT also maybe a thing of the future. A good story will go a long way.
Distributors have no money for films that don't have a name or can "open."
DIY distributing, when put in motion before production is a viable way to get your film seen.
Sundance- it seems like all the films in the festival had some Sundance connection- getting into Sundance or the Institute is the trick, once in you are in.
5600 short films for 90 slots. Why even try entering?
Where else can one go see a documentary like Old Partner- the Korean film about an old farmer and his 40-year old dying ox. That and the short film panel were worth the trip.

In short I learned a lot. glad I went, I look forward to going next year and hope we can take some students.

PeterH

Yet Another Sundance Panel

noreply@blogger.com (PeterH) — Sun, 01 Feb 2009 22:06:00 +0000

Sorry if this is getting old, but hang on for just a little longer.

Perhaps the panel I was most looking forward to attending was on Tuesday afternoon- immediately following the Obama inauguration. (A side note on the inauguration... I gave up tickets for an 11:30am screening of We Live in Public- which ended up winning the jury prize for U.S. Documentary to see Obama take office. A good trade, I think.) The panel was looking towards at the future of independent film and on it were Sundance Festival favorites- Tom DeCillo, Barbara Kopple, Gregg Araki and Steven Soderbergh.

I love all those filmmakers, but to me Tom DeCillo had the best insights on independent film. DeCillo was the DP on Stranger than Paradise- perhaps the first indie film of the 1980s indie movement. He went on to make Sundance films- Johnny Suede, Living in Oblivion (all filmmakers need to see this film), Box of Moonlight and others. He has a documentary about The Doors- called When You're Strange in the festival.

Highlights from DeCillo:

Independent Film used to be about saying no to Hollywood, no to the suits. Now it's just the opposite. Independent film (and by extension the Sundance Film Festival itself) is more like Indiewood, or Hollydent. People want to get into Sundance and use it as a launching pad for Hollywood.
It's a lot harder to raise money now as an independent because Hollywood has taken over so many independent studios.
His definition of a director, "The guy who gets the money."

Other interesting comments from the panel.

Soderbergh: The most independent guy in Hollywood is Steven Spielberg beacuse he can do anything he wants.

Kopple: The most important thing is to be good storytellers. We want to see your vision not what you think Hollywood wants.

That's a good place to end, I think.

PeterH

More Sundance Panels

noreply@blogger.com (PeterH) — Thu, 29 Jan 2009 12:22:00 +0000

Another very interesting panel I attend was the new filmmaker panel co-sponsored by Variety and the Illinois Film Office. Eight first-time Sundance directors were there- three were women I am happy to say. All had films in the festival- the two with the biggest names were The Greatest starring Pierce Brosnan and Susan Sarandon, written and directed by Shana Feste and Marc Webb's 500 Days of Summer with Zooey Deschanel and Joseph Gordon-Levitt.

Some common comments from the panelists.

The importance of Film school- everyone went to some film school either as a graduate or undergrad.
Be prepared, then really be prepared.
You will have a moment when all hell breaks loose. Don't worry about it.
There are hundreds of compromises to make. be ready to make them.
Scariest thing I have ever done.

That's just the tip of the iceberg, but it rings true to me.

When I saw the panel, only 500 Days had distribution- it has a $7 million budget. Low by Hollywood standards, but not low by typical Indie Film standards. I think that says a lot about the festival.

Two more Sundance posts on the way from me- One about the Soderbergh panel, the other just on views about the festival and the state of independent film.

PeterH

Sundance Film Festival-panels

noreply@blogger.com (PeterH) — Mon, 26 Jan 2009 12:32:00 +0000

Sundance is over, the awards have been announced-Push won the Dramatic Prize and We Live in Public won for documentary. I saw neither. I had tickets to We Live in Public but I opted to watch Obama instead.

I want to talk about a panel I attended last Sunday. It was about distribution and new ways to get your film seen. There were a series of panelists, filmmakers, distributors, producer reps, etc... but the person who stood out to me was filmmaker Lance Hammer.

