UnSAFE Film Office

Jam packed weekend

aeg@unsafefilmoffice.com (A.E. Griffin) — Thu, 04 Jun 2009 14:58:00 +0000

Fairview St. won the John Allen Award for Best Feature Film at the Muskegon Film Festival this past weekend.

A great way to celebrate Saturday.

Then...

LPK informed me that The Guest Room won the award for Best Made-in-Michigan short film at Detroit Shorts.

And that was one hell of a way to end a weekend. Blessings all around. I'm humbled and thankful.

Peace.

Update?

aeg@unsafefilmoffice.com (A.E. Griffin) — Wed, 20 May 2009 20:49:00 +0000

A fellow filmmaker asked me the other day if I was going to update this site anytime soon.

"Of course," I said.

Then it occured to me that I may do something different with this site altogether.

A change up perhaps.

Stay tuned.

By the way, catch The Guest Room at Detroit Shorts on Saturday, May 30th

and Fairview St. at Muskegon Film Festival on Sunday, May 31st.

Peace!

So you wanna be a Michigan filmmaker, eh?

aeg@unsafefilmoffice.com (A.E. Griffin) — Wed, 25 Mar 2009 14:10:00 +0000

I really appreciate it when a reporter actually reports, allowing the facts to speak for themselves and one which is not clouded with personal snark and bias.

It served to remind me that we the citizens are required to keep our public institutions accountable to us. And when individuals in their own system cannot get the answers to the questions they ask then the check & balances of politics and personal ego demand that the system be changed to suit the majority's desires and not necessarily the public's interest.

Hello? American democracy in action. It is over two hundred years old, you know?

Look, the bottom line is that if we the average citizen - not just the purportedly better informed Michigan filmmaker - don't focus on shoring up these hard fought film incentives with impeccable behavior and delivery of high quality results, (let alone getting the incentives implemented in full, such as reimbursement for commercial productions as is the mother fuckin' LAW now,) then the next set of elected officials that roll around at the end of 2010 will mos def nominate our said illustrious film incentives, "best program to die first" on the chopping block of legislature.

This is Chicken Little signing off. So don't come back here in 2011 bitching about how I nailed the future into a coffin because that's cold comfort when we're all standing in the funeral pyre, pointing bony fingers into each others eyes.

Please prove me wrong. I dare you.

Here is how you can contact your Michigan state representative and state senator. Or our governor if you're feeling particularly candid and randy, you cheeky monkey. Let them know you are watching and listening. Tell them what interests you expect them to champion, or better yet, consider a simple note of thanks first. They rarely hear that and you gotta know what that feels like, right?

2008 Michigan Film Office annual report

aeg@unsafefilmoffice.com (A.E. Griffin) — Sun, 15 Mar 2009 15:43:00 +0000

Here is the 2008 annual report from the Michigan Film Office, and an informative interview with Janet Lockwood, director of the MFO, discussing the film incentives in her own words.

Contact

aeg@unsafefilmoffice.com (A.E. Griffin) — Fri, 13 Mar 2009 14:35:00 +0000

Want to know more about UFO? Then please feel free to drop me a note!

Many thanks for stopping by the site!

Celtx 2.0 hits the virtual streets

aeg@unsafefilmoffice.com (A.E. Griffin) — Thu, 05 Mar 2009 16:41:00 +0000

I use Final Draft for screenwriting, but for an all purpose production tool, Celtx has really polished the whole process with their latest release to a high shine. (And you sure can't beat the price of free.)

Check out these fine tutorials below about the craft of screenwriting and how to intergrate Celtx into the overall writing process for your next project.

One year wiser

aeg@unsafefilmoffice.com (A.E. Griffin) — Tue, 30 Dec 2008 06:47:00 +0000

I'd meant to post this quote quite a bit earlier this year, and for whatever reason, I didn't.

"Success isn't what makes you happy. It really isn't. Success is doing what makes you happy and doing good work and hopefully having a fruitful life. If I've felt like I've done good work, that makes me happy. The success part of it is all gravy."
~ Phillip Seymour Hoffman

Something must've told me that it wasn't the right time.
Now however, right now, it is the time.
And so with that, many happy returns one and all and here's to a blessed new year for us all in 2009.
Peace.

