A Filmmaker's Life

BETTER LIVING THROUGH FILMMAKING

2009-10-22T11:00:00.001-07:00

Tips on how to be a successful filmmaker during the recession.

(reprinted from Filmmaker Magazine - http://www.filmmakermagazine.com/fall2009/successful-filmmaker.php)

By Esther B. Robinson

What do you do when all the news is bad news? Layoffs, bank collapses, credit constriction. Gloom is the swine flu of our media ecosystem, and it's hard to ward off infection and hysteria. Our economy's become a dark, frigid sea that we're supposed to distance swim without instruction or a shore in sight. So what does that mean for us as creative individuals?

First and foremost, we need to recognize that we have unique resources. The news may be bad, but we started adapting to murky economic realities long before most people ever dreamed of a financial crisis. We've evolved for this extreme environment, like those crazy deep-sea fish — the glow-in-the dark ones with lamps on their heads. We may not be pretty, but we know how to survive in dark waters — and now the whole ocean's gone dark. Everyone else is panicking. They don't know how to live like this. But those of us used to late-night edit rooms, 20-hour days, Red Bull, ramen and shoebox apartments... we already know how to swim in these waters. We've already developed our weird adaptations in order to find work, food and friends, and now we're at an advantage. While everyone else slows down or stops, we can see clearly and keep creating. While others are blind in the dark, we can be proactive and fearless, and by taking some pretty simple steps we can make major leaps in our work and our careers.

TOP 10 THINGS TO DO IN THE RECESSION:

1. Commit yourself to filmmaking.

First, stop equivocating and commit to the long-term goal of being a filmmaker. You're either in or you're out — decide. Then recognize that living day-to-day, throwing everything into the next project without regard for what follows may not work over the long term. It's a question of pacing. If you still want to be doing this when you're in your forties, fifties and eighties, then you need to construct a life that functions. Committing to being a filmmaker means making all parts of your life work well.

2. Dedicate yourself to a lifetime of making inventive, rigorous work that matters.

If you're going to do this for the rest of your life, then you must ask yourself, "What am I making?" Is what you make the best possible thing it can be? Have you done the thinking to bring real artistry to your pursuit?

Commit to rigor over fluff and meaning over flash. The world does not need more predictable fare. The world needs films that share something about our moment; something that cannot be seen in any other way. To be a great filmmaker you must be inventive and rigorous. So swear to yourself that you will be as fearless as possible in pursuit of this goal.

3. Use your creative skills to build your future, not to deny your current situation.

We've all heard someone (maybe even ourselves?) spin fantasies about "how it'll all work out." That financier, that funder and even Mom, in a pinch. Someone's coming to make it right. They'll fix our financial mess for us, and we can ignore life's harsher realities till that white knight arrives. But unless there is a trust fund on your horizon, this is creative fiction. And while your ability to weave creative fiction may serve you professionally, it will hold you back in your actual life. There is no buyer, funder or producer that is going to save you. You only have yourself. So decide to use your creative skills to build your way forward through the challenges. Instead of using your creative imagination to deny that things are hard or to ignore reality, learn from past mistakes and do not repeat them. You need to be able to look at your life, banish fear and say with unshakable confidence "I've got a new plan."

4. Spend with clarity and save with purpose.

Why is it that when someone says, "You can't make that movie," you think, "Yes, I can," and if they say, "You should have some savings," you say, "There is no way." Recognize that you are skilled at making a lot happen with little money and use that skill on your work and your life. You're a filmmaker, you know how to build real things from no resources. With planning and forethought you can both make your movie and slowly build up savings.

Be ruthless about the difference between what you want and what you need. Track your money, making sure you're spending it well and prioritizing things that really matter. The goal is to save. Set a target savings amount. If you can, buy only what you need and barter for whatever else you want. Use eBay and Craigslist for bargains on all those weird little things you cannot live without.

For your films, be clear that big movies need big partners. If deep-pocketed partners aren't in your future, you need to change your "at any cost" strategy. Narrative filmmakers may need to embrace the era of the small movie: small containable scripts, few locations, small crew. You also may need to deepen and wield your knowledge about local and international tax credits. Both narrative and documentary filmmakers need to really research the grant landscape and be realistic about the odds of receiving funding.

Also don't be afraid to slow down your schedule to benefit your work and your pocketbook (remember everyone is adjusting — no one will blink at a schedule change). A slower pace means you can fit your film around your money job and use the extra time to keep on solid financial footing and deepen the work. Keeping your money job allows you to move forward without falling too far behind. However if your film is topical in a way that means it must be shot right now, then you need to really know how much cash it will take to make it happen.

So be realistic and clear about how much your film will cost and which funding sources are likely and which are not. Make a plan for what you will do if none of the funding comes through. Next, make a plan for if half comes through. Your goal is to understand how much debt you can take on. Be realistic about this part and set a limit before you start shooting. It's important to know the answer to this in advance because during the crunch you can easily lose sight and get into trouble. You need to be honest with yourself — you may not sell this film. The debt you are accruing is yours and yours alone. Having a clear sense of this in advance can really help you make strong choices during production and post and could mean the difference between long-term debt obligations and solvency.

5. Get your credit in order.

Remember that access to capital when you need it is good but bad debt can sink you. So if you have debt, commit to eliminating it: Figure out how much you owe, figure out what your upcoming costs will be and determine how much you can realistically spend each month to pay down your debt. Three good online debt resources are Snowball down your debt, the smart money resources, and powerpay.

For those of you with no credit, you can establish credit by joining a local or national credit union and obtaining a debit card that you can then trade up for a credit union charge card.

Either way, dedicate yourself to raising your credit/FICO score. Use resources like the Filmmaker article from Spring 2009 to assist you so you have the credit resources you need when you need them.

6. Embrace multiple income streams.

Other forms of income make your work possible. Instead of fighting this, be grateful. It's amazing how much energy you save if you stop fighting this paradigm. If you need more money, find new sources of income based on your odd skill-set and apply No. 3. If your job is demeaning or bad, commit to finding a new job and leaving your old one. But remember that this is a recession. Don't just up and quit your day job. You might not find another one as easily. And frankly, your day job is keeping your movie happening even though it feels counterintuitive. Sure, you may need to make adjustments to keep your second (or third or fourth) job from interfering completely with your film, but it's likely necessary to keep you moving ahead financially in these times. By first adjusting your attitude you greatly improve your chances of making the whole thing work.

7. Create strength through community.

Your friends and colleagues are your greatest resources — they have skills, equipment, intelligence and savvy. Clues to survival reside with our peers and our community of fellow filmmakers and artists. The choices they make will help us solve our own problems and make better choices. Take colleagues you admire out to coffee, lunch or dinner, and ask questions about how they make it work. Also, do things that help you enjoy your community. Too often in the single-minded pursuit of filmmaking we forget to enjoy our friends. Movies get made by groups of people. Make sure that this group brings you joy. Communal dinners, caffeinated meet-ups, tequila. These are all tools to bring folks closer together, and the better we play together, the better we work together.

8. Manage your goals and chart your progress.

Set your goals in writing. Studies show that writing down your goals drastically improves your chances of meeting them. Break down the steps. Any goal, even a big one, is achievable if you break it down into the smallest steps possible. Then share your goals. Make yourself accountable publicly so that you have an incentive to follow through on things like debt reduction. Also, track and share your success. Use the discipline of goal tracking to bring order to your life. Then use the lists to remind yourself that you are making progress. It's too easy to think you aren't moving forward if your goals are really big, but progress is progress, so make sure you can chart yours.

9. Give more and participate in making the world a better place for all people.

When you focus on your own challenges it's easy to forget that the world is a difficult and challenging place for those less fortunate than yourself. Don't be a selfish artist, be a good citizen. Volunteer for a cause, a campaign or a soup kitchen. Help your friend or neighbor. Give advice, give your time, give your expertise. Especially do this when you're afraid. It will banish the fear. It will also lead you to new and unexpected opportunities. And remember, even when it's hard, we are blessed to be able to do what we love.

10. Make the decision to make your best work and be good with money and enrich the world.

Now go out there and kick some cinema booty.

Revisiting a Cinematic Smackdown, and Other Avant-Garde Pleasures

2009-10-02T09:28:00.000-07:00

http://www.nytimes.com/2009/10/02/movies/02avant.html?_r=1&8dpc

THIS JUST IN!! - Internet Influences Film Audiences

2009-10-02T09:26:00.000-07:00

http://www.variety.com/article/VR1118009343.html?categoryid=10&cs=1&nid=2248?ref=sharethis

Ten Video Sharing Services Compared

2009-10-02T09:24:00.000-07:00

http://www.dvguru.com/2006/04/07/ten-video-sharing-services-compared/

And don't forget to use TubeMogul.com to upload to several sites at once!

I Will Not Read Your Fucking Script!

2009-09-29T07:07:00.000-07:00

This article has been spreading like wildfire throughout the filmmaking universe for obvious reasons (once you read it). I am adding it to my blog so that others can make use of it...and still others will get an acerbic, funny but very honest explanation of why I, myself, won't read their scripts. :)

Here's a link if you want to read it from its Village Voice original source:

http://blogs.villagevoice.com/runninscared/archives/2009/09/i_will_not_read.php

I Will Not Read Your Fucking Script

excerpted from The Village Voice, Wednesday, Sep. 9 2009 @ 10:00PM

We know you've been working very hard on your screenplay, but before you go looking for some professional feedback, you might keep in mind the following piece by A History of Violence screenwriter Josh Olson.

I will not read your fucking script.

That's simple enough, isn't it? "I will not read your fucking script." What's not clear about that? There's nothing personal about it, nothing loaded, nothing complicated. I simply have no interest in reading your fucking screenplay. None whatsoever.

If that seems unfair, I'll make you a deal. In return for you not asking me to read your fucking script, I will not ask you to wash my fucking car, or take my fucking picture, or represent me in fucking court, or take out my fucking gall bladder, or whatever the fuck it is that you do for a living.

You're a lovely person. Whatever time we've spent together has, I'm sure, been pleasurable for both of us. I quite enjoyed that conversation we once had about structure and theme, and why Sergio Leone is the greatest director who ever lived. Yes, we bonded, and yes, I wish you luck in all your endeavors, and it would thrill me no end to hear that you had sold your screenplay, and that it had been made into the best movie since Godfather Part II.

But I will not read your fucking script.

At this point, you should walk away, firm in your conviction that I'm a dick. But if you're interested in growing as a human being and recognizing that it is, in fact, you who are the dick in this situation, please read on.

Yes. That's right. I called you a dick. Because you created this situation. You put me in this spot where my only option is to acquiesce to your demands or be the bad guy. That, my friend, is the very definition of a dick move.

I was recently cornered by a young man of my barest acquaintance.

I doubt we've exchanged a hundred words. But he's dating someone I know, and he cornered me in the right place at the right time, and asked me to read a two-page synopsis for a script he'd been working on for the last year. He was submitting the synopsis to some contest or program, and wanted to get a professional opinion.

Now, I normally have a standard response to people who ask me to read their scripts, and it's the simple truth: I have two piles next to my bed. One is scripts from good friends, and the other is manuscripts and books and scripts my agents have sent to me that I have to read for work. Every time I pick up a friend's script, I feel guilty that I'm ignoring work. Every time I pick something up from the other pile, I feel guilty that I'm ignoring my friends. If I read yours before any of that, I'd be an awful person.

Most people get that. But sometimes you find yourself in a situation where the guilt factor is really high, or someone plays on a relationship or a perceived obligation, and it's hard to escape without seeming rude. Then, I tell them I'll read it, but if I can put it down after ten pages, I will. They always go for that, because nobody ever believes you can put their script down once you start.

But hell, this was a two page synopsis, and there was no time to go into either song or dance, and it was just easier to take it. How long can two pages take?

Weeks, is the answer.

And this is why I will not read your fucking script.

It rarely takes more than a page to recognize that you're in the presence of someone who can write, but it only takes a sentence to know you're dealing with someone who can't.

(By the way, here's a simple way to find out if you're a writer. If you disagree with that statement, you're not a writer. Because, you see, writers are also readers.)

You may want to allow for the fact that this fellow had never written a synopsis before, but that doesn't excuse the inability to form a decent sentence, or an utter lack of facility with language and structure. The story described was clearly of great importance to him, but he had done nothing to convey its specifics to an impartial reader. What I was handed was, essentially, a barely coherent list of events, some connected, some not so much. Characters wander around aimlessly, do things for no reason, vanish, reappear, get arrested for unnamed crimes, and make wild, life-altering decisions for no reason. Half a paragraph is devoted to describing the smell and texture of a piece of food, but the climactic central event of the film is glossed over in a sentence. The death of the hero is not even mentioned. One sentence describes a scene he's in, the next describes people showing up at his funeral. I could go on, but I won't. This is the sort of thing that would earn you a D minus in any Freshman Comp class.