Last year at Sundance his film Ballast was in competition and was a hit with audiences. The film failed to get distribution- or at least a deal satisfactory to the filmmakers- so they have been slowly getting the film in front of audiences one market at a time. This DIY (do it yourself) distribution, when done thoughtfully seems like a good direction to go.

I don't have time or space to give all the details, so I will just bullet point some of the key topics discussed.

Blogging and social networks. Lance said that if he was starting all over he would hire a blogger and treat him as a key crew member. The blogger would not only blog about the production, but track mentions of the film in other blogs and link to other interested parties. They talked a lot about Facebook and Google Alerts- I am wondering if they get pinged because of this post. (If so, Lance or someone from the Ballast team leave a comment.)
There is no money out there for small film distribution. Their suggestion is to include some marketing and distribution money in your production budget. The days of over paying for an indie film are over. Be prepared to hit the streets with your film.
Reinvent the distribution model. Arguably, Ballast and Lance Hammer were never as hot as they were last year at Sundance. The film should have been released as close to that date as possible. There was an interesting discussion about Festivals having an on-line component so more people can see films at the time. (In fact if you go to iTunes you can download 10 short films from this year's festival. Look up Sundance Storytime.)
Use multiple platforms to get your film seen- both pay for play (itunes) and free distribution. The goal is to get eyeballs on your film. In fact one person even said that piracy is not a bad thing for them, they consider it flattery.
Perhaps the one thing I took away from the panel was this: Find your 1000 true fans and market to them. Don't take a wide shotgun approach, but target the people you really think will like the film and aggressively go after them.

There was a lot more, in fact I got more out of this panel than I did the bigger panel two days later with Steven Soderbergh, Barbara Kopple, Tom DeCillo and Gregg Araki- but more on that later.

I have Netflixed Ballast. It is "saved," as there is no distribution date yet. I hope to see it, and I invite anyone who has seen the film to comment.

PeterH

Absolut Mango

noreply@blogger.com (PeterH) — Fri, 23 Jan 2009 13:33:00 +0000

More specifics about panels an films at Sundance in a later post, but I wanted to share some of the non-cinema highlights of the festival.

Along Main Street in Park City many storefronts are taken over by sponsors- The New York Lounge was where I saw Susan Sarandon and Pierce Brosnan as I stopped in for a bagel. The music pavilion was where I saw Paris Hilton running from photographers, and just down from the Egyptian Theater was the Queer Lounge sponsored by Absolut Mango.

The Queer Lounge was a great place to hang between shows and panels. For a small donation you could drink all the Absolut Mango vodka you wanted- too mango-y and not vodka-y enough for my taste- and meet a lot of interesting people, queer and not. We met folks from Pixar, who made a little film called Wall-E this year, and just regular film fans who stopped by for a drink.

Just like this post, the Queer Lounge was a nice place to stop and change your mind.

PeterH

Sundance Short Documentary Program

noreply@blogger.com (PeterH) — Tue, 20 Jan 2009 15:52:00 +0000

This post was lifted from an email I sent my Flashpoint Academy Documentary students after seeing the Short Doc. program yesterday.

Hello From Sundance,

I have been to six screenings so far and by far the best one was the short documentary program. There were 8 films selected out of 1200 entries. Just think about that 8 out of 1200. The only one you will be likely to see is an HBO Documentary on the actor John Cazale- Fredo from the Godfather. It was great, but it was also the longest and by far the most expensive, and it didn't seem to fit in with the other seven films as it was the most commercial.

A few trends I noticed:

Lots of graphics. Two films were originally designed for the Internet and were all graphics and/or found footage- one about nuclear weapons and the other about Internet censorship.

A third film was about a Canadian artist and they shot an interview, but the entire piece was animated. Very beautiful and poetic.

Another trend- recording dialog and interviews separately and shooting B-roll. No on camera interviews. Two films I saw- one was shot with a digital still camera and the other about people who store their belongings in public storage in Scotland- recorded their interviews on a digital disc recorder separate from shooting.

This is very interesting to me because of the emphasis it puts on the B-Roll. The Scottish storage locker film was great because of the images they shot, and perhaps because there were no talking heads or faces.