Blue Plate Special

aeg@unsafefilmoffice.com (A.E. Griffin) — Fri, 26 Dec 2008 11:29:00 +0000

Length:
18 minutes, 40 seconds
Synopsis:
Some days only serve to grind us down, but on the night Larry and Samantha met nothing could prepare them for what fate had cooked up.

Kindhouse '08

aeg@unsafefilmoffice.com (A.E. Griffin) — Wed, 17 Dec 2008 17:01:00 +0000

The Christmas Spirit meets Michigan filmmaking? Only Scrooge would, "Bah, humbug!" a cause this worthy. So if you're in the area on Monday, December 22nd, come on down to the Main Art and support, won't you?

Metafest

aeg@unsafefilmoffice.com (A.E. Griffin) — Tue, 14 Oct 2008 07:48:00 +0000

All You've Got was recently selected for Metafest! Please watch, enjoy and rate if so desired. All comments are always appreciated!

All You've Got

Playback

aeg@unsafefilmoffice.com (A.E. Griffin) — Thu, 09 Oct 2008 15:41:00 +0000

Playback - teaser trailer (30 seconds)

Playback (7 minutes, 9 seconds)

Synopsis:
Riding the razor's edge between salvation and damnation, a troubled woman must choose between her last shred of humanity, her last moment of sanity, or something far more costly than the loss of either.

Playback was made for Project Twenty1 2008 and was nominated in the categories of Best Acting and Best Editing.

Thriller! Chiller! 2008!

aeg@unsafefilmoffice.com (A.E. Griffin) — Fri, 26 Sep 2008 04:38:00 +0000

Brevity is...

aeg@unsafefilmoffice.com (A.E. Griffin) — Sat, 20 Sep 2008 05:28:00 +0000

the soul of wit.

I've never pretended to be a prime example of either but I have stripped the blog here down to it's most basic of elements.

Consistent and concise. Lex parsimoniae and so on and so forth.

Oh, shit. Wait a sec... ;)

Erase / Rewind / Repeat

aeg@unsafefilmoffice.com (A.E. Griffin) — Fri, 12 Sep 2008 05:30:00 +0000

Playback Teaser Trailer from AEG on Vimeo.

Project Twenty1 2008 entry: Playback

aeg@unsafefilmoffice.com (A.E. Griffin) — Sat, 02 Aug 2008 08:50:00 +0000

A teaser pic of Grace starring in UFO's latest film built specifically for Project Twenty1 this year. Playback will without a doubt be online after the competition screenings during the first weekend in October this year in Philadelphia.

Have and share some good thoughts for us all who are competing. There are 35 teams this year! Congrats Matt, Stephanie and the whole P21 team. So damn cool.

Oh yeah, Moby. Oh yeah.

aeg@unsafefilmoffice.com (A.E. Griffin) — Tue, 08 Jul 2008 06:06:00 +0000

The following music video was created for Moby Gratis, starring the always excellent talents of Grace Anne Rowan and Shane Hagedorn.

Written, directed and shot by yours truly and I most certainly can't thank Deep End Films enough for the edit. Thanks, Ben!

The Aftermath

aeg@unsafefilmoffice.com (A.E. Griffin) — Mon, 07 Jul 2008 14:20:00 +0000

Length:
9 minutes, 12 seconds
Synopsis:
Award winning short created as part of the Detroit Windsor International Film Festival Challenge 2008. Made in a mere 48 hours, teams had to incorporate SIX elements. Ours were the Action-Adventure genre, Ambassador Bridge, Lafayette Coney Island, a "...for Dummies" book, a bouncer and the line of dialogue, "Is that thing flammable?"

And by all means check out the websites of those noted below that helped make this edition of Team with No Name's DWIFF Challenge 2008 entry an instant cult classic in the Michigan Microcinema scene.

Big Lot Anti-Stars
Deep End Films
Grace Anne Rowan
Sandstorm FX & Productions
Twain Girl Independent Films

And, as always, BIG THANKS for dropping by the site today. All of the emails, phone calls and offers of support and encouragement have been very much appreciated.

Wait there, Motown. We'll bring it to you.

aeg@unsafefilmoffice.com (A.E. Griffin) — Sat, 28 Jun 2008 14:15:00 +0000

Detroit Windsor International Film Festival debuts this year in Motown and they had an interesting challenge. Make a film in 48 hours, not with one element, or even two, but SIX different elements: A genre, two locations, a person, a prop and a line of dialog.