Which brings us to an ugly truth about many aspiring screenwriters: They think that screenwriting doesn't actually require the ability to write, just the ability to come up with a cool story that would make a cool movie. Screenwriting is widely regarded as the easiest way to break into the movie business, because it doesn't require any kind of training, skill or equipment. Everybody can write, right? And because they believe that, they don't regard working screenwriters with any kind of real respect. They will hand you a piece of inept writing without a second thought, because you do not have to be a writer to be a screenwriter.

So. I read the thing. And it hurt, man. It really hurt. I was dying to find something positive to say, and there was nothing. And the truth is, saying something positive about this thing would be the nastiest, meanest and most dishonest thing I could do. Because here's the thing: not only is it cruel to encourage the hopeless, but you cannot discourage a writer. If someone can talk you out of being a writer, you're not a writer. If I can talk you out of being a writer, I've done you a favor, because now you'll be free to pursue your real talent, whatever that may be. And, for the record, everybody has one. The lucky ones figure out what that is. The unlucky ones keep on writing shitty screenplays and asking me to read them.

To make matters worse, this guy (and his girlfriend) had begged me to be honest with him. He was frustrated by the responses he'd gotten from friends, because he felt they were going easy on him, and he wanted real criticism. They never do, of course. What they want is a few tough notes to give the illusion of honesty, and then some pats on the head. What they want--always--is encouragement, even when they shouldn't get any.
Do you have any idea how hard it is to tell someone that they've spent a year wasting their time? Do you know how much blood and sweat goes into that criticism? Because you want to tell the truth, but you want to make absolutely certain that it comes across honestly and without cruelty. I did more rewrites on that fucking e-mail than I did on my last three studio projects.

My first draft was ridiculous. I started with specific notes, and after a while, found I'd written three pages on the first two paragraphs. That wasn't the right approach. So I tossed it, and by the time I was done, I'd come up with something that was relatively brief, to the point, and considerate as hell. The main point I made was that he'd fallen prey to a fallacy that nails a lot of first timers. He was way more interested in telling his one story than in being a writer. It was like buying all the parts to a car and starting to build it before learning the basics of auto mechanics. You'll learn a lot along the way, I said, but you'll never have a car that runs.

(I should mention that while I was composing my response, he pulled the ultimate amateur move, and sent me an e-mail saying, "If you haven't read it yet, don't! I have a new draft. Read this!" In other words, "The draft I told you was ready for professional input, wasn't actually.")

I advised him that if all he was interested in was this story, he should find a writer and work with him; or, if he really wanted to be a writer, start at the beginning and take some classes, and start studying seriously.

And you know what? I shouldn't have bothered. Because for all the hair I pulled out, for all the weight and seriousness I gave his request for a real, professional critique, his response was a terse "Thanks for your opinion." And, the inevitable fallout--a week later a mutual friend asked me, "What's this dick move I hear you pulled on Whatsisname?"
So now this guy and his girlfriend think I'm an asshole, and the truth of the matter is, the story really ended the moment he handed me the goddamn synopsis. Because if I'd just said "No" then and there, they'd still think I'm an asshole. Only difference is, I wouldn't have had to spend all that time trying to communicate thoughtfully and honestly with someone who just wanted a pat on the head, and, more importantly, I wouldn't have had to read that godawful piece of shit.

You are not owed a read from a professional, even if you think you have an in, and even if you think it's not a huge imposition. It's not your choice to make. This needs to be clear--when you ask a professional for their take on your material, you're not just asking them to take an hour or two out of their life, you're asking them to give you--gratis--the acquired knowledge, insight, and skill of years of work. It is no different than asking your friend the house painter to paint your living room during his off hours.

There's a great story about Pablo Picasso. Some guy told Picasso he'd pay him to draw a picture on a napkin. Picasso whipped out a pen and banged out a sketch, handed it to the guy, and said, "One million dollars, please."

"A million dollars?" the guy exclaimed. "That only took you thirty seconds!"

"Yes," said Picasso. "But it took me fifty years to learn how to draw that in thirty seconds."

Like the cad who asks the professional for a free read, the guy simply didn't have enough respect for the artist to think about what he was asking for. If you think it's only about the time, then ask one of your non-writer friends to read it. Hell, they might even enjoy your script. They might look upon you with a newfound respect. It could even come to pass that they call up a friend in the movie business and help you sell it, and soon, all your dreams will come true. But me?

I will not read your fucking script.

Josh Olson's screenplay for the film A History of Violence was nominated for the Academy Award, the BAFTA, the WGA award and the Edgar. He is also the writer and director of the horror/comedy cult movie Infested, which Empire Magazine named one of the 20 Best Straight to Video Movies ever made. Recently, he has written with the legendary Harlan Ellison, and worked on Halo with Peter Jackson and Neill Blomkamp. He adapted Dennis Lehane's story "Until Gwen," which he will also be directing. He is currently adapting One Shot, one of the best-selling Jack Reacher books for Paramount.

Distribution Links

2009-09-22T09:10:00.000-07:00

Hey All,

Here's some great links/info on the current and future state of indie film distribution to compliment Ted Hope's article posted previously:

Peter Broderick's Declaration of Independence: 10 Principles of Hybrid Distribution:

http://www.peterbroderick.com/writing/writing/declarationofindependence.html

Orly Ravid and Jeffery Winter's New American Vision company: http://www.newamericanvision.com and in particular: http://www.newamericanvision.com/collaborative.html

Adam Chapnick's Distribber: http://www.distribber.com/

And, of course, our partners at Magic Rock/NeoFlix: http://www.magicrock.com/

Ted Hope's Latest....

2009-09-17T23:18:00.000-07:00

This is from Ted Hope's latest post....

Read it here or here: http://trulyfreefilm.blogspot.com/2009/09/18-actions-towards-sustainable-truly.html

...where you can comment on it, as well.

18 Actions Towards A Sustainable Truly Free Film Community

I promised the Twitterverse this list a few weeks back. Life gets in the way of completing things though. I eventually hope to have more than a draft for you, but I also hope it won't be necessary. I initially thought this was just a top ten list, and maybe it should have been. I already know I have left important things off this list though, and here I am at eighteen.

Having already left home before I hit such a mark, it seems fit this list does likewise. The comfort of the nest is part of the problem and its time to get the conversation started. And like so many things, with this list it is not about the size, but about the intensity with which we engage with each element. I wish I could give marching orders instead of discussion points. I wrote this to encourage but you can use it as a litmus test for whether you really want an independent and diverse culture or not. What are these are you doing? What of these are you willing to do?

The time is now. If we don't fully own the absolute necessity to change how we've all been working, we won't be working -- and we won't have the illuminating, inspiring, transforming films that we now enjoy. It's your choice, but action is required.

There is the capacity for many more of us to create and prosper from creative media work. This capacity can also close up and vanish along with our audiences. The canaries are now the size of Big Birds and we somehow are able to ignore them (but that is a subject for a different posts).

SO YOU SAY YOU WANT A SUSTAINABLE & TRULY FREE FILM COMMUNITY AND CULTURE? Time to take some action.

Mentor - if you have been working in the film industry for at least five years, you certainly have the knowledge to help lift somebody else up. Ideally this would be someone from a much different background than yourself (more on that later) so things don't have to stay the same. That said, those that you lift up will also carry on some of your knowledge, so the bonds that need to be strengthened hopefully will be.

Curate- You got into this business because you loved film, maybe you even always loved talking about films, but what do you do now to help spread the love? Friends and family are the best influencers in terms of getting others to see films, and there won't be any business unless we keep people going to the movies. Whether its as simple as getting friends over on the weekend to watch something they wouldn't normally have, using a social network tool to get a large group out and into the theaters, blogging about the things you think are essential, or forming a film club and actually booking films you love, there's something you could be doing to get work you love seen and appreciated. There are over 6000 films made a year; it's overwhelming. You have to become the filter for your friends, family, and followers. Tell them what you love, share it. And there are many alternatives that sending around that link where you found that others labors are now being bootlegged.

Provide- info, advice, access - Industries all go through cycles and it may have once benefited some folks who got established early to limit what others could know or get to do, but those days ended. It is changing to fast and yesterday's discovery is old news pretty damn fast. Our future depends on innovation and unity; sharing what you know and have are the most likely ways for each to occur. If you learn something, pass it on. Post it. Tweet it. Discuss it.

Learn/Evolve- Everyone likes to quote William Goldman's line about the movie industry, but it has never been truer that no one knows anything now. The ways films were financed & sold for the last fifteen years are no longer do-able. Audiences don't consume the way they used to. There is no acquisition market and no business model has emerged for earning significant revenue on the internet. People have been convinced that hardware should be expensive whereas content should be free (i.e. creators have become the advertisers for the manufacturers). We have the tools to build a new model but our ability to use them is rather limited. It's time to try new things and if you aren't learning new things on a regular basis you might as well admit defeat now. Build experimentation into your daily regime, into your business plan.

Migrate - Although this is close to "Learn/Evolve", migration is a specific form thereof. As much as we need to strengthen the net, we have to extend our web's reach. We have to both give and take. Cinema requires a global awareness and participation. Specificity is universal. You aren't just making your work for friends and family, unless it is the Family Of Man (to borrow an inaccurate phrase). Travel and source. Bring it back home. Give it away. Extend your reach and modify your inputs, but cross borders. It is a global community and the more we embrace that, the stronger we will be.

Aim Higher With Content Quality -For years the movie business flourished because not enough material was available. Now everything is there for the viewing when you want it, where you want it, and how you want it. As a filmmaker today you are competing against everything that came before you. Yet also as a filmmaker you have the benefit of having access to all of film history that has preceded you. You get to see what others have done, but you have to take it one step further. Since you can no longer win by getting there first, you have no choice but to try to do it better.

Aim Higher With Narrative Structure & Ambitions - It's not enough to have a good story well told anymore. Cinema is over one hundred years old and stories can't just have a beginning, a middle, or an end. Our films won't survive if they are dependent on a single author to deliver them or don't inspire others to deliver them. Take back what has always been yours and embrace the other aspects of filmmaking beyond content and production. There are many points of access to a story and many reasons to return to the world, but we have not been utilizing them.

Introduce- We have to knit this net a whole lot stronger. If your friends are stronger, you are stronger. One persons success does not limit yours, but quite the opposite -- it enhances your position. You have to work to get your team further down the field. It takes more than an army to create, promote, market, distribute, and appreciate good work. If you are not providing introductions to those that you know who will benefit by knowing the other ones you know, you asking to play a game solo when everyone else will be be fielding battalions.

Make Different, Make Strange & Change- Does it ever feel to you that half the films that get made are remakes but they don't know it? Or that everyone is preaching to the converted but they forgot what the sermon was about? Or maybe that they long ago stopped looking for the real sky and were content to keep going as long as the treadmill was moving? Once I had a friend come to me with so much urgency asking "Don't they get it? Our job is to make them want to be over there, farther away from here, aspiring for something better, feeling the hope that they can get there." He was right, but we aren't going to do it by repeating what has been done before.

Ignore - There are many in the film business who are never going to help you. Many of these will never help you even after you have helped them. The sooner you identify these folks and stop wasting your time with them, the better off you are going to be. We have to much to do to bother with them, no matter how powerful they may be, how smart or creative they may be, or how much they appear to have to offer you. Get on with it and move on.

Reduce- Unfortunately the industry has been rewarding quantity more than quality. Even more unfortunately, bad work has a greater impact than good, and its impact is not of the positive sort. Very little can prosper in an environment of poor attention, limited commitment, or fractured focus. I don't know anyone who doesn't have too much to do already (and less money or time to do it in than previously). We could all gain by slowing down and doing less but doing that thing we do better. We have to. The independent sector doesn't have the money to fool people to think that their mediocre work should be seen. More work needs to go into both making our films better and into how to reach and engage with our audiences in more rewarding way. Unless a filmmaker can demonstrate both of those qualities, they shouldn't be shooting their film. Failure in either department brings all of us down with it. We are all connected and only the best work lifts us (don't get me wrong, we can't have gate keepers determining what or who "is ready" to make a film -- we just have to be more demanding on ourselves).

Participate - You have something to say, so say it. Others are saying the things you believe, so let it be known. Your skill set and experience is unique to you, but others would benefit from the gift of your engagement, so why not get something done now, even if it is not what you ultimately are striving for. We don't have time to be silent. Speak up not just about what you know or feel, but what you want to know or feel. If you care about something, write in, or send a proxy. Encourage others to do the same too. The world will change for the worse unless you engage.

Collaborate - We learn more when we break our normal routine and do something different, be it a different task, or a different situation, or a different sort of creation. There are times to lead and times to follow. We learn from those that see differently than us. We understand and process things better when it involves others we care about. There is also no denying that there is so much change both needed and occurring that we can't possibly gain by working alone. If you haven't realized that you can't possibly get it done alone anymore, you haven't engaged. Filmmaking and it's secondary necessities of marketing and distribution can't be the work of a singular auteur anymore -- cinema requires that you (to borrow IndieGoGo's mantra) Do It With Others.