There was a fascinating film called Utopia Part 3 about the world's largest shopping mall- in China. The mall is a bust, no one goes, there are only a few stores open, but it really illustrates some of the problems China is having with growth and capitalism.

After the HBO/Cazale film perhaps the most traditional doc. was about high school kids in New Orleans post-Katrina. The filmmaker followed three students who were attending school even though they were living by themselves- their parents and siblings had moved or been taken to foster care. The filmmaker said that 20 percent of students at the school lived without their parents.

The final film- and one I hope I don't have to see again- is called Chop Off. It's about a performance artist who chops off body parts as his art. Very tough to watch- no amputations on screen- and full of medical and media ethics questions.

Those are the 8 films out of 1200 that made it. Just seeing them makes me want to explore some of these techniques and shoot more film.

PeterH

Sundance Film Festival

noreply@blogger.com (PeterH) — Mon, 19 Jan 2009 15:54:00 +0000

Hello from Park City, Utah. I am at the Sundance Film Festival with Flashpoint Academy Academic Dean Paula Froehle. It's my first Sundance experience and so far it has been a lot of fun, very informative, and we even got some business done.

Details and pictures will follow- the dumb filmmaker can't get his pictures off his camera until he returns to Chicago. Here is a quick rundown of our first 36 hours.

Two film screenings- a bad collection of shorts, and great Korean documentary called Old Partner about a farmer and his 40 year old ox.
Two very interesting panels- one on new ways independent filmmakers can self-distribute their films, the other hosted by Variety and the Illinois Film Office- 30% tax breaks to shoot in Illinois!- about 10 directors to watch.
Lots of hanging out talking film, talking film business.
A great debate, about the film Doubt, though I think it was determined (I determined) that Betsy Steinberg, head of the Illinois Film Office, and I were right about what happened to Phillip Seymour Hoffman's character and everyone else is completely wrong.
Celebrity sightings: Pierce Brosnan, Susan Sarandon, Perry Farrell, Paris Hilton, Joseph Gordon-Levitt.

More later, more specifics and pics.

PeterH

Got Film If You Want It

noreply@blogger.com (PeterH) — Mon, 15 Dec 2008 12:43:00 +0000

As Chair of the Film/Broadcast Department at Flashpoint Academy it has been a personal mission of mine to have our students shoot film. Typically we shoot HD, but this fall, thanks to Kodak, our advanced cinematography students shot some super 16mm. After seeing the rushes I felt confident that we could shoot our own film, so last Wednesday production began on October Surprise, Flashpoint Academy's 3rd Production-in-Action.

October Surprise is a film set in a TV news room on the eve of a presidential election. Some mysterious photos of the leading candidate have appeared and there is a rush to see if they are real or fake.

Our advanced students are doing the heavy lifting on this film. Supported by key professional crew members, our students are shooting film. Production wraps this Thursday, then a much deserved winter break. More details and photos to follow.

PeterH

BTW Got Live If You Want It was the name of the Rolling Stones first live record, so I borrowed the title for this post for our first film.

Studs

noreply@blogger.com (PeterH) — Sun, 02 Nov 2008 23:34:00 +0000

Studs died.

Jesus wept.

Hello again, it's been awhile, give me a break I have been busy. I'll give you a recap of life since September in another post, but first a few words about Studs Terkel.

I met Studs when he agreed to read a children's version of Icarus and Daedalus for my TV show Rainbow Soup. http://www.rainbowsoup.tv/video.html
We shot him in his house- like everyone did the last years of his life. A few brief memories:

1) He left a message on my answering machine, "Peter, this is Studs. Sure, I'll read the story, let's set it up." I was in a parking lot in Baltimore checking my messages when I got it. I must have played it back a dozen times just to hear, "Peter, this is Studs."

2) I was at his house a short time after his wife died. His phone rang and it was a solicitor asking for his wife. He explained she had recently died, the solicitor didn't miss a beat and started to pitch Studs on whatever he was selling. Studs politely declined and hung up. He turned to me and said, "That happens all the time. They don't hear me say she is dead."