At a certain point, one has to wonder if they shouldn't just hand the filmmaker a script and say, "See you all the day after tomorrow."

Mark A. France of Sandstorm FX & Productions posted a MySpace blog that sums up our adventures pretty well making The Aftermath.

Team with No Name's original spin for genre landed us on "horror," which
was just not appealing to me considering the terrifying film experience earlier this month. So we opted to spin again and landed on "You choose" so after suggesting "horror" for irony's sake, we pow-wowed and chose "Action Adventure."

And was there ever action. Not only in front of the camera but also
behind it. We too were caught up in the nasty weather (hailed on hard
not once, but twice,) nearly attacked by an itinerant crack whore in downtown proper, nearly wrecked in a wicked traffic snarl on 696, and Mark showed us what true horror was all about.

But what an adventure. We're all looking forward to coming together
again at the screenings this Sunday and enjoying everyone's work up on
the big screen. Of course, Mark blogs about the desire to win something
for our efforts but the fact is we all - the filmmakers of DWIFF
Challenge 2008 - have already earned the best reward of all and just did
what we all set out to do: make a film in 48 hours. Congratulations, filmmakers! We did it!

See you all soon!

I witness indeed.

aeg@unsafefilmoffice.com (A.E. Griffin) — Thu, 12 Jun 2008 16:06:00 +0000

Bodyrock from moby on Vimeo.

This video is a perfect representation of very much what it's like to make a film with all the best of intentions and then executing it with the worst of reasons.

Yeah, so this last one known as I Witness for the moment was not just hard, but for me anyhow, the single hardest thing I've ever "accomplished" in my life. (Not the movie - a movie is just a movie - but making a movie is not that simple...)

And all for what? (Rhetorical question here, folks. Your mileage will vary.)

It's been like surviving a crash landing in the Andes only to realize, as the plane's captain, you're going to have to eat your dead passengers in order to eek out enough strength to march out of the wilderness in order to save the rest of them.

Maybe.

And as one marches along that jungle path lost as all get out they realize how really fucking stupid it is to be here in the first place because filmmaking's basic first steps are based on the plan one makes in pre-production (aka flight plan if one will) and had I taken my own arrogance and ego out of the equation with enough time to check the weather and the map again - instead of taking it for granted that I somehow "got this shit down cold" - I might've, just might've, avoided hitting that big fucking mountain right smack in the middle of my path.

Look, every filmmaker challenging themselves to become better at this craft discovers that there are indeed no shortcuts to "getting 'er done and done well." I get that.

There are better ways to qualify and validate methods of approach in every aspect of our lives. I get that too.

Usability methodology of good, fast, cheap: pick two at the expense of the other? (AND oh, how one will pay. And pay. And pay. And pay.) Keen. I can dig it.

But all of these are far and away not the only "best ways" to do it and once one confuses mixing and matching them as a filmmaker - or even as a standard issue human being - then never the three shall pass infallibly. Feelings get hurt, friendships get sacrificed and maybe, just maybe, if one is so blessed with it, one gains wisdom as a result once they too are through with the struggle.

Fucking jungle vines, biting insects and, say, is that a ravine up ahead? Oh my!

And now I know - and really understand this time around to boot - because the jury's is still out on the wisdom payoff obviously. It's going to take some time for me to reflect upon all of this latter with enough personal head space allowed (earned?) to care about myself as something more than being a "filmmaker at any and all costs."

All for what again? (Still rhetorical...)

Because I can tell you all definitively that there is a cost.

And never "find yourself" lost.

Animate your storyboards, brothers and sisters!

aeg@unsafefilmoffice.com (A.E. Griffin) — Mon, 19 May 2008 15:20:00 +0000

Not only does animating your story boards allow the microcinemarista to maximize their resources on a minimum of budgets, it also eliminates problems before one gets to the set and realizes, "Geez, that's going/not going to be as cool as I thought it would be."

I'll let you all draw your own conclusions about which way I feel about this one.

It might surprise you but I can definitely say that your vision and style decisions will be tested as a result.

There are other sites that create animated GIFs but I used Picasion. Clean interface. Very easy to use.