Go To The Crowd - We need our work to have greater reach. At some point in the process, we need to engage and encourage everyone out there to determine something about the work. This makes them stakeholders in the process and cements a deeper relationship with you. Both CrowdSourcing and CrowdFunding are marvelous endeavors, not just for what the immediate product they bring, but for the engagement they deliver. Don't get me wrong, there are inefficiencies in many approaches and in reaching out we need to offer meaningful ways for people to engage, and reasons for them to remain. Today's collaboration is not just about working with those you know, but also those that you don't and won't ever know.

Question- I find the obvious is often ignored by the status quo. Whether it was making movies for six figures, creating a producer-driven company, starting an international sales company & licensing our own films, cutting digitally, shooting video and transferring to film, or the actions I currently contemplate, I have found resistance from the mainstream to adopt new behavior that might be game-changing. Culturally, we've all been seduced by security and knowledge, but it is risk and exploration of the unknown that usually moves us forward.

Keep It Human & Personable- It is sooo hard to get a movie made. It is soooo hard to write a decent script. It is soooo hard to find a way to make a living and to be engaged in the creative arts. Anyone that does any of these things is a hero to me. Good fortune is rare, but it is needed for most to obtain the life they want. It may take something that resembles an army to make a movie, promote it, and get it seen, but those engaged in the process are usually operating out of some aspect of love, and need acknowledgement. What's with all the ego that swims through this business?

Reward- If you are trying to make movies, or already working in the film business, you have too much on your plate; if you are able to do good work, help those around you, or just make stuff happen, you are probably super human. If someone around you is doing this kind of stuff, show your appreciation. When I get a note from someone that they liked my film, it makes my day. When someone has tried to help me without any personal gain on their part, I think the world may actually be an alright place. When someone indicates that they know what I do and they treat it with all due respect, I think we might just get out of this situation somewhat intact. Vote for the world you want with your actions and appreciation.

Make It All One Ongoing Conversation - We squander our efforts when we think only about the single project at hand. It is not about just getting that one movie done. We have to keep moving the conversation forward. We have to engage with our community in such a meaningful way that they will be motivated to move with us to the next project too. Don't reinvent the wheel each time, but if you have invested the time to seed an audience, feed them and breed them; bring them with you to all that you are doing. Help them understand why X eventually follows A. Keep them engaged. Keep them loyal.

And you thought you didn't have enough to do today!

Cinereach Grants & Awards

2009-09-11T10:19:00.000-07:00

Recently tumbled across this amazing organization called - Cinereach. Don't know the people behind it, but would love to. They seem to be doing something almost no one else is doing - helping fund films that matter.

This is from their site:

Each year Cinereach gives up to $500,000 in grants and awards to documentary & narrative films.

Cinereach funds artful narrative and documentary films that depict underrepresented perspectives, cross international boundaries and start meaningful conversations. Film projects that are consistent with Cinereach’s ethos favor good storytelling over didacticism and complexity over traditional duality. Cinereach-supported films also demonstrate creativity, visual artistry and take a character-based approach.

Grants are awarded to films at any stage: development, production, post-production, audience building and/or distribution. The Cinereach grant committee meets twice a year to review grant applications. Please check the “Submit a Letter of Inquiry” page for more information.

Check them out at http://www.cinereach.org/

Fundraising suggestions....

2009-08-28T18:17:00.000-07:00

Here's a chat exchange I just had with a filmmaker that I will share with everyone because there was some good f*&^%ing advice in there, dammit!!

10:55am XXXX
Basically, im the only producer right now.. we just need to raise some funds...which ive never done!

10:55am Jacques
Holy tomatoes!

10:55am XXXX
i know!

10:56amJacques
Well, I never did it before when I first did it. Basically, you just gotta jump in with such things, sometimes....like learning to swim by being tossed in the ocean (as my older brother did to me - that mothaf^%$er).....

10:57am XXXX
i agree!

10:59am Jacques
It's a learning curve, but charm and common sense usually are the best guides. Target the potential investors. Figure out what they need to know based on what their goals might be. Tell them the facts good and bad (but dress them up nicely). Sound like you know what you're doing but don't be afraid to admit mistakes. Follow up until they tell you to stop. Move on to the next. It's a numbers game.

11:00am XXXX
right...i get cha

11:01am Jacques
Never bullshit them. They are usually too smart for it. But it doesn't hurt to play to their emotions. Film investment, for the most part, is a really dumb bet. They either do it because it is their job (as in a production company) or because they have an emotional attachment to the idea of being in films. It might be sexy for them or an ego thing or just fun...

11:03am,Jacques
...but they can't feel like they are pissing their money away, so you gotta have a nice, smart proposal...(not necessarily a real, detailed business plan)....

11:03am XXXX
That makes sense!! We have a preliminary marketing plan that im turning into a business proposal as we speak....did u contact any and all people with money? Or did u find a list of film investors?

11:03amJacques
Lists are meaningless. If one exists, it means 4 billion other people have it.

With production companies, it's all about the script...and relationships. And packaging, if you can do that...but that's hard without connections/cred.

11:05am Jacques
With private individuals, you gotta use degrees of separation. Who do you know? Who do they know? Never go farther than 3 degrees of separation...

11:07am XXXX
ok, The writer/director wants to aim high (insert big names) with prod. co's that I am sending the script to...BIG names! I feel its a shot in the dark...

11:07am Jacques
yeah. It's the common routine. It is a shot in the dark, but it works, sometimes. Like maybe less than 1% of the time. :) I certainly wouldn't put all my eggs in that basket....

With private individuals, set up as many individual meetings as you can. When you have people interested, wait until you have at least 5-10, then do a presentation or dinner for them to lock 'em in. The collective energy and enthusiasm often helps a lot. But if you can lock 'em in without that, so much the better.

11:07am XXXX
ooh good idea!!

11:10am Jacques
Make everyone invested in the project (not just involved, but emotionally and financially invested) - you, the director, anybody else - work up a list of investor potentials. And when I say investor potentials, I don't mean necessarily people with money, but also people who might know people with money....

11:11amJacques
Then attack the list with all your resources - a strong proposal, charm, intelligence and most importantly, gratitude and respect....

Okay. That's my mentoring for the day. Hope it helps.

The New Media Revolution - ?

2009-08-28T16:28:00.000-07:00

A New Media revolution is underway, apparently, but I fear I might be sleeping through it. What the f%$# is "New Media", anyway. I've been hearing this phrase for awhile, now, and I'm not any more certain today of what exactly it is than I was back when I first heard it. Is it referring to actual content, the format of that content or the way that content is delivered...or all of the above? Is it some crazy, as-yet indescribable hybrid of books, film, art and other stuff? Is it stuff that is already here or stuff that is coming in the future? Is New Media strictly tied to the internet or is it stuff that can be bounced up to satellites and projected against a 10 story building? Or can it be as simple as a good HD cable t.v. show as opposed to the network crap we were forced to watch throughout my growing years? Maybe it's just anything media-related that I have trouble understanding.

Of course, I had to go to wikipedia, where I often scurry to when I want to begin to understand something - or at least get a pulse on how others understand it. Here's what it says, essentially:

New Media is a term meant to encompass the emergence of digital, computerized, or networked information and communication technologies in the later part of the 20th century. Most technologies described as "new media" are digital, often having characteristics of being manipulatable, networkable, dense, compressible, and impartial.

Hmmm. Whatever that means. Other terms commonly associated with New Media include: interactivity, media convergence, viral communities, open source, globalization and others that are equally opaque to me. However, I do know one thing as an independent filmmaker, the way media is created, delivered and promoted is changing. Fast. Actually has already changed tremendously, for the most part. And the way stories are told may (or may not) change with it.

Is this big news? Hell no. People have been talking about this for years and the forward-thinkers have been batting it around for decades - even pre-internet (as we know it now, anyway). But it always seemed like the theoretic mental masturbation of think tank-types and not anything that would have any real-world relevance to a hustling young indie filmmaker bred on "Stalker" and "Mouchette" or even "Star Wars", who still craves the romance of sitting in a big dark theater with a bunch of eager strangers.

There will always be a place for that, even if that theater now often exists inside people's homes (minus the strangers...I think). But people are now watching their movies in lots of different ways. And I've already made it clear in other blogs that the commercial theatrical model for truly independent filmmakers is all but dead. Digital technology has already won the content creation revolution and that same technology, applied in different ways, has us squarely in the midst of a content delivery revolution. The cost barrier for making films is much lower these days - and that includes everything from CGI work to 3-D. And the cost barrier for delivery of those films is lowering, as well. Right now, you can upload your film to a "store" where people can purchase a DVD or download it in various ways and you can promote it through various network sites with affiliate sales support - without it costing you much of anything up front. It's a low-level distribution/marketing network that used to cost thousands (even hundreds of thousands) of dollars to create, but can now be done for practically nothing, depending on who is willing to do what for you for free. In any case, there's probably never more than a thousand dollars in inescapable costs and not too much more than that in elective costs.

Does that mean a brighter future for indie filmmakers? Possibly. But unlikely for most filmmakers and far from guaranteed for even truly talented filmmakers. In this fine ol' world of ours, you often get what you pay for. Just because the tools have gotten much cheaper, doesn't mean they'll work magic for you. Most filmmakers are crappy marketers. Actually, quite frankly, most filmmakers are crappy filmmakers. Which also means a glut of crap is getting made, forcing good filmmakers to be innovative to be heard above the din...or risk getting lost in a sea of cinematic mediocrity.

That need for innovation is starting to trickle down to the way "films" are getting made. (Will the term "film" and "filmmaker" start to die? - Media and content are sooooo UNsexy....). We're seeing more and more serialized work (i.e. webisodes), mixed media work, interactive works, works of unusual lengths and some stuff that is simply uncategorizable. At first, I dismissed these new works as the desperate attempts of opportunistic filmmakers trying to fit square pegs into round holes. "We can show movies on cell phones?? Great! Let's make a 30 second version of Gone With The Wind!". But as more and more "New Media" emerges, they are starting to look like not just new work, but new models of work - new paradigms. The old school part of me is admittedly still resisting this new stuff. I grew up watching movies in theaters and I can't help feeling that anything that is not created for that experience is not CINEMA. But is that really true?

I'm not saying it isn't true, I'm just exploring the question. In one sense, of course, it is indeed true. The term cinema refers to the place where you watch films itself. So, for something to be cinematic, it needs to be ideally suited to that environment. Also, I feel like so much "New Media" stuff is simply sales tools or pandering to the growing A.D.D. epidemic rather than exploring all of the aesthetic possibilities of visual storytelling. And finally, with all of this "convergence" what distinguishes one thing from another. When is a book no longer a book or a film no longer a film if the two can be combined digitally to create a hybrid experience?

On the other hand, it's clearly time for filmmakers to broaden our conception of "filmmaking" - of visual/aural storytelling. The times, they are a-changin'. New Media, whatever the f^%$ it is, is here. Or coming soon. Old media, if not dying, is definitely limited in its ability to provide opportunity for filmmakers. If we are true artists, true creatives, we will embrace the creative challenge these new models are presenting to us. It's actually a very exciting time. But it is a transitional time and that, even with the best of transitions, is always a slightly melancholic experience. In any transition, something dies when something new is born. Even if it's just our old dream/fantasy of sitting in a dark, crowded cinema, feeling the buzz of the audience as your film slowly unfolds for them. Well, we can still have that at festivals and private screenings. That won't ever go away. But there's a brave new world out there that doesn't yet make sense to me. I think I need to get off of my old-school ass and go explore it.....

A Summer In The Life Of This Filmmaker...

2009-08-26T08:14:00.000-07:00

Well, well, well. Lookie-here what the cat dragged in. A new blog. I know, I know. I've been a very naughty blogger. I let June, July and most of August just slip away. And I'm kinda shocked at how quickly those months have passed. But, let's face it, if work/obligations were an animal and time was a car, I tried to fit an elephant into a VW bug. Surprisingly, I got most of it in.

So, what the hell was I doing besides working? Livin', dammit!! Livin' the filmmaka life! So, let me just try to catch you up on what that was all about....

Well, June was all about film festivals. There seemed to be so many festivals in one month you could literally go to two different festivals in one day. I only attended 4 and that seemed overwhelming. I was at Dances With Films, CineVegas, Los Angeles Film Festival and Palm Springs Shortsfest. And frankly, I had an awesome time at all of them.