3) Just as we started rolling he was telling a story, I don't recall it, but the only part we have on film is Studs saying, "Wilt Chamberlin, Harold Washington and me- what an unholy trinity." I have no idea the context, but I laughed and you can hear me off camera.

4) At the end of the piece I asked Studs advice he would give young people. He thought for a moment an said, "Read. Read Twain and Shakespeare."

Good advice, thanks Studs.

PeterH

Peter Gabriel- Witness

noreply@blogger.com (PeterH) — Sat, 13 Sep 2008 19:47:00 +0000

When I met Peter Gabriel at the Womad Festival back in 2001 he rounded a corner wearing a loose windbreaker and was carrying a small video camera. We shook hands and the entire time he kept filming me. It was very disconcerting and more than a little odd. But it kept me honest- it is a true document of our first meeting.

After a moment I looked at the camera and then at him and said, "Do you have permission to do that?" He didn't laugh, but instead asked if I was going to stop him.

That was my introduction to Peter Gabriel.

In addition to all his great music, Gabriel is known for pushing the envelope of technology- both music and film. Look at those videos from 20+ years ago, they are amazing today. He is also known for being a human rights advocate. He has combined both of those passions to promote the idea that the camera tells the truth and can (and has been) be used to help prevent human rights violations.

He can say it much better than I can, so watch this 14 minute long presentation if you care at all about telling the truth.
http://www.ted.com/index.php/talks/peter_gabriel_fights_injustice_with_video.html

PeterH

The Suits

noreply@blogger.com (PeterH) — Sun, 24 Aug 2008 22:06:00 +0000

There was a really depressing article in Friday's Wall Street Journal about how Warner Brothers- in part based on the success of the last two Batman films- is going to make fewer, more expensive films, and are going to mine DC Comics for characters. Warner Brothers currently produces 25 t 26 films per year, and will cut back to 20 to 22 films a year- with as many as eight "tent pole" films to be based on DC Comic characters.

Oy.

Is this short sighted? Warners recently closed its two art house labels- Warner Independent Pictures and Picturehouse. Evidently the films produced by the these entities: Goodnight and Good Luck, Before Sunset, In the Valley of Elah, La Vie en Rose, The Notorious Betty Page, Pan's Labyrinth didn't fit the new Warner's model. Maybe if Edith Piaf and Edward R. Morrow had been comic book characters things would be different.

Read the article and weep.

http://online.wsj.com/article/SB121936107614461929.html?mod=2_1168_1

PeterH

Even More Witch

noreply@blogger.com (PeterH) — Fri, 15 Aug 2008 03:11:00 +0000

Just a brief update.

Team Flashpoint has been named one of three finalists in the Experimental Witch Project. A PAL HD version of the film has been shipped to Italy at their request. We will know more on August 24.

PeterH

Isaac Hayes

noreply@blogger.com (PeterH) — Sun, 10 Aug 2008 23:26:00 +0000

I was all set to blog about Peter Gabriel when I learned about the death of Isaac Hayes. The Gabriel blog will come next, but in the interim a few words about Isaac Hayes.

For my TV show Rainbow Soup, I had the opportunity- and ironically it came less than an hour after meeting Peter Gabriel- to shoot an Isaac Hayes show from the pit of the 2001 Womad Festival outside of Seattle. His set started and the band vamped for what seemed like five minutes and then from the side of the stage Isaac walked out, dressed in camouflage, army boots and sunglasses. He shuffled across the stage with a huge smile snapping his fingers. The crowd went wild. It was a great moment.

He sat at his keyboard right in front of me and for 30 minutes played right to our camera. He was fantastic, the audience loved him, I did too, and then security came- even though I had permission- and shut me down. A moment later someone from Hayes' team crawled out to me and asked why we weren't shooting, when I explained he said, "Isaac wants you to shoot him, keep going!"

We fired back up and ten minutes later security came to kick me out. As we left the pit, Isaac looked down at me smiled and gave us a thumbs up. A moment later, between songs, using his "Chef" voice he complained about security being a little to harsh on some members of the press. The crowd cheered and I felt vindicated. After his set I hung backstage with him. He was just a nice man. Very funny, cool guy.