More info on what film this for will be posted at a latter date. I will tell you all though that it's for Thriller! Chiller! this year and it will premiere exclusively on the website before the festival. If you're a Michigan filmmaker and you have a Thriller! Chiller! style short film contact me for details about potential online and festival participation.

Peace!

Limitations Unlimited

aeg@unsafefilmoffice.com (A.E. Griffin) — Tue, 13 May 2008 17:38:00 +0000

I'm into this blogging in response to other blogs lately. I can't say I'm all that comfortable delivering my observations from a perspective of me presuming to be some font of information. But I do have information that I can share from my perspective, and as subjective as it may be, it *could* possibly benefit others as they ramp up into this "form of expression" and are researching the trial and tribulations in pursuing it.

And this is one of those moments of candor I'm willing to commit to page for what it's worth. It's not just a personal reflection (I hope) but one overall as the whole conversation stings with truth and bittersweetness that comes with a person learning how to grow the f*ck up. Which (damn it!) doesn't/won't stop when a person physically turns 18 years old in this profane culture of humanity.

My fellow filmmaker, Matt, had this to reflect upon recently and I responded to his and fellow filmmaker, Cate's response with this:

-------------->

My experiences have been very similar to yours and Cate's, sir. Basic upswing is that it all takes practice, practice, and more practice. And then a good dollop of humility topped off with a thick skin on a silver platter of perseverance. (Can you tell it's lunchtime?)

You are finding validation as a filmmaker from wihtin which is far more healthy and better than seeking it from without. Festivals? Yeah, OK, whatever. Use festivals for what they were designed to do: Networking! Camaraderie! Goodwill! And guess what? One doesn't actually have to play in a festival to simply just go to the festival and do that, right? (And thus concludes my festival non-sequitor rant for the day.)

Yes, know your limits. Shoot to rise above them every time and set good examples - not simply provide good reasons - to establish them firmly in your art and in the minds of others who experience it. (Anyone who argues with getting it done over just talking about doing is just very plainly stupid. Something done trumps something never attempted any day of the week at anytime in your life or theirs.)

There is nothing quite worse in Microcinema than the realization that one is practically killing themself (or in my girls case, almost literally on one movie in particular) to reach new lows of mediocrity UNLESS you learn something about oneself and move forward in a positive manner. Forgive and forget.

Why?

In the end, it's just a movie. It's in the act of getting that movie out there into the world that we are reminded of the process and who we are and when we made that movie in the context of our own lives. It's those moments and memories of where we were in our lives at that time that matter more in the end I've discovered. At least on a microcineama level. If you can't make good cash, make good memories.

You're doing it. You're on your way, sir. Learning what you've expressed so eloquently and honestly here is a HUGE leap forward in Microcinema filmmaking.

Fellini reputedly declared, "Filmmaking is a social art." And he is dead on accurate with that testament. At this level it's a necessity to have to do as much as possible but whenever possible give folks a chance when *you* know you need a hand. Everyone grows in someway in the collaborative process. At least if you give them enough rope to hang themselves you'll still have some forward progress as a filmmaker with the observation of the human condition as an EXAMPLE.

Big point though, be humble about it. No one likes to see people fail (unless you work for tabloid rags). And sometimes from some folks more so even when they succeed. Regardless, in the end either way, that's you up there too on the big screen wheter it says "A film by..." or "Starring" or whether you just gripped and/or PA'd for one day.

I became a director out of necessity because all too often the emphasis on the technical I kept crashing into was overshadowing, and subsequently, could not fix the basics in storytelling flaws I perceived were happening at the pre-production level. Too many houses bulit from the roof down and then the literal hours wasted twisting over how to fix it in post when it would have been far cheaper, smarter and quite frankly more fun to have done it before frame one rolled.

It's far easier to qualify what is being made up front; make sure everyone is one the same tact and page; and for heaven's sake know whether or not you have someone "directing" who can't do much more than smoke cigarettes and, oh let's say, leave their crew to broil on a 100+ degree day on a freshly tarred parking lot while they run off and watch horse races on TV in an air conditioned house for an hour and a half sipping iced tea. (Yes, that happened. How do you think the girl almost got killed. Heat stroke. And me, who must have known better at the time, was wrapped up too much in the technical aspects of getting it done to see life was being threatened. Never again. NEVER. AGAIN.)