There was a nice mix of film watching, schmoozing, serious film talk and flat-out partying at each of them. All were nicely organized and energetic. Although it's a shame the Los Angeles Film Festival can't figure out how to have a closing night party or some kind of wrap-up event to bring together all the peeps who connected throughout the fest. I know money is tight, but when a fest is missing that, it always feels like it fizzles out rather than ending with a bang. Anyway, I could do separate blogs about each of the fests, but I took too long to get around to writing this blog so that I may confuse the details a bit. What goes on isn't much different at any of them, but it's the how and where it all goes on that makes the difference and gives each its own unique energy. However, I will say that "The Revenant" on which I was one of the producers, played at CineVegas and won the Audience Award for Best Feature which made that experience extra special. And I also had an especially amazing personal adventure at L.A. Film Festival that only happened because of the festival. Nonetheless, each fest truly deserves its own separate blog, but I wasn't up to it this year. Here's some blogs/reviews/wrap-ups done by others:
http://www.film.com/features/story/cinevegas-film-festival-wrap-up/28711976
http://dances-with-films.blogspot.com
http://weblogs.variety.com/thompsononhollywood/2009/06/laff-film-fest-wrap.html
http://insidereel.wordpress.com/2009/07/03/ps-sf-09-feat

However, June was also about the Ultimate Filmmaker Competition we're hosting - and it cranked up even more intensely in July after the final extended deadline. Amanda Sweikow, Filmmakers Alliance Executive Director and my partner in all things filmmaking, shouldered the bulk of the load. And what a load it was. This is our first year doing this competition, and, taking that into consideration, we are handling it exceptionally well. But we had no idea how much work organizing all of the submissions and getting them out to judges was going to be - not to mention responding to the mountain of filmmaker queries and various requests. And on top of it, we had to manage far too many flaky judges. Simply put, it was a bitch. And Amanda and I are still concerned that some good projects may have slipped through the cracks, although we pray that is not the case - despite what some disgruntled filmmakers who did not make it to the quarterfinal round have assured us.

I also started shooting my new short film "My Last Day On Earth" in June. The pressure was on because I wanted to get it in for the VisionFest selection committee deadline. People assume that because I'm the President of Filmmakers Alliance that my film's inclusion in the program is automatic. It isn't. Nor would I want it to be. If the people on our selection committee don't think it should play in VisionFest, I wouldn't want it to play there. Some filmmakers get really upset when their films don't get selected, which I don't understand. I mean, I understand the disappointment. I would be pretty damn disappointed. But ultimately, if the film is not being received well by the committee, it will probably not be received well by a larger audience. And hence, would not benefit me as a filmmaker to have it out there. The only exception to this is if the film is so incredibly unique, the selection committee just doesn't "get it". But I've worked closely with the committee over the years and it is very good - no matter who is on it - at differentiating between unique artistic intention and intention gone wrong. Simply put, they can see the difference between stuff they just don't get and stuff they don't want to get. Anyway, I made the deadline and the film got into the selection pool. But the making of the short deserves a blog all its own, which I will do very soon.

LOGAN LOZIER, CARSON CROSBY (IN BACKGROUND) AND DAISY O'BRYAN IN "MY LAST DAY ON EARTH"

As July kicked in, VisionFest cranked up to the next level. All the last minute details are overwhelming and, again, Amanda was on top of it all. But I had no small share of stuff to do. That, along with arranging and doing the re-shoots and aerial shots for my short kept me running. And lastly, I had some fundraising to do for our new global web-based expansion, which launches in early 2010. So, all of this crazy activity - making a short, working on and raising money for the Global FA, the Ultimate Filmmaker Competition and VisionFest all spilled over into August and finally came to a rest of sorts on August 19th.

That day, I had a big meeting with a potentially huge partner for the new global site with VisionFest right on top of it that evening. So I had to prep for VisionFest - including cleaning myself up and putting on an actual suit - early in the day, go to the meeting and then run straight over to the Directors Guild for VisionFest. My film was selected by the committee, by the way, and VisionFest was a huge success. But that deserves another blog of its own.

With the passing of this year's VisionFest, the crazed energy seems to have to have mellowed a bit, although there's still more fundraising and a ton of work to do for Global FA. Which begs still another blog as I'd love to relate to everyone how that is evolving, the mindset behind it, and the resources we are trying to pull together for it. For YOU! Then, there's still a couple more rounds of the Ultimate Filmmaker Competition to judge/manage and the usual FA activities to handle including moving out of our current (very dirty and decrepit - but dirt cheap) facility. And personal life? I squeeze in some fun and drama here and there. I don't talk about my personal life very much in this blog other than to allude to it in regard to how it might directly affect my filmmaking life - which is what this blog is about. But the two lives are necessarily intertwined for me since I believe experience fuels imagination, deepens creativity and sharpens authenticity. However, there is frankly, not that much to relate....just a lot of internal activity - questions about happiness, love, meaning, purpose, obsession, fear, comfort, ego, art, etc. - that I will attempt to address through the work.

What's next? Independent Film Week in New York City in late September...and the festival circuit with my short.....And, of course....more blogging to come...I promise!!

Responsible Filmmaking - sketching the blurry line between the creative and the careful

2009-06-30T08:55:00.000-07:00

When I decided to shoot a short film about the day a 14 year-old girl decides to give up her virginity called "My Last Day On Earth", I was not at all thinking about the various practical and ethical issues that it might engender. I was just thinking about the film from a creative/thematic/story-telling perspective that is necessarily divorced - at least initially - from the actual process of realizing this idea as a film.

But once the mechanics of making any particular film are set in motion, the reality of what you are putting people through to fully realize your film starts to come into play - and that's when things get thorny, if not downright hairy....and sometimes tragic.

While at dinner one night over at my good friend and creative collaborator Sean Hood's house, I discussed the film off-handedly with him and talented D.P. Fortunato Procopio. The script included some simulated pot-smoking and , at the time, a couple of shots of simulated sex. I told them I wanted to cast a true 14 year-old to maintain a sense of autheticity and they made it clear that this was not a good plan. They informed me it was not only irresponsible, it was illegal. I was a little surprised by their reaction and (mis)read some moral indignation in their tone. So, of course, I decided to needle them by pretending I didn't care and suggested that America's cock-eyed puritanism was not going to influence my creative judgement.

What emerged was a fascinating, contentious (and perhaps irritating for them) debate about the conflict between personal responsibility and creative ambition. I'm the first guy to criticize filmmakers for not demanding more from their films and doing all that is necessary to create a truly unique and arresting film - filled with authenticity, complexity and power. But on the other hand, I have seen and heard about filmmakers so blinded by their own obsessive "vision" that they have put actors and other crew members in harm's way both physically and emotionally.

In my case, I was going to ask a young girl to simulate a very sensitive and profound adult experience that she may, in her own life, be nowhere near comprehending - let alone experiencing - the fact of which, my friends argued, may cause irreparable harm to her psyche. Although they acknowledged there are many girls who may actually be sexually experienced at 14 years old, there is no way of me knowing that nor the circumstances surrounding those experiences. I argued that this was a rather tame simulation and that there are films where girls of similar age are doing much more shocking and egregious acts. I made the point that each girl is different and this, then, becomes a personal decision - one that should be made jointly by the girl and her parents.

Carson Goodwin and Daisy O'Bryan (laying down)
rehearsing for "My Last Day On Earth".

Of course, they countered with the point that there are many desperate stage parents whose judgement is clouded by the ambition they harbor for their child and will let them do just about anything. As for the films that had children engaging in more graphic behavior, there's no way to know the psychological toll such "acting" took on their lives.

Good points. I would never want to be responsible for willfully causing any kind of permanent harm - physical, emotional, mental, spiritual or otherwise - to any cast or crew member no matter how "important" realizing the film in a specific way might be to me. Even accidents, such as the ones that killed Brandon Lee and Vic Morrow would haunt me forever and make it perhaps impossible to ever make another film.

Of course, a death is an extreme example. But there are many other things short of that which can happen that would thoroughly suck - mental breakdowns being a rather common occurrence on shoots that test the limits of a cast member (or entire cast/crew's) endurance. And I certainly would not want to be even partially responsible for transforming a sweet, innocent 14 year-old girl into a potentially promiscuous, drug-using, shop-lifting, therapy-needing basket case of an adult.

But I recently saw a beautiful, but gut-wrenching short film from Iceland at the Los Angeles Film Festival called "2 Birds". It was gut-wrenching for one particular scene that **SPOILER ALERT** graphically depicted the rape of an unconscious teen-age girl. This was not an 18 year-0ld playing a 14 year-old. This was truly a 14 year-old, which was obvious from her body type since she was nude in the scene. This gave the film a sense of authenticity and power that was absolutely horrifying. As a cautionary tale, it was even more profoundly disturbing for having this veracity. As a work of creative ambition, this choice made the film's final moments even more deeply affecting.

However, given what I had gone through trying to cast my film, I couldn't help but wonder what parent would let their child do this and how this scene might have affected the actual young actress playing the victim. Shot in Iceland, I simply assumed they may not have the same laws protecting minors that we do here in the States. But beyond the legalities, what were the ramifications? And was the end result that was achieved worth those ramifications or even the risk of adverse ramifications even if there were none? I personally could not answer that because I was so bowled over by the film.

In my thinking, most films that take obvious creative risks and/or convey an authentic and palpable sense of the character's experience are going to rise head and shoulders above all other films. And the bigger the risks, the bigger the potential payoffs...and potential failures - on screen and off. So when are we taking it too far? When is the true life experience of making the film too dangerously secondary to the art we are attempting to create? And is the lasting cultural/social impact of that art ever more important than the lasting personal impact of its creation?

I really don't know the answer since the lines blur for me at a certain point. And I really don't think there is a single answer that an be applied to all filmmaking situations. But I think the answers are less important than the questions. Legalities aside, if you aren't even asking yourself these questions, then you are perhaps dangerously self-absorbed.

With my film, it simply boiled down to a practical/legal matter. If I wanted to show simulated sex, I would have to get an actress over 18. Otherwise, parents would rail in disgust and perhaps torch my home. But also, I could get arrested. The other option was to cast an authentic 14 year-old, but remove the simulated sex and keep everything at the level of suggestion. This second option seemed like the more elegant and poetic choice and, therefore, the choice I made. And I don't regret it. My film didn't need anything more graphic. But some films do demand more if they hope to realize their full power and potential. Tough choices are made. And, perhaps, not without consequence....

"The Revenant" WINS the Audience Award for Best Narrative Feature Film at CineVegas 2009!

2009-06-16T06:50:00.000-07:00

Check it out! -
http://www.cinevegas.com/cv/index.php?option=com_content&task=view&id=748&Itemid=313

Also, we got this great review from Harry Knowles at Ain't It Cool News!:

http://www.aintitcool.com/node/41413

Does that mean the picture is finished and perfect. NO! I my opinion, there's still some work to be done as we rushed it through to it's World Premiere. Also, despite all of the accolades, there were some valid criticisms we need to address. But all relatively simple stuff that is easily addressed.

So, It's all good! We're off and running!....

"The Revenant" at CineVegas 2009

2009-06-07T15:08:00.000-07:00

A film I helped produced is having its WORLD PREMIERE at CineVegas 2009. Hopefully, you can make it out there and/or spread the word to peeps that can. It's gonna be a blast!!!

See ya there!!

http://cinevegas.bside.com/2009/films/therevenant_cinevegas2009

Turner Classic Movies (TCM) Rocks! - Great Directors Festival in June!

2009-05-30T11:56:00.000-07:00

...at least, their programming often rocks. Not sure about their corporate policies. There is some ridiculously bad stuff on fairly frequently, but even that can sometimes be enertaining. Besides, if they only programmed great stuff, I'd never get anything done.

In June, they are having mini-festivals of great directors every day - including Ingmar Bergman, Stanley Kubrick, Federico Fellini, Martin Scorcese, Orson Welles, John Huston, Francois Truffaut, Akira Kurosawa and many more. Obviously, there are nights that are more exciting for me than others. And there are many great directors not represented (including, unforgivably, NO women). But it's still awesome for what it is - which is like free film school for a month. Here's the line-up:

Schedule June 2009

1 Monday - Leo McCarey and John Ford
2 Tuesday - Victor Fleming and Frank Capra
3 Wednesday - John Sturges and King Vidor
4 Thursday - Sam Wood and Ingmar Bergman
5 Friday - Carol Reed and Steven Spielberg
6 Saturday - William Wyler
7 Sunday - Michael Curtiz
8 Monday - Fritz Lang and Stanley Donen
9 Tuesday - Michael Powell and Fred Zinnemann
10 Wednesday - George Sidney and Preston Sturges
11 Thursday - John Huston and Akira Kurosawa
12 Friday - Jacques Tourneur and Woody Allen
13 Saturday - Billy Wilder
14 Sunday - Howard Hawks
15 Monday - Clarence Brown and Elia Kazan
16 Tuesday - Robert Wise and Orson Welles
17 Wednesday - Tony Richardson And William A. Wellman
18 Thursday - Jules Dassin and Francois Truffaut
19 Friday - Blake Edwards and Martin Scorcese
20 Saturday - Mervyn LeRoy
21 Sunday - Vincente Minnelli
22 Monday - Edward Dmytryk and George Stevens
23 Tuesday - Otto Preminger and Ernst Lubitsch
24 Wednesday - W.S. Van Dyke II and Stanley Kubrick
25 Thursday - Budd Boetticher and Federico Fellini
26 Friday - David Lean and Norman Jewison
27 Saturday - Alfred Hitchcock
28 Sunday - George Cukor
29 Monday - Sidney Lumet and Cecil B. DeMille
30 Tuesday - Robert Z. Leonard and Anthony Mann

For the full schedule of films - with specific titles, synopses and times - go here:
http://www.tcm.com/schedule/month/?cid=N&timezone=EST&oid=6/1/2009

Speaking of festivals, a bit of advice for filmmakers....