While he might be most known for his Oscar winning song- the theme from Shaft- I wanted to talk with him about his role on The Rockford Files back in the 1970s and his transformation into Chef- this was just before he left South Park.

I am writing this in the quick moments after learning about his death, more thoughts later perhaps. Isaac Hayes will be missed- as will Bernie Mac- a great Chicago talent and presence.

PeterH

The Real Thing- Aaron Levy

noreply@blogger.com (PeterH) — Sat, 09 Aug 2008 22:42:00 +0000

I had breakfast the other day with a former student of mine named Aaron Levy.

Remember that name.

Aaron was in town from New York visiting his parents and he rang up his old teacher.

After getting his B.A. Aaron hung around Chicago. He logged film for a reality sports TV show, I hired him as a p.a. a few times- he was lousy as a p.a. it was just not his cup of tea (not mine either)- and he did a variety of add jobs like work in a lawyers' office. In all his spare time he would write. Of all my students in these near 13 years of teaching college Aaron is the one who sticks out as a writer. As a college student he was a mediocre filmmaker, but an excellent writer. More importantly he loves the act of writing perhaps more than anyone I know.

A few years after he graduated I prodded him into applying to graduate schools and he was accepted at NYU. Two years later he received a M.F.A. in playwriting. In the years since NYU he has been a struggling artist. He has had some opportunities and readings, took some more classes, got hired at an off-Broadway theater as a manager. In June had a one act play produced in Washington D.C. He's on the rise.

When Aaron walked into the restaurant early the other day he was a new man. Gone was the round, soft, relaxed former student. In walked a lean, 32 year old playwright- an artist, a person on a mission. I was taken not only by his physical transformation- he also quit smoking and began exercising- but his emotional transformation. Sitting before me was a creative person to be reckoned with. As we ate, Aaron told me about his new play. It's about race and youth and when he pitched it I got goose bumps. He asked if I want to read it. I said, "No, I'll wait to see it."

So you don't think I romanticize all of my former students, I left the restaurant and went to my second meeting of the morning (I get a lot done before 9am). This was with two former students- who I have previously hired- who have really good editing jobs, making nice money and doing really fine work. I like them a lot, respect them even more, but they are not artists of the same caliber.

If there is a consistent theme to this blog it is work hard, then work harder. It takes ten years to be an overnight success, just keep at it if it is something you want to do. So with apologies to Tom Stoppard keep your eye out for playwright Aaron Levy- the real thing.

PeterH

More Witch

noreply@blogger.com (PeterH) — Sat, 02 Aug 2008 02:08:00 +0000

Yesterday I blogged about the Experimental Witch project and today I am giving this space over to Lori Bohner the Flashpoint student who directed the film. That's her in the center between the two leads and amongst the rest of the Flashpoint crew. I'm going to let Lori tell the story of how the film came to life.

As a reminder the film was made by students who had been in the program less than six months before production began. I am proud of their effort and how they collaborated and worked as a team.

PeterH

The moment you informed us of the Experimental Witch Project I fell in love with the idea. So did many other students. About 35 students began brainstorming ideas for our adaptation of the character Heron. My intentions were to be one of the writers and possibly co-write a script. The group began monthly meetings in January. By March our numbers had dwindled as students were be called toward various other projects. In April we began weekly meetings with about 7 students to discuss a shooting script. I had read The Witch of Portobello cover to cover by this time and my script was the most finished and was chosen by the group to produce. By consensus of the students I was elected by the group to become the director. I felt honored.

I was drawn to the project because I feel a connection with this story. Immediately I thought of two actor friends of mine I felt would be perfect for this role. I had also had been a volunteer for the Romanian Film Festival in the fall and loved the old building the Festival took place in and thought it would be perfect for this script.

Things started coming together.

I asked Adam Darin only two weeks before shooting to be my producer. Without him I would have been lost. He was the ambitious leader I needed to assemble the rest of the missing crew and help organize my thoughts. I held two rehearsals with the lead characters and had no time to hold a casting session for the extras. I decided to create several Craig's list ads searching for different profiles. I had about 15 responses from various actors and had detailed phone conversations and 'hired' them from the conversations and head shots they had emailed me. I even met one actor on the train. I was creating a 'to do' list that he read over my shoulder and he happened to have a head shot on him. He was perfect!