MUST. FORGIVE. *teeth gritting* MUST. FORGET.

Does that mean I feel as though I make "better" movies ever since? Hell no! I still work with other directors to this day and will continue to do so when ever possible. It means, I can live with my mistakes "I" made because I'm eager to LEARN from them and try to be better each time rather than underscoring and supporting mistakes made by others in my past who seemingly had or have no interest in learning or becoming better at this skill craft.

Lot's of chatter. Lot's of talk. I've done it too and yet also do twice as much as I'll ever talk about as a result. And quite clearly I talk a bunch.

Peace, sir! Great post!

Rock the Kasbah!

Michigan Actors Beware! - REPOST

aeg@unsafefilmoffice.com (A.E. Griffin) — Fri, 09 May 2008 13:30:00 +0000

Rio of Feral Fotography granted me kind permission to repost her advice to actors here in Michigan. Many thanks, Rio!

So without further ado:

Respost------------------>

With the new "Production Incentive" law that Jennifer Granholm signed into effect, in the hopes of attracting production companies to film their projects here in Michigan, comes many new and exciting opportunities! For those of us who are full time, professional actors, we are cautiously optimistic and will save the snoopy dance for a later time. Those of us in this business for more than a minute have seen and heard similar ideas, laws and promises before. So we hope for the best and continue to work on our craft and stand by the established agencies in town.

With all of the hope and possibility of the new incentive, comes the inevitable polar opposite - the underbelly of the "Biz." The snakes are coming out of the wood work already...in droves.

A bouquet of scam artists, weasels and mom & pop "agencies" / "casting offices" that claim to be "SAG" affiliated and profess to be "the top agency/casting" office in Michigan - despite the fact that the ink on their new DBA paperwork isn't even dry yet - are beginning to pop up all over the place.

Yes, suddenly, every one and their mothers' aunt is a casting director, agent or manager hybrid, and anyone with a web site and business card can pass as a producer, acting teacher or manager. This blog is written for those who are new to the profession and who might not know the first thing to look for when looking at representation.

What makes me qualified to write this blog?

I have been a professional actor for over twenty five years. Professional means I make my living as an actor in TV, Stage, Film, Print and Radio/Voice work. When I claim my taxes, my profession is "ACTOR". I have studied and I have worked from coast to coast. I have been with a number of agencies over the course of the twenty+ years and have had a manager or two as well. I was lucky enough to have a college professor who taught us the "real world" business/reality side of this industry which saved his students years behind the learning curve.

Anyone who knows me already knows, I like to share experience with others and many actors come to me asking the same questions I asked over twenty five years ago. So I will toss out a few suggestions here in this blog - take what you find helpful, leave the rest.

The bottom line is I believe that sharing our information and experience elevates everyone; and it will benefit ALL of us if the actors in Michigan are savvy and as prepared as they can be now that "Hollywood" is apparently at our door step.

Actors must use common sense and educate themselves on the business of "show business" in order to spare themselves from being reeled in by these "I'm going to make you a star- no experience necessary" wind bags.

BASIC OVERVIEW:

Agents.
An agent/agency will represent a good number of talent (actors/models/spokesperson/voice talent). They hold auditions on behalf of the client. An agent/agency will often cover all areas of work: Print, TV/Commercial, Film, Radio/Voice. Some will also have a live music department and a rare few in Michigan handle Theater. While they are always working on your behalf, they are also working for all of their actors. This is where newer actors get confused. They expect the agent to be more hands on, more one on one. That is more the role of a manager, not an agent.

Ask if the Agency has UNION AFFILIATION (SAG - Screen Actors Guild, AFTRA - American Federation of Television Arts.) Now, most agencies will handle Union AND non-union talent. But ask. And by no means am I saying that the NON-UNION agencies are less than. Some simply don't handle union projects and are completely on the up and up. (Affiliated Talent in Michigan is a fine agency that does not handle Union talent for example.)

Managers.
This is a real gray area. There is little to no checks and balances to ensure ethical behavior on the part of someone claiming to be a manager. A good manager has your best business interest at heart. A good manager will have very few talent and will be well connected in the industry. A good manager will have working relationships with producers, directors and casting directors. Managers give more of a one on one service because they have a handful of talent. Check with other talent they have managed for a reference. Ask what the commission rate is for their service and if there is a monthly fee. Ask how will they promote you.