2009-05-30T08:19:00.000-07:00

The previous blog was about what filmmakers should consider when selecting festivals and competitions to enter. But, coincidentally, a friend just emailed me telling me her film was in a festival, she was leaving for it today and what advice could I give her.

Well, I was all a-flutter. It was so last minute. Luckily, I had some hints/tips stashed away from missives past and was able to simply pass it on to her. Then it occurred to me to pass it on here, as well - especially as a companion piece to the previous blog.

Some of what is below has become too late in the game for for her to address. But hopefully not for you....

FESTIVAL HINTS AND TIPS (for filmmakers in the fest)

Prior to attending any festival as a filmmaker, there are three key things to do:

1. Research the festival. Where the hell are you going, anyway? What reputation does the festival have? Who goes to it? What do other filmmakers say about it? What does it offer in terms of professional goals? What does it offer in terms events and activities? Is it someplace really cool? Hopefully, the festival offers at least one thing that is worth the trip, otherwise why would you go? And why would you have applied in the first place?

2. Set realistic goals for yourself. Once you know what the fest is about, you can begin setting realistic goals for yourself based on that information. For instance, it is pointless to set a goal of meeting 10 agents and managers at a festival that does not attract any industry. But you may simply set a goal of promoting your screenings, or seeing 1 movie a day, or meeting 5 filmmakers, or meeting wealthy patrons of the festival, or building buzz for your DVD release, or getting shit-faced every night or simply enjoying the city.

3. Be prepared. Once you've set realistic goals for yourself, then prepare for them. Ask yourself what you need to do to accomplish them. That may mean getting in shape if you plan to do a lot of running around - or just plain running. That may mean printing posters, postcards and business cards, or making DVDs of your film or RSVPing to all the official and non-official festival parties (or investigating where and when they even are). It can mean all sorts of things as you think through the accomplishment of your goals. Jump on those things and make sure you have nothing to kick yourself about once you are at the festival.

All that said, once you are at a festival, the chips will fall where they may. But here's a bunch of general guidelines to follow to make sure the festival is the best experience you can possibly have.

• Drink lots of water. And rest when your body needs it.

• Be Active - Take part in everything offered to you.

• Read and respond to all of the stuff you get from the festival staff.

• Meet and engage with the fest programmers, who can give you the inside scoop on all the great things about the fest and the surrounding city. They'll also handle problems quickly with a personal connection.

• Always be gracious and appreciative when dealing with festival staff - even when you need to complain about something. Killing them with kindness works great with stressed out festival staff.

• That said, don't be afraid to complain about stuff. The squeaky wheel does get the oil. Things to look out for - Is there proper printed info about your screening/film in the festival's materials? Are they doing their best to attract an audience? Are you getting the best projection quality the festival is capable of? Are you getting clear and comprehensive information about the fest and all its activities? Is the fest delivering to you everything that it promised you?

• Meet other filmmakers - with whom to build a community of support and with whom you can exchange info, resources, connections, bong hits, etc., etc.. They are your extended family and future collaborators.

• Wherever you go, DON'T BE AFRAID TO TALK. But, please, don't sell. Chat. Be invested/interested in who you chat with. That simple approach can lead you in all kinds of exciting directions.

• Listen. Pay attention to conversations. Some are great to jump into and can lead to wonderful connections. Some have great information which can lead you to get more details. Some just have great dirt.

• Don't waste time handing out postcards/flyers to random people. Put up posters, if you absolutely need to, but if you hand out postcards/flyers to passing strangers, they just end up in the trash. Keep postcards with you in case you engage somebody, then give it to them. In that case, the card has real meaning for them.

• If you are going with your crew/homies/family/friends, spread them out. Don't just hide away with them. Have them help you meet people. Make them your publicity/promotional force.

• Stay fluid - A lot of things happen on the fly or out of the blue. Some of those things are great. Allow yourself room to flow with them.

• Watch films. Watch great movies and be creatively inspired by them. Watch bad films and consider thoughtfully what made them what they are and are not.

• Be yourself!! Whatever you do, don't be desperate! People will naturally be drawn to you if you're relaxed and having fun.

• Go to lots of parties. Get free drinks. Eat free food. Maybe "hook up". In general, just relax and have a great time.

• If the festival simply sucks ass, go explore the surrounding city/area. Even if a festival is in the armpit of the world, there's usually somewhere nice within a short drive. Go out and see it. Turn your bad festival experience into a good life experience.

Competitions and Festivals - managing the lottery mentality

2009-05-19T19:01:00.000-07:00

As you may or may not know, Filmmakers Alliance has been in the submission phase (thru June 19th) of a competition we are presenting called the Ultimate Filmmaker Competition.

It's been interesting witnessing a competition from the perspective of the organizer - just as I once got to witness a festival from the perspective of a festival-maker when we did "DigiDance" up in Park City in 2002.

Festivals and Competitions are a lot of work. It's tough to manage and evaluate submissions. And on top of that, festivals additionally have to create and manage screenings, panels, parties and other interesting programs/events. It is a gargantuan, overwhelming endeavor. But on an emotional level, it's also tough to manage the expectations of the entrants for both festivals and competitions. Especially since I am a filmmaker myself.

The filmmakers' expectations show up in nervous questions about why they should submit - what is the submission process, what are their odds of being selected, what are the benefits of winning, etc. They get stressed out about deadlines and whether or not their submission has everything it needs to be "picked" or if the submission was received at all by the organizers. Hope (often desperation and sometimes flat-out delusion) is the engine that drives them - and that energy is often exploited by competition and festival organizers. These "opportunities" play on the lottery mentality of filmmakers (of our current culture in general, actually) that makes them feel "If I could just win, it will mean blah, blah, blah...". That could be a big "if" depending on the size of the competition/festival. And sometimes, even if you win, it can mean absolutely nothing in the end - in terms of moving your filmmaking life forward (other than what it means for your ego).

Although I truly believe the preponderance of competitions and festivals are on the level, some clearly are not. But even the well-intentioned ones can get caught up in their own needs and grand ambitions and promise things they have no real possibility of delivering. Or, at least, they have little to offer the thousands who submit versus the handful (or single winner) that is selected.

So, why should filmmakers ever bother submitting to things? Well, there are a few key, good reasons, and two of them have nothing to do with actually winning a competition or being selected for a festival. However, winning or being selected is indeed the primary benefit. It's the old lottery-mentality adage: You can't win the race if you aren't IN the race. Or the other one: SOMEBODY's gotta win. And despite my disparaging of the lottery mentality - and as much as our hope, desperation and delusion are exploited - these adages are, nonetheless, true. If you are doing top-notch work (that is also appropriate for the goals of that competition/festival), you will always have a shot - but only if you submit that work for consideration. And if you win the right competition or get into the right festival - your hopes, desperation and delusions can be addressed with real-world and meaningful benefit. But there are so many factors involved in selection (as I know well from the "inside") that you can never be sure of winning or getting selected no matter how great or appropriate your project is. So, it then becomes a sort of numbers game. You submit to enough places and you will probably strike gold with one of them. Sadly, it's no different than trying to find a life partner. You have to kiss a lot of frogs, as they say....But you can't apply to EVERYTHING - nor do you want to. Not all competitions and festivals are worth the price of admission - or even worth your time preparing a submission. There are things to research and consider before buying that lottery ticket.

But if winning or getting selected is not the only reason to enter, what other reasons are there? Well, you need to ask of the competition/festival, "What do I get if I don't win or get selected? Is there a second place? Third place? What are those benefits? What do I get just for entering?" Frankly, most festivals offer nothing if you don't get in. But they also have multiple slots for programming, so it is not a winner-takes-all proposition. And some competitions offer a wide array of consolation prizes, that open up your chances of getting something worthwhile out of your submission. On the other hand, some competitions/festivals just take your submission fee and that's the last you hear from them. You don't even get a rejection letter. That truly sucks. So the key here is to examine each competition/festival and look at your odds of getting SOMETHING meaningful out of submitting to them. Sometimes it is just feedback - which is plenty worth it for a lot of filmmakers/screenwriters.

Aside from that, what other benefit could possibly come from submitting to a competition or festival? Well, I'll give you an example. I submitted my feature film "The Dogwalker" to the Sundance Film Festival. It didn't get in, but it was seriously considered, and, it seems, admired by at least some of the programmers who were considering it. In fact, they admired it enough to recommend it to other festivals (to which I was subsequently offered invitations to screen the film or submit it with a fee waiver). Also, it kind of put me on their radar, so when I submitted subsequent films, they were looked at as part of a body of work or an evolution of it. My next two films played at Sundance. They were short films, but those are, statistically, even harder to get into Sundance than features these days. And it was made clear to me, once I got to know the programmers, that their awareness of me from my previous submission played a part in those selections.

Of course, the point here is that you never know who is reviewing your work. Competitions often build a panel of judges drawn from successful filmmaking professionals. Festivals do, as well, for their festival awards and also often have very well-connected programmers weeding through the top-tier submissions to make their selections. These people could ultimately be champions of your work in a meaningful way even if you don't win or get selected. Sometimes, especially if you don't win or get selected. They may feel your work, then, needs support more than ever since it failed to gain the benefit of the competition or festival. Or maybe they just become fans of your work and are looking for your next project so that they can get behind it even more strongly.

As a filmmaker, I will continue to submit to festivals and competitions. Especially given how tough it is to find opportunities for emerging and/or independent filmmakers to get their films made. Any bit of support is meaningful. But I submit to these things judiciously. Although each individual submission fee will not break the bank, they add up significantly when you are doing dozens of them. So, I simply ask myself a set of questions about each competition/festival before I submit. If all or most of them can be answered to my satisfaction, then I submit. And the questions are these:

For Competitions:
Is this competition right for my project and is my project right for it? (MOST important question. Otherwise, don't bother).
What is the competition offering as a prize?
What is the submission fee versus what is at stake?
Does the competition have more than one winner?
Are there consolation awards? If so, what are they?
Do you get anything at all for just submitting?
What is the competition's level of prestige/visibility? (will a win at least look good on a resume?)
What is the competition's history and reputation? (If it is the competition's first year, what is the organizer's reputation?)
Who's evaluating and/or judging the submissions?
Does it offer other opportunities to connect with filmmakers and/or beneficial filmmaking professionals?

For Festivals:
Is this festival right for my project and is my project right for it?
What is the festival's history and reputation? (If it is the festival's first year, what is the organizer's reputation?)
What is the festival's level of prestige/visibility? (will selection at least look good on a resume?)
What is the quality of programming?
What is the submission fee?
Does the festival offer awards?
What other events/activities does the festival offer?
Does the festival attract quality filmmakers and/or filmmaking professionals?
Does it offer opportunities to connect with them without stalking them?
Where is the festival located? (Is it someplace I'd like to visit, in any case?)

Obviously, the answers to all of these questions don't have to be ridiculously fabulous. But when assessing the answers, the positives should clearly outweigh the negatives. And if they do, then I roll the dice. And I rarely lose....because I've already proven to myself that something good will come out of it.

Jarmusch's "The Limits Of Control"

2009-05-07T07:46:00.000-07:00

One of my favorite things at Filmmakers Alliance is the various discussion groups we sporadically hold. Small groups of us get together to discuss anything related to film and filmmaking. And any member of the organization can arrange to have them. Often, they are around various filmmaking topics such as "Point Of View", "Color and Composition" or even "What is Cinema?" and sometimes they are set up for argument such as "Do We Need Antagonists in Film?" or "The 3-Act Structure: Time For It To Die?". Other times, we'll simply go see a film and discuss it. This is what we did last night.

Sometimes the more difficult (or even unpleasant) a film is, the more room there is for discussion. This couldn't be more true for Jim Jarmusch's new, inscrutable film "The Limits Of Control". I say inscrutable, although there is much in the film that seems completely obvious - even sorta campy. But the bulk of the film is anything but obvious. I don't want to have to give a spoiler alert so I'll avoid giving any details about the film - which is tricky given that I want to talk about what the film stimulated in our discussion - without giving away the specific elements in the film.

What I will say is that the discussion quickly became an investigation - with all of us trying to solve a mystery or put together a puzzle built from a number of cinematic set pieces. In Jarmusch's films, the director's hand is never hidden - sometimes it's directly in your face, even to the point of obscuring your own experience of the film - so it's easy to assume that everything you see is by design,...by intention. You can then just as easily fall into the trap - as we did via a post-screening discussion - of trying to figure out the "meaning" of what we saw. Or, I should say, trying to ascertain the director's intent. But the conversation became much more interesting when we each began assigning our own meanings to the film and making our own connections without trying to justify them through "directorial intent".