My only complaint was tardiness. The day of the shoot not one single person (except myself :o ) was on time. Even with the chaos in the beginning we quickly pulled the ship up-right and got our first shot off. Adam had made a wonderful shot list and floor plan for us to follow which gave us the perfect check list to accomplish our 117 shots in one-days-time! The atmosphere was very professional and the crew and cast rolled up their sleeves and worked their tails off.

I was recommended a composer and met with him to give him my thoughts on what type of score I was looking for. We had many other meetings following that initial. He was absolutely great. Meanwhile two students, Kyle Krause and Vlad Sava, created two unique cuts. Kyle's on Final Cut and Vlad's on Avid. We ended up with Kyle's as his was more complete.

We got a late start on the editing process and I felt rushed at the end but was happy with the final result. Our sound designer, Ian had two days to finish the final sound mix ...and voila...Love and Lovelorn. We had a great team and great crew. I am pleased.

Sincerely,

Lori

Witch of Portobello redux

noreply@blogger.com (PeterH) — Thu, 31 Jul 2008 22:06:00 +0000

In January I blogged about how Paulo Coelho was allowing his book The Witch of Portobello to be adapted by filmmakers and allowing them to compete for a $3,000 Euro prize. Each filmmaker had to apply and if selected, had to create a short film about one character. I applied and was given the character of documentary filmmaker on the search for Athena.

So instead of making the film myself, I opened it up to my students and supervised their production. They did the heavy lifting, I sat back and ate craft services. Click on the link to see the Team Flashpoint submission. On my next blog I will share comments from my students about the process.

PeterH
http://www.youtube.com/watch?v=uc0U9onOrc4

The Dark Knight

noreply@blogger.com (PeterH) — Sat, 19 Jul 2008 16:13:00 +0000

This past Wednesday Flashpoint Academy was one of the sponsors of the Chicago premiere of The Dark Knight. The film was shot in Chicago last summer and the premiere was held at the Navy Pier Imax theater.

As one of the sponsors Flashpoint was allowed to be on the red carpet, in the screening and at the party afterwards. I was elected to be the person interviewing the stars on the red carpet. We were able to get a couple of students out there with me- this is Matt and Joe, as well as our in-house producer Paul Matian. We interviewed Michael Caine, Gary Oldman, producer Charles Roven and others and our students got to meet and speak with director Christopher Nolan. A great time was had by all, and just another way Flashpoint is different from other film schools.

I'll let the pictures tell the story.

PeterH

We've Got a Winner!

noreply@blogger.com (PeterH) — Fri, 18 Jul 2008 12:24:00 +0000

About a month ago a group of Flashpoint students participated in the Chicago 48 Hour Film Project, and last Saturday night their film, Urn Doctor, M.D. won the Audience Prize for Best Picture, Best Actor, Best Cinematography, and Best Editing.

Team Flashpoint was one of 30 teams that competed during the Chicago event held during the weekend of June 20-22. In 2007, some 30,000 filmmakers participated in the 48 Hour Film Project in 55 cities around the world. This year, 15 cities were added, the 48 Hour Film Project will tour 70 cities.

To compete in the 48 Hour Film Project, teams must write, shoot and edit a short film in just 48 hours. All teams are given the same character, prop, line of dialog and genre, and must finish their project 48 hours later.

This year’s elements were “Walter or Wilma Western Repair Person” (character), an urn or container with a deceased’s ashes (prop) and a line entitled “What’s the Password?” (dialog).

I am very proud of them because they exhibited all of the things we try so hard to deliver at Flashpoint-namely collaboration and communication. Team Flashpoint was comprised of students across all four disciplines. Those students are:

Bill Douglas-producer/team leader,
Matt Arauz-director,
Adam Darin-assistant director/ Lead Actor
Steve DaDouche-director of photography,
Ian Roelle - chief audio technician,
Pat Sokley - assistant producer
Tony Schiavone-Editor
Ben Cline-editor
Josh Gort-gaffer
Scott Fedor, Austin Johnson, Chris Janonis, Mike Rolfsmeyer -graphics/PA's

Vlad Sava - Additional Camera Support
Timothy Daniel - Wardrobe/Craft Service/ PA
Kyle Krause - Additional Camera Support

Kara Powell - Lead Actress

Check out their website. http://www.urndoctormd.com

Congratulations Team Flashpoint!