Remember, anyone can claim to be a manager, find out what they bring to the table for you.

RED FLAGS:
"Agencies" that crop up out of no where. What experience do THEY have? There are a number of long standing agencies here in Michigan that have been here for years. They have long standing relationships with producers and production companies here in our market. They have a long reputation and book the professional projects. BEWARE of the agencies that are cropping up like weeds in your front yard. Ask yourself, and THEM, where have you been before now? "What is YOUR experience?"
Ask them for names of projects they have cast and if they cast EXTRA roles or principal parts in the projects they name. WRITE IT DOWN. Check the information. You can find out easily enough on the web if they are telling the truth. Ask them what their background is! ASK QUESTIONS! You have just as much, if not more of, a right to know exactly who you are signing into a contract with! BE SMART! They work for you - they are not doing you the favor - they make money OFF of you. It should be a respectful, professional relationship.

"Agents," "Producers," "Managers" who approach you as if THEY are doing YOU a favor by even speaking with you; or who claims to have the power to make or break, or give you "your big break," turn around and walk away. Any "industry professional" who throws around terms like loyalty, star, and "do you know who I am?!" or "Who this agency is!?" deserves a close up of your ass as you walk away.

Agencies who have ZERO track record here and have "just opened an office here in Detroit," AND demand that actors show their loyalty by being "exclusive" with them are not agencies to work for. They don't have any experience casting in this market and they have NO PROVEN TRACK RECORD. WHY ON EARTH ARE YOU GOING TO AGREE TO BE EXCLUSIVE WITH THEM??? Loyalty is earned. You have one primary loyalty - that is to yourself. This is your career and your business.

Anyone who tells you that "all the professional actors in Detroit have no problem being exclusive with them and that you should too" is full of B roll!
You can (and should) be signed with as many REPUTABLE agencies as you want to be signed with. Each agency has their own strengths and contacts. One agency might be great for print work and another might have a great TV Commercial department. You have the right to be signed with more than one at a time! Why would you put all your "eggs in one basket," and in an unproven basket at that??? Again, common sense!

Pay for Play.
Any agency that wants one dime from you up front. Lose them. They get paid when you get paid. Period. Don't fall for any poppycock story about a monthly fee to be on their web site or to be listed with them. You should not pay anything aside from the agreed upon amount your agency will get when they book you a job. Agencies make a commission off of every job an actor books. Typically 10-20%. Beware the agencies who charge a admin/monthly fee. Think about it - A roster of 100 actors each paying a monthly $20 admin fee brings in a whopping $24,000 per year before the agent (or manager) picks up the phone on your behalf! And then they get a cut of what you make on top of that? HELLO!

AGENCIES looking for new "talent" - NO EXPERIENCE NECESSARY.
If you don't have any experience, then you might want to explore an agency that is looking for "All shapes and sizes- no experience needed". As long as they do not ask you for any money up front and are not asking for more than 20% commission - you might want to give them a try. Ask questions and make sure you feel comfortable with the way they treat you. If that checks out, it might be a good way to get your feet wet before moving to a more established agency. HOWEVER, check them out first!

If they have a website, take a look at the caliber of the site. Look at your fellow actors signed with their agency. Look at the caliber of their head shots. If you see "head shots" taken in front of a Sears back drop or next to a stripper pole, you may want to think twice. *sigh* Believe it or not, they are out there.

Look at the kind of experience their talent has been offered recently. Are there a variety of actors signed? Theater, Film and TV? Radio/Voice work? Even if the theater listed on the talents resume is Community Theater, it's at least a start in the field. However, if you see that most of the talent are listed as a professional go-go dancer or Vodka Girl at Club X, that is different. Those are not actors. Those are "promotional models" and that's a half shirt of a whole other color.

ASK QUESTIONS!
Don't just sit there and listen to whatever the guy on the other end of the phone claims he is or can do for you. Ask him how long he has been in business, what markets he is in and how many talent he represents. Ask for examples of what the agency has cast for and then ask if they cast principal roles or "extras."