But if there is an intention to embrace in Jarmusch's film - and his work, over-all - it is to eschew clear intention all-together. I don't think he cares a lick about whether or not you get his "meaning". To me, he seems more concerned with investigating things for himself and allowing anything to be brought into question for the audience. He throws a lot of stuff at us that feels like red herrings - roads that seemingly lead nowhere and repetitious actions/sequences whose purpose is never made completely clear to us. But I don't believe they are as much red herrings as they are simply very idiosyncratic and personal back alleys Jarmusch enjoys exploring more than the path most familiar to audiences. Maybe they are a bit of both. No doubt Jarmusch enjoys playing with both form and content in his films.

This kind of stuff, of course, infuriates narrative traditionalists. When A plus B does not clearly equal C, some people begin to feel jerked around and angrily denounce the filmmaker as "self-indulgent", or, hit them with the even more dreaded epithet, "boring". Even for those of us that embrace non-traditional narratives - are starved for them, actually - there is much that can annoy us in Jarmusch's new film. His studied "cool", his use of interesting actors mouthing quirky, self-conscious, pseudo-profound dialogue, his sometimes obvious/silly film references and his occasional sledge-hammer thematics can all conspire to pull me out of his films at various times. Watching Jarmusch's films is, for me, like digging for buried treasure except Jarmusch is wielding the shovel and I am his captive, silent partner. Where he chooses to dig and how deep is beyond my control. I partner with him, nonetheless, because I know he will always find enough "treasure" to make it worth my while even if I'm not always compelled by where he chooses to dig and what he happens to find.

JIM JARMUSCH - ONE COOL CAT

But in the discussion after the film, we ultimately did our own digging and found some of our own treasures. We were able, at some point, to let go of what we think Jarmusch's work means to him and focus on what it means to us. And, indeed, not everything we found was treasure. Or even pleasure. But how many films or filmmakers allow you to take your own journey - for better or for worse - inside their films? Many do, actually, but they are not always easily found. Jarmusch gets to do this kind of work with relatively substantial budgets and roll his films out on a scale that doesn't make it a chore to find the film. Is that a good or a bad thing? Depends on your perspective. Is this a "good" or a "bad" Jarmusch film? Again, it's all about perspective. But for me, those kind of subjective judgments are pointless and limiting. The film made us see, think and feel...and then discuss what we saw, thought and felt at length. It took us beyond the parameters of the cinematic experience. In that, lies the film's value...and, to my mind, it's true purpose.

In a Jarmusch film, the journey always seems more important than the destination - as it should be in life (since we all end up at the same lifeless destination, eventually). But my feelings about his (and others') films are the exact opposite. I may not always like the roads he chooses to walk, but I always like where they leave me when the trip is over.

Great Film Site For Those Tired Of The Ordinary/Mundane

2009-05-07T07:41:00.001-07:00

Check it out:

http://www.ubu.com/film/

The First Quarter Of The Year In The Life Of This Filmmaker

2009-04-09T07:32:00.000-07:00

I knew it would come to this, and it may get worse, yet. It has gone from "A Day In The Life Of..." to "A Week..." to "A Month..." and now "The First Quarter Of The Year...". Sounds like some kind of business spreadsheet. But I've admitted it before and I'll admit it again, I'm a lousy blogger. At least in terms of consistency. I allow myself to become too distracted by other things. In fact, I've been told I have an addiction to distraction. Probably true. The upside to that is I have absolutely no other addictions or obsessions. Even drug addiction takes a single-mindedness of purpose that my addiction to distraction simply won't allow.

I was a sprinter in high school and it is an apt metaphor for the way I approach work and creativity. I do things in mad, insanely productive bursts of energy. But I spend most of the rest of the time avoiding those bursts, or, at least, distracting myself from the necessity for them. And it drives me crazy about myself. I'm the hare who envies the tortoise. I'm a genius-level procrastinator who believes nothing I do today will be as good as it will be tomorrow (while torturing myself with the knowledge that I'm totally bullshitting myself). Yes, tomorrow! That will be the day everything gets done! Ah, what an exciting, productive day tomorrow will be! Unfortunately, I simply wind up with a lot of unproductive todays and yesterdays. Well,...sorta...

I still manage, somehow, to get things done. A lot of things, actually. How do I do it? Well, that's not what this blog is about. But since I went there, I'll answer the question before I give my First Quarter Report. The key for me to getting things done is first and foremost accepting that I am indeed a procrastinator and distraction addict. To deny those things is to give them subconscious power rather than confine them to conscious power. I can deal with my conscious behavior but I'm helpless against my sub or unconscious behavior. My name is Jacques and I'm a distraction junkie. There, I've acknowledged it. It no longer it exists in my dark shadow free to do whatever it pleases. Now, the addiction must operate in the light of day.

The next step is to manage these impulses/behaviors. Sometimes, it takes just straight up willpower - the old 1% inspiration, 99% perspiration axiom. I don't want to write, or prepare that proposal or make that phone call. But I do it anyway. Or, when it comes to writing, I at least I sit my butt down in front of a computer for a set number of hours whether something comes or not. But I can't always tough it out. I don't like perspiring all the time. And, in fact, it sometimes creates an adverse reaction in me, making the next time I need to write (or whatever I MUST do) more difficult than ever.

So, I chart at my organic energy and rhythms - my "life patterns" (as dysfunctional as they may be) - and manipulate them to the advantage of productivity. Meaning, I know I am more productive in the morning (other people are the exact opposite - they get shit done in the middle of the night), so I wake up early. I am less productive in the middle of the day, so that's when I cut myself slack. I am very social in the evening/night, so that's when I plan stuff that involves other people. I keep my life/schedule fairly flexible so that when I'm in a productive burst or sprint, I can keep running and not have to stop. I know what fuels my creative energy - experiencing others' creative work - so I do that as often as possible. I know what kills my creative energy - excessive drinking - so I do that as little as possible (again, it's just the opposite for other peeps). I'm not saying I don't drink, I just avoid getting shit-faced on a regular basis.

Most importantly, perhaps, I know I am a distraction junkie, so I make sure the things I use to distract myself are productive in themselves. So, I make sure I am juggling many different - and different kinds - of projects. It doesn't help me to juggle several writing projects because writing is writing. And if I don't feel like writing, I won't write anything, period. So, I have writing projects and directorial projects and producing projects and Filmmakers Alliance projects and home repair projects and gardening projects and help-my-friends projects. I also exercise and pay my bills and wash the car and yadda, yadda. The key is not just that I create/pile-up all of these things. I mean, everybody has stuff to do. The key is how I arrange addressing them.

For instance, I know that I need to balance writing with physical activity. So, I work out after I write or do home repair or wash my car or walk my dog or wash my dog. I have to drink after I pay bills so I pay them in the evening and roll into a night of drinking/social activity. After a tough work out and hot shower, I usually have to nap, so I finish my work-outs in middle to late afternoon, when I otherwise normally experience a dip in energy. And I never pressure myself as to how long I do any one thing. As long as I START doing it. Usually, I will continue doing it for awhile before I get distracted. So, I bounce from this to that and that to this in a way that doesn't cause me stress, distress, guilt, tedium or any other corrosive emotional side effect. I use awareness of my issues to my benefit. To some degree, I purposely give into them - just as alcoholics use their addictive personalities to become addicted to sobriety and AA meetings instead of booze. Eventually, I get a lot of shit done.

Now, granted, it is harder to do this if you are married or have kids or both. But it is only harder, not impossible. It simply takes folding these additional elements into your self-strategizing and negotiating a little understanding and support from your family (maybe this is the toughest part). But it can be done and, no matter how good of a procrastinator you are (there are none better than me) or how bad of a distraction junkie you are, you can create/get shit done! And for the rest of your life.....and then you die.

But before I die, I will continue to lead the filmmaker's life. And this first quarter of the year was a busy, transitional one. I did a lot of festival stuff - the Sundance thing in January then off to Berlin in February, both of which I already blogged about. I did Cinequest in March and just got back from the Ashland Independent Film Festival on Tuesday. What was I doing at all of these fests besides regretting that I haven't directed a film in 3 years? Well, I already answered that about Sundance and Berlin. As for the other two, however, I am on the Board of Advisors for the Ashland Independent Film Festival and was a juror for the short documentary section and was therefore invited up for all of the fun and to hand out the award. At Cinequest, I was a juror for the screenwriting competition and was also invited to play/participate. Both of these fests are fun, well-funded (although the organizers may argue that point), well-organized, well-programmed festivals with strong attendance and lots of local support. They are regional fests - not "industry fests" - and in most respects, truly what film festivals are all about. But they are also run by really considerate, smart, creative, lovely people and for me, going back every year is like visiting family. I also, of course, get the opportunity to meet filmmakers and spread the gospel of Filmmakers Alliance. And last but not least, I get to see new films.

I've started writing my new script in earnest - hopefully, my next directorial feature - but, as noted above, it's going slowly. I had written another feature I was excited to do, but then I got divorced. I wrote it expressly for my actress ex-wife and simply can't muster the emotional energy to do it right now - with her or anyone else - since making films with her was a romantic endeavor for me. Also, the money to make it dried up, so I took that as a sign that I simply have to move on. At least, for now.

In general, my creative energy has taken a big hit since the divorce, given that having a talented actress for a wife made it easy to use her as a muse. But I'm slowly starting to recover that energy a bit. I want to make a short, but have been struggling with which of the somewhat mediocre ideas I should pursue. Yes, I admit that the ideas are mediocre, but nothing better is striking me. And I think creativity feeds on itself, so it's best to always be doing something. As Sean Hood says "Creativity is not something you have, it's something you do". I'll look at it as a challenge to take one of these mediocre ideas to the next level through execution.

In the meantime, been juggling producing projects. I've been mostly absent on Kerry Prior's horror-buddy-comedy "The Revenant" since,...oh, I'd say...pre-production. But he handled things well through production with my producing partner Liam Finn's able support. And he's inching through post (lots of comp shots) very capably. I think it's going to be a strong film and do very well out in the world. I like to convince myself that I weigh in at key moments and for key issues. Self-delusion can be so pleasant sometimes, can't it? We're also narrowing in on funding for Babak Shokrian's "The Apology". In fact, I have a conference call with a potential German co-producer in about 15 minutes. Still marginally, involved with artist Lauren Bon's epic "Silver and Water" project for her Metabolic Studio - but more of a participant/consultant than as a producer. It's amazing to see the project slowly take shape and how her sculptor/artist's eye creates beautiful imagery and unexpectedly beautiful and meaningful juxtapositions of those images. Finally, still working on drumming up sales for my old first feature "The Dogwalker" - which just means doing a little internet promotion whenever I can.

My day to day filmmaking life is mostly taken up by Filmmakers Alliance - primarily preparations/planning for our online global launch and the Ultimate Filmmaker Competition, but tons of other stuff, too. Won't bore you with all of those details other than to say that keeping a community like FA vibrant demands a lot of,...well,...vibrancy. Meaning, we have to kick up a lot of dust and keep kicking it up day in and day out - screenings, labs, script reads, discussion forums, seminars, meetings, yada, yada, blah, blah, blah, scooby-do, scooby-do... I hate to sound so tired and cynical because I truly love all of this stuff. But they're all far more exciting to do than to talk about. Finally, there's absolutely nothing exciting about raising money (except when you get it), but it is also something I need to push forward every day. Got something on the horizon with a new investor prospect that will support both FA and individual projects. Can't talk about it now, of course, but I'll know more in a week. Don't worry, I'll keep you all posted.

In the meantime, gotta do this conference call about "The Apology". Then do more work on my script. Then scratch up some breakfast. Then have another conference call about the new FA website. Then exercise my dog. Then do more FA work. Then wash my car. Then work out. Then nap and/or make some work/fundraising phone calls. Then write some proposals and do some work promoting the Ultimate Filmmaker Competition. Then roll into the night before sleeping then starting all over again....Ah, the life....And I'm getting shit done before I die. That's important.....isn't it?

CALIFORNIA FILM & TELEVISION INCENTIVE PROGRAM

2009-04-04T09:01:00.000-07:00

If you're a Cali filmmaker or thinking of shooting here in CA, you should check this out below. And if you aren't shooting here, you should check out the incentives in your own state/town/region/country/etc.

More info on incentives/resources for filming in CA can be found here: http://www.film.ca.gov/ProductionTools/Incentives.html

CALIFORNIA FILM & TELEVISION INCENTIVE PROGRAM

On February 20, 2009, Governor Arnold Schwarzenegger signed legislation creating tax credits for film and television productions as part of an economic stimulus provision in the new state budget. The California Film Commission is currently developing program guidelines and application procedures. Applications will be available on June 1, 2009. Applications will be accepted on a first come, first served basis beginning on July 1, 2009.

How the Tax Credit Works

Qualified taxpayers are allowed a credit against income and/or sales and use taxes, based on qualified expenditures, for taxable years beginning on or after January 1, 2011. Credits applied to income tax liability are not refundable. Only tax credits issued to an “independent film” may be transferred or sold to an unrelated party. Other qualified taxpayers may carryover tax credits for 5 years and transfer tax credits to an affiliate.

How much was allocated to the program?

$100 million annually beginning fiscal year 2009/2010 through fiscal year 2013/2014
$10 million of the annual funding shall be set aside for independent films
Any unused funds carryover to the next fiscal year

How are the funds allocated?