PeterH

It Ain't Over Until It's Over...

noreply@blogger.com (PeterH) — Mon, 14 Jul 2008 11:45:00 +0000

... Yogi Berra supposedly said that about the importance of playing hard through all nine innings of a baseball game because you don't know how it will turn out until the game is complete.

It ain't over until it's over, just sounds better to my ears.

The same is true for film work or anything in the arts: the creation of the project is not enough, you have to see it through until the end. For young filmmakers it means packaging, presentation, pitching the finished film, then more screenings and more presentations. One of the hardest things to do for young artists is to sell their own work-their artists not salespeople- but it is also the most important.

You can't just finish the film and show it to your friends and family and assume your work is done. That's amateur hour, and if you can't get out there and sell yourself- or at least give it your best shot- then get out of the business. I think Patti Smith said, "If only 14 people see it, is it art?" OK, maybe it wasn't Patti Smith, but I like her and will attribute it to her. But the point is well taken.

Vincent Van Gogh didn't sell one painting while he was alive. It didn't make him any less of an artist, but it made him depressed and crazy and one ear short of the full compliment, and ultimately it killed him. Van Gogh couldn't sell himself- and he drove his brother and dealer Theo nuts by his lack of self-promotion.

A few years ago I made a pilot of a TV show called Rainbow Soup. It was a show about art and world culture for kids (tweens) and their parents. We tried to create thirty minutes that would be interesting to both parents and kids- so Peter Gabriel sings and Studs Terkel reads a kids' version of Icarus and Daedalus and the film director Stephen Frears is the voice of an animated character.

When the pilot was finished I felt my work was about half done. We then set out promoting and selling the show. We created an elaborate mailer- including a painted soup bowl, a game and a package of instant "Rainbow Soup." All of this came in a package about the size of a cereal box. It was fun, but it also included all the important facts and figures about the series. It took maybe six months to put it all together, but it got people's attention and I am as proud of the salesmanship of Rainbow Soup as I am about the content.

The show never got picked up for TV, but it has lived a nice life on the internet and in schools in the United States and Canada. I even keep a letter from HBO Family, which after careful consideration rejected the show, but praised our marketing campaign. It's the best rejection letter I have ever received.

So just remember what Yogi said- it ain't over 'til it's over. You can see a clip of Rainbow Soup at http://www.rainbowsoup.tv/.

PeterH

What's It All About?

noreply@blogger.com (PeterH) — Fri, 11 Jul 2008 11:38:00 +0000

A few weeks ago on NPR's Fresh Air, they played a 1997 interview between Roger Ebert and Martin Scorsese done at Ohio State University. The two men are discussing Raging Bull- they played two clips from the film on the radio and it is fascinating just listening to the film- and Ebert begins the discussion like this:

...People will discuss the subject matter as if that is what the film is about. The film is about boxing, or it’s about gangsters. A film is not about its subject, its about how it’s about its subject. The subject is neutral, people don't understand that. Whenever anyone makes a statement I don’t like to go to movies about ... fill in the blank. My response is 'anyone who makes that statement is an idiot.' I don’t want to go to bad films about cowboys is maybe a more intelligent statement.

Well said, Roger. Raging Bull was about a boxer not about boxing.

If you want to hear 12 minutes of Ebert and Scorsese's discussion as well as listen to two scenes from Raging Bull, then go to itunes and look up the June 27 Fresh Air podcast or visit npr.org and go to the Fresh Air archives. It's a great, passionate discussion as well as an interesting insight into how Scorsese shot the boxing scenes for Raging Bull. Later in the broadcast Michael Imperioli talks about working on Goodfellas and what it was like to work with Robert DeNiro.

Check it out.

PeterH