Tax Credits will be allocated on a first-come, first-served basis, as long as funds are available within each fiscal year. On each day that applications are received, they will be selected at random via a daily lottery.
Each approved project will receive a credit allocation “reservation” pending the project’s continued eligibility and final documentation.
The final credit allocation will be the lesser of: 1) the estimated reservation amount or 2) an amount based on final qualified spend.

What Types of Productions Qualify for the Program?

To apply for the California Film and Television Incentive Program, a “qualified motion picture” must be one of the following:

(Eligible for 20% Tax Credit):

Feature Films ($1 million minimum - $75 million maximum production budget)
Movies of the week or miniseries ($500,000 minimum production budget)
New television series licensed for original distribution on basic cable ($1 million minimum budget; one-half hour shows and other exclusions apply)

(Eligible for 25% Tax Credit):

A television series, without regard to episode length, that filmed all of its prior seasons outside of California.
An "independent film" ($1 million − $10 million budget that is produced by a company that is not publicly traded and that publicly traded companies do not own more than 25% of the producing company.)

A "qualified motion picture" must also meet the following conditions:

75% test (production days or total production budget) in California
Application must be submitted at least 30 days prior to principal photography
Once application is approved, principal photography must begin within 180 days and post production must be completed within 30 months

What expenditures qualify?

"Qualified expenditures" are amounts paid or incurred for the purchase or lease of tangible personal property and qualified wages for services performed in California.

The following costs are not qualified expenditures:

Any costs incurred prior to application approval will not qualify for credits.
Wages paid to writers, directors, music directors, music composers, music supervisors, producers and performers, other than background actors with no scripted lines.
Expenses, including wages, related to new use, reuse, clip use, licensing, secondary markets, residual compensation or the creation of any ancillary produced including but not limited to, a soundtrack album, toy, game, trailer or teaser.
Expenses related to acquisition, development, turnaround or any rights thereto; financing, overhead, marketing, promotion, or distribution of a qualified motion picture.
State and Federal Income taxes.
Audit expenses; Completion bond.

What types of productions are not eligible for the incentive program?

Commercials; music videos; TV pilots; news programs; current events or public affairs programs; talk shows; game shows; sporting events; ½ hour (airtime) episodic TV shows; awards shows; productions that solicit funds; reality programs; student films; industrial films; clip based programming where more than 50% of content is comprised of licensed footage; documentaries; variety programs; daytime dramas; strip shows; pornography.

Application Procedures

The California Film Commission is developing application procedures. Once established, applications will be accepted on a first come first served basis beginning on July 1, 2009 as long as funds are available within each fiscal year.

The open application period will be announced by the CFC prior to each new fiscal year for the duration of the program.
Applications will be accepted on a first come first served basis. This process will be run as a daily lottery each business day.
Applications must be submitted at least thirty (30) calendar days prior to the start of principal photography.
Applications that meet program criteria will be accepted and credits will be assigned (reserved) until the annual allocation is exhausted.
Within 10 business days of receiving the requested supporting materials, the CFC will notify the applicant of accepted or rejected status. Credit will be assigned (reserved) to all accepted applicants until the annual allocation is exhausted.
If the application meets the criteria and is approved, the production must begin principal photography no later than 180 days from approval date which is the date the allocation reservation letter is issued. (If the production does not begin filming prior to the 180 day deadline, the reservation of credits will be forfeited and the applicant will be placed back in the queue. There will be no guarantee that additional credits will be available once placed in the queue.)
Once a qualified television series has been approved and accepted into the program, that series will be placed at the top of the queue for lottery numbering (based on order received) for each successive year in the life of that series whenever credits are assigned within a fiscal year.
Once an application is accepted, the primary producer, UPM and production accountant or other appropriate personnel will be required to attend an orientation meeting with the CFC.

Swing For The Fences!

2009-03-05T09:14:00.000-08:00

I hate sports metaphors because they are always so cliche. But this particular one - "swing for the fences" - was the one that came to mind when I read a script for a friend recently. For those of you who don't know (it's a big world, gang, and not everyone loves/knows sports), "swing for the fences" is a baseball phrase that means to try to hit the baseball as hard and far as you can, rather than just safely connecting with the ball.

The script I read reminded me of the thousands of scripts that safely try to connect with the ball. They are solid and well-crafted, but offer no distinctive voice or perspective - nor add anything new to the language of cinema. There's nothing that can't be found in these scripts that can't be found in a thousand other scripts. It makes me wonder why someone would apply their time, energy, talent and/or skill to such mediocrity.

Maybe because that's exactly what commercial Hollywood likes to make. However, they HATE to admit it. They like to believe they are making something fresh and exciting (and every once in awhile, important). So, when you hand them something mediocre, they immediately dismiss it as derivative, because indeed it is. Too many filmmakers use other films as their creative reference point, rather than other art forms and/or life experiences.

Commercial Hollywood would MUCH rather gobble up your wildly original screenplay, and then hire a bunch of overpaid hack rewriters to turn it into derivative drivel that they can call their very own. You see, it's not derivative work they hate, it's just YOUR derivative work they hate. They seem to be endlessly pleased with their own.

So, whether you want to play in the commercial Hollywood world or if you want to make truly original, meaningful films, you have to "swing for the fences" in your writing - or in the scripts you look to develop or direct. You have to have a script in hand that is original in a way that still speaks clear cinematic language, but with a unique and stunning syntax of its own. Then, you can collect the bucks while you sit back and watch commercial Hollywood desecrate it. Or, you may get lucky and become the next Charlie Kaufman - writing and making distinctive, but odd and overly-intellectualized quirks of cinematic art that "name" actors adore (and therefore help get his pictures made - until studios realize they don't make any money). Or you may get to realize your films as written, with all of its distinctive brilliance intact.

But exactly how do we "swing for the fences" in our scripts? Well, you need to be fluent in a couple of key things. First off, it's important to know where the fence is - you need to know the type of film/genre you are creating and it's particular language and history. How can you know if you are creating something original if you don't know what's come before? Just because it is seems to come from you - and no where else that you are conscious of - doesn't always make it original. Our aesthetics are informed by so many cultural influences, we have no idea how much of it is our own distinctive perspective and how much is the cultural zeitgeist (which is often simply the product of effective marketing). You need to truly have some tangible knowledge of the kind of film you are making - where it's been aesthetically and why it is there (why its particular "rules" exist), if you are going to move beyond those aesthetics or even subvert them.

Secondly, you need to understand your own aesthetic....or, even more importantly, your own deep impulses/obsessions/fantasies/dreams, etc. What are the kinds of things that seize hold of your mind? What are they when realized to the extreme? Can they be integrated into a "story"? What do you know about yourself that others don't? What excites you that doesn't seem to excite anybody else? What embarrasses you? These distinctive quirks - which may seem to alienate you from others - are exactly the things you need to find that extra bit of power to push the ball over the fence - meaning, to give your script the originality it needs to stand out amongst the thousands of others. You really need to dig around inside yourself for these treasures. Or, if you are capable of working intuitively, just "let go" and allow them to come out.

For example, when I was growing up, I was plagued by apocalyptic dreams/nightmares. And they would recur throughout my life in times of high stress (I don't have them often, anymore, thank goodness). A multitude of doomsday scenarios would play out in my sleep - always leaving me shaken when I awoke - and strangely embarrassed. Now those dreams are perfect fodder for my latest script and serves it on many levels - psychologically (for the main character - not me), visually and thematically. When I first conceived of the idea and began working on the treatment, I wasn't even consciously thinking of those dreams. I was just exploring a sort of existential angst and a contradictory attraction/fear of chaos that played out in my relationships. Those dreams just organically appeared in the development of the main character and, eventually, in the story.

You don't always have to know exactly what's going on inside of you. In fact, it is often better if you don't, so your work is not too "controlled", schematic or self-conscious. But if what is deep and distinctive about you is not spilling forth organically, you need to get down inside yourself and dig it out. You can try what I do, sometimes - to literally sit with a pad and pen (not a computer) and list all of the things you think are "weird" about yourself. List your darkest, most shameful thoughts/fantasies. List your obsessions and excesses. Your weird dreams. Your paranoid ideas. Your embarrassing moments. But don't just list the dark stuff, also list the things about yourself that you find distinctly charming or funny or sublimely ridiculous. And if none of that seems too "extreme" or unique, play them out in your head to some logical (or illogical) extreme - then write it down again. If you start to feel foolish about doing this, remind yourself that some of the stuff on that list will provide the power in your "swing". It will allow you to take a script you've written or otherwise control and push it to the next level. Remind yourself that your creative and/or professional life depends on your ability to do this.

That said, there are obviously plenty of places for well-intentioned mediocrity because we see it in movies and on t.v. - ad nauseum. And if you continue to create well-intentioned mediocrity, you might possibly outlast the millions of other mediocrity-creators and forge a career for yourself doing mediocre t.v. and/or movies. But if you aspire to more than that, then you need to know where the fence is (by understanding the structure, language and history of your film type/genre), and give yourself the power to knock the ball over it (by exploiting your distinctive aesthetic/neuroses/charm). Then, step up to the plate and create a script that will leave them stunned, excited, angry, confused, offended, heart-broken, elated...and/or, in any other way, DEEPLY AFFECTED.

Only then can you truly forgive my bad sports cliche. And only then can you create work that really means something....most of all, to yourself.

Berlin International Film Festival (Berlinale) and European Film Market (EFM) 2009

2009-02-24T21:09:00.000-08:00

What's an American low-budget indie filmmaker doing at the Berlinale/EFM without having a film at either, you ask? Well, looking for money, of course. But I found much, much more.

MY BLURRY ACCREDITATION CARD

A lot of the American indie films I'm exposed to through Filmmakers Alliance and at festivals are, for the most part, very...well,....American. Even many of the docs I see. These films are often so infused with a uniquely American sensibility - aesthetic, structure, pacing, cultural references, ideology, etc. - that I often fret about how they will play to a global audience. I truly want to make and support films that speak to a global audience - films that aren't purely genre/entertainment, but still speak the universal language of cinema and don't demand mastery of specific American culture/language/idioms/history.

A RELIC OF OLD COMMIE EAST BERLIN - THE GOOD OLD DAYS

I was lucky enough to be invited to help produce Babak Shokrian's next feature film "The Apology". Babak is an FA member whose first film, "America So Beautiful", played at the Berlinale in 2002 and I attended it with my then-wife Diane Gaidry, who was in the film. We all fell in love with Berlin, the festival and the global filmmaking community - which is very different than the American independent filmmaking community in some subtle, but key ways.

Most obviously is that fact that many global filmmakers are independent by design. Places like France, Germany and Sweden have big studios, but not nearly as many as the U.S. and not nearly as dominant globally. So, most filmmakers find financing through state-supported agencies - or, at least, some significant portion of their financing. And the focus for these agencies, more often than not, is on how the filmmaking process can enrich the economy AND the finished film can enrich the culture of the funding region. So, there's no focus on big stars and big box office. Yes, the potential of those things are exciting to the funding agencies, but not the focus - as they are in so much of U.S. financing strategies. Sounds lovely, doesn't it? And it is, but we must also keep in mind that those state-supported agencies are still limited channels of funding and, thus, highly competitive.

TYPICALLY CLEAN AND ALWAYS TIMELY GERMAN TRAIN/SUBWAY WITH MY BIG FOOT IN THE FOREGROUND

However, Babak's new film is an excellent candidate for state funding in Germany, as well as for one of the large regional funds available to filmmakers . Here's the synopsis for the film:

1992. FARZAD FOROUZAN, at one time Iran’s most celebrated showman, broadcasts anti-fundamentalist rhetoric from an underground radio station in Bonn, Germany, years after having fled the Islamic Revolution of 1979. Farzad’s glory has long since faded -- no longer is he meeting with the Queen of Iran, standing before cameras or beneath the bright lights of the stage. Instead, he sings in a small Iranian cabaret to make ends meet.

Vilified for his beliefs and homosexuality, he's burned the bridges that lead to his beloved motherland, but is introduced to a loyal ‘fan’ who promises to secure his return to Iran where millions of people supposedly await his return. “Khomeini is dead”, the fan proclaims, “Change is in the air”. Farzad falls prey to his own arrogance and longing - for his homeland and his ailing mother. He entertains the idea of actually going back to Iran even though there’s a FATWA on his life. However, he soon discovers that the fatwa would be lifted, allowing him to return safely...under one condition: He must give a public apology for his outspoken criticism of the regime - thus denouncing his passionately held beliefs.

The apology is clearly intended to humiliate Farzad and show Iranians all over the world the current regime has won the ideological battle between East and West. Although Farzad himself believes simply that love and not hate should be the guiding principles of his country and religion, those principles have not guided him quite so simply in his personal life. As the time draws near for Farzad to make a decision, each detail of his life informs that decision as he struggles to resolve the ideological and the personal - with the direction of his life...perhaps his life, itself, hanging in the balance.

So, the film shoots in Germany, has a modest budget, can use an all-
German crew and a nearly all-German cast. It's unique, but based on a true story and character. So, off we went to the Berlinale/EFM to look for money. It was me, Producer Elizabeth Stanley and Babak.

BABAK AND ELIZABETH STANLEY NEXT TO A PIECE OF THE BERLIN WALL
(IT WAS THE 20TH ANNIVERSARY OF IT COMING DOWN)

The best, most effective strategy for attending any event, for any purpose, is to do a lot of preparation in advance. Even if you are just going to the festival to have a good time and see films, you should do all of the pre-fest work of obtaining a list of the films, getting passes/tickets, securing travel and lodging, finding out what other events/parties are taking place and soliciting invitations, finding out who else is going or who you might know there who can add to the experience, etc., etc. This is all done well in advance of actually showing up. Yes, there's a ton of stuff you can do on the fly, but it's much harder and you risk being shut out of a lot of things. Of course, this is especially true of larger festivals like Sundance and the Berlinale/EFM, where there is soooo much going on, but still a lot of competition to get into all of these things.

OPENING NIGHT AT THE BERLINALE - BIG, CROWDED, SWANKY FUN

Elizabeth is a smart, diligent and determined worker who has built up a lot of contacts over the years and was able to secure some good meetings for us prior to heading over there. As usual, I was able to get us some party invitations through friends Peter Belsito and Sydney Levine of Film Finders, who know a ton of people and never miss the Berlinale/EFM. In fact, they own a nice apartment in Berlin and we had dinner with them there one night. Party invitations are always important because that is where a lot of connections/introductions get made and even where serious business sometimes gets done. But you have to know which parties to go to and whom to contact to solicit invitations. For that, you need to talk to people who have been there before you. Just keep in mind that nearly every film premiering there has a party and nearly every film council from around the world has a reception. Then there are "company" parties and other little dinners and get-togethers.

THE ROCKIN' SHORT FILM PARTY AT HOME BASE - WHICH IS RUN BY THE VERY SMART AND VERY COOL SIMON CHAPPUZEAU

Hotels (and short term apartment rentals) are relatively inexpensive especially in the former East Berlin in neighborhoods like Kreuzberg and Prenzlauer Berg. I stayed with my friend, Christine (pronounced like Christina) Knauff whom I've known for years (and met through a friend in L.A.) and who has a large, lovely flat in Prenzlauer Berg that she shares with her very sweet boyfriend, Thomas.

If you can demonstrate industry credentials, you can get a limited pass to the Berlinale/EFM for 100 Euros (about $130 at the time) - which you order online at the Berlinale website a few weeks in advance. This allows you to go to select screenings at the Berlinale and entrance to certain events and parties. It's the best ticket in town. It also allows you to walk into the Market. The festival screenings are all over town in some great theaters, but the screening hub is the Cinemaxx multi-plex located in the center of Berlin, Potsdamer Platz - where the wall used to be, but is now a very modern, developed area. It's also where the festival headquarters are located as well as the Berlin Palast (the big palace for many of the bigger films and premieres). The EFM is located inside something called the Martin-Gropius building a relatively short walk from the Cinemaxx. However, Berlin can be cold as hell during that time of year (early February) and, when it is, that walk can feel like its miles long.

The Market is a big hall overrun with temp offices representing the major film companies and state-run film councils from all around the world. Notably, there is no U.S. presence. And no U.S. party. Probably because there is no U.S. film council or governmental Arts agency at all. Anyway, it's not unlike AFM, only it doesn't feel nearly as cheesy and doesn't cost you an arm and leg just to walk through it. If you haven't set up meetings previously, you can go around to the various film councils/companies and try to set up meetings. But you better have done your research so that you have something interesting to pitch and a good reason for them to meet you.

THE FANCY GERMAN FILMS SUITE AT THE EFM

So there's the set-up. Now, here's what happened: Meetings. Meetings. And, oh, did I mention...meetings. That was followed by parties and more parties, but they still felt like meetings. The Opening Night party was fancy and very fun and well-stocked with great food and booze and lots of German film bigshots. We had fun making American asses out of ourselves. The EFM and film council parties are typically swankier, but the film premiere parties are more fun. And sadly, we didn't see a single film. Not one. I feel so ashamed.

BABAK AND CHRISTIAN AT THE PANORAMA PARTY

But we were there to work and work we did. We met with lots of companies, mostly German, to talk about co-producing "The Apology". The way it works is, if you want to get German state funding, you need to partner with a German production company. They will have relationships with the funders (ideally, anyway) help manage the production and see to it that you meet the criteria for funding...if they respond to your project. Every one we met with responded very positively. But none has signed on the dotted line, yet. But our follow-up work is just beginning. This is a long process. But I'm learning a lot about international financing which I will share in a later blog.

What little I did experience of the festival seemed fantastic, as always. It is a HUGE festival with numerous different sections and sidebars, but always impeccably organized (very German). Our hostess of sorts, Ela Gurmen, who runs Guest Services for the Panorama section of the festival, was lovely and gracious and hooked us up with all kinds of fun. We met her back in 2002 when we first came to the fest. Sadly, I saw very little of Berlin, but saw much of it on previous trips. It's really a fun, beautiful, exciting city. And easy for American-types (non-multi-lingual) like me to communicate as so many Germans speak some level of English. The food is, well, German. But some of the more ethnic neighborhoods have amazing food. And the range of choices seems to get better every year.

AMERICAN FANTASY/CONSUMERISM SPREADING THE EARTH - NOTE THE ARTICLE TITLES OF THIS MAGAZINE - IF THIS WERE ENGLISH IT WOULD BE HOW I FEEL WHEN I'M IN L.A.

If you want to go to an amazing festival, hook into the Global filmmaking community, learn about international film financing and have a generally awesome time in a great (but very cold) European city, then I suggest you start planning now to attend Berlinale/EFM 2010. Buy your plane tickets early for the best price, get lodging early, do your research to set up meetings (if appropriate), secure party invites and/or visit great Berlin tourist spots. Get your accreditation (pass) early, get a movie schedule and pick films and finally, find out who else will be there to share the fun. You can count me in.

Park City/Sundance/Slamdance 2009

2009-02-06T21:21:00.000-08:00

I meant to write and upload my blog several times WHILE I was in Park City, but was always too busy experiencing it to take the time to comment on it. I would certainly suck as a Twitterer. So, here I am in the Amsterdam airport on my way to Berlin with an hour and a half to kill before my flight. Finally I am getting around to blogging about Park City 2009. And what do I have to say?....Not much.

Not because it wasn't a wonderful time. It was, indeed. Maybe BECAUSE it was a wonderful time. I've been to Park City/Sundance/Slamdance/Other Dances so many times, it's like clockwork for us. When and how to get a place to stay, to get tickets, to get party invites, etc., are all practiced exercises about which there was, thankfully, little drama. I actually wrote a little Sundance handbook a few years ago for filmmakers who had films in the fest (I had "Transaction" in 2006). But it's a helpful guide for anybody heading up for the fest. If you want a copy, just send me a note with your return email and I'll send it off to you.

We drove up again, as usual, because we have an outreach table in the Sundance Filmmaker Lodge every year and have to haul all of our stuff for it. The drive from LA is about 12 hours with leisurely stops (particularly in Vegas), and really easy with 3 people. It was me, Executive Director Amanda Sweikow and filmmaker P.J. Letofsky, who's self-distributing his film "Polly's Global Walk", the doc he made about his sister walking around the world to raise money for cancer research.

We only went 5 days this time and only saw 4 movies. And sadly, didn't get over to Slamdance at all (making the title of this blog misleading). Between having that Outreach table, knowing a lot of the programmers and filmmakers and hanging with people who all had Sundance passes,....that fest consumed us. In general, the economic crunch was clearly felt - which was a minus and a plus. The smaller crowd might have hurt the fests in terms of attendance and sponsorship, but it made it much more pleasant for us attendees. There was still plenty of people (and plenty of the right people) in attendance, but you could walk Main St. unmolested. And although many of the parties were cut back or cut out completely, it eliminated a lot of the clubby, party crowd that clogs the streets every year and doesn't give two shits about film. Swag culture was way dialed back, too (I didn't even see any of those ridiculously upscale swag boutiques), which no one missed except the celebrities and hanger-ons who get all of that gaudy stuff. And finally, getting tickets to films (if you didn't purchase a package) was not only possible, it was fairly easy.

My two favorite Sundance parties each year are the Shorts Party and the World Cinema Party. I missed the World Cinema Party, having left before it took place, but had a good time, as usual at the Shorts Party. Adobe used to sponsor it somewhat lavishly, but they had to cut back last year and didn't sponsor at all this year. Nonetheless, the party didn't suffer one bit. Short filmmakers are an eager, passionate lot - unaffected by the anxiety that swirls around the feature filmmakers who must use the Sundance opportunity to desperately work for a sale or launch themselves in some way. Short filmmakers are just happy to be there and it shows in their attitude.

GOOD BUDDY AND PRODUCER ROGER MAYER ("BIG RIVER MAN") AND SUNDANCE PROGRAMMER KIM YUTANI AT THE SUNDANCE SHORTS PARTY

Unfortunately, since we only saw 4 movies, that part of the experience was rather hit and miss. I loved "Hump Day". It's a true Indie Film, although it is certainly not cinema art (Indie films, unfortunately, rarely are). It is unabashed entertainment, but in the best sense of that idea. First of all, it's very funny and full of playful tension. But it is also very smart, touching on a lot of broader ideas and themes without ever slowing down the comedic or narrative energy. I'm pretty sure it got picked up and will hit theaters sometime within the next year...or two, or whatever strange timetable these distributors follow. So, I won't say more about it. I hate spoiler alerts.

We saw a Documentary Shorts program that was quite good, but disappointing in light of the fact that it was the ONLY doc shorts program. It had two sort of informational pieces (one would have sufficed, especially since they were preaching to the converted) and a 40 minute doc on the late actor John Cazale (whose work I love and who more than deserved this well-made love letter) that was produced and/or commissioned by HBO and will be seen by millions (and therefore, in my opinion, does not need this platform where it takes up 40 minutes of the only doc program). But I'm kind of quibbling because I was indeed happy to see it. Finally, the program had a gross-out doc on a body modification freak who chops off his toes and fingers. There is indeed much to be explored in such extreme "art", but this piece, for me, was simply voyeuristic and nauseatingly fetishistic. Again, though, I'm quibbling because it was nonetheless interesting to know a guy like that exists.

The other two films "Lulu and Jimi" (stylish and fun/funny, but very slight and familiar) and "The Anarchist's Wife" (handsome and dull - earnest and predictable) don't compel me to mention anything more about them.

FA EXECUTIVE DIRECTOR AMANDA SWEIKOW AND ME AT THE OUTREACH TABLE IN THE FILMMAKER LODGE

I skipped the panels even though the much-admired Ted Hope anchored one of them. There was still a lot of talk at Sundance about his keynote speech in September and, in general, about the fate of indie films (the topic of his panel). There's a lot of enthusiasm for self-distribution and, finally, some widespread agreement that the old distribution paradigms for indies is almost completely dead (there were definitely still some "sales" this year at Park City) and never really had much of a life for most indie films. We'll see what the future holds for indies. Only time will tell. That's why I skipped the panel. Although I appreciate their comments and insights on the business as it is, I don't want to hear any "experts" - no matter how much I admire them - reporting back from their personal crystal balls. The story will play out however it plays out and we'll all flow with it all in whatever way is necessary.

So that was it for 2009. Yes, there were fun details about the parties and gossip about this or that person and all kinds of other crap I could fill this blog with. But the bottom line is that Park City/Sundance/Slamdance/etc. - for all its excesses - is still the place to be for filmmakers of any stripe. It is an awesome filmmaking convention. Truly that's what it is. There's definitely festivals and kind of a market, but there's so much other stuff represented by every strata of filmmaking society that it ultimately is nothing less than a wild, ten-day filmmaking convention. You'll find nearly every person you need to meet or re-connect with there and you can learn/accomplish any number of filmmaking goals. Oh, and there's always good films. Say what you want about the commercialization of Sundance, but in the end, it's all about the films. And there are always good ones to see.

Our goals were to connect with a few potential investors and organizational partners, to launch our Ultimate Filmmaker Competition, watch some films and go to some parties. We were victorious! And we had a blast in the process of being victorious....

ON THE ROAD HOME FROM PARK CITY (YES, THAT'S MY AIR FRESHENER HANGING FROM THE REAR VIEW MIRROR AND, YES, IT SAYS WHAT YOU THINK IT SAYS)

On my way to the Berlinale

2009-02-04T08:41:00.000-08:00

Off to another fest, this time in Berlin. Been there before. It's a great one. There's also a European Film Market. Going to find $$$ for a terrific feature I'm helping to produce that takes place in Germany (but could shoot lots of places).

I know I owe a bunch of blogs. Got 'em all roughed out and will polish them off on the plane - there and back. It includes my Sundance adventures as well as Berlin. Thanks for being patient.

Send me a note if you're in Berlin and want to hang out.