REALITY CHECK:
No professional Agent, Manager or other "Professional" will tell you they are going to make you a star. They will not guarantee you will be cast in a starring role. They will never tell you that you need to sign up for their classes in order to be signed with them. They will never tell you that for a monthly fee they will send out your head shot and resume to "casting directors". Remember: This is a business. Your agent is not your therapist and your manager is not your parent.

KNOWLEDGE REALLY IS POWER!
The best advice anyone can give to new actors looking to get into the industry is the same advice we all follow - or should follow - EDUCATE YOURSELF. Take the time to research agencies and the producer's affiliated with them. Learn the proper agency/talent relationship dynamic. Research your craft as well as the business. Make it your priority to know the customary agency commissions in your area as well as management commissions. Do not sign anything unless you understand what you are signing! Do not be swayed by ANYONE claiming to be SAG affiliated. It's not the end all and be all to be union!

If you have questions about the profession, find someone in the profession to ask!!!

Here's to the creative life!

~ Rio ~
myspace.com/feralgirl
myspace.com/feralfotography

Useful links:
www.ActorsAccess.com
www.screenactorsguild.com
www.aftra.com

<-------------------------END POST

I'd also like to add that one should never be required to pay to play as it is called for a job. NEVER pay ANYONE to be in THEIR film.

Here's why:

You'll never see the return on investment in either goodwill or repayment. Very likely you'll be exploited as well. (I.E. Women, take off your clothes and act slutty. No, it's important, tasteful and humorous/dramatic/sexy for the plot. It won't make you look like a whore, we swear.)

I have yet to hear/see/experience a the film that's ever made it's money back enough to repay it's "investor" actors, let alone the story that justified the whole endeavor in the first place.

Why?

Because if the production is that hard up to exploit it's talent before it rolls frame one then it's not going to be very good. It doesn't have the capital to be anything but a marginal film.

Why?

Because the world is full of jokers and even if there happens to be an exception to the rule that I may not have heard about, do you really believe flash-in-the-pan will take you with them all the way to La La Land?

Still not convinced?

What the hell. Cut me a check. I swear you'll be sexier for it at least.

Free your movies!

aeg@unsafefilmoffice.com (A.E. Griffin) — Tue, 06 May 2008 20:48:00 +0000

I've done this before and with certainty I'll do it again.

Like, uh, right now.

Clive over at 1000dollarfilm.com inspired another blog out me as a response so I thought I'd post it here and back link for our own enlightenment/entertainment today. (OK, jollies. Call it what it is...)

Response----------------->

It's worth repeating that you all, the content creators, have complete control over the end result in this day and age. Good or bad, you have final cut at this level of filmmaking. The only other time that happens is when a person has scored at least a couple of mega huge hits in a row under the "current system," and becomes mainstream as a result just long enough to fall from grace and retire wealthy enough not to care anymore.

Here's a simple recipe for everyone considering a microcinema level film that I have learned through trial & error over the past five years:

#1) Not just a good but a great story. Even a very good story attracts decent attention from talent. For example, talented actors drive the narrative with rich characterizations that support the plot. This is their PASSION! Work with it! Collaborate with them and create something active and brave because this one factor alone will beat 99% of bigger budgeted movies all to hell.

Why?

Because BIG movies need to be homogenized and risk-free enough to be accessible for the stupidest ones in the audience in order to make a return on the BIG investment.

#2) Great sound. Simple as that. If the audience can't hear it you may as well not have bothered at all. Sound is a hair's breadth away from being first in this list.

#3) Know how to use a camera and what that camera can - and most importantly - can't do in a variety of lighting situations. It doesn't matter if you use a webcam, a RED ONE, or dad's old college 8mm stored in the tool shed. If you don't understand how the equipment works it's the express train straight to hell. Find the user's manual and read it. More than once if one must.

#4) Practice, practice, practice. Actually consider criticisms and practice some more. It's great to be talented and/or creative but the filmmakers that actually get it done are the ones who persist when others just give up. You can always tell the quitters because they talk more about what they'll do when they get there rather than just demonstrating a good example by actually working towards getting there. Go to your limits and then go past them. Fail enough times to appreciate what little success you'll receive as a filmmaker. That way you can be damn sure you won't forget how awesome it feels to earn ANY success as a filmmaker.

SPICY SIDEBAR: Practice by making several short films first before you make a feature. I realize Clive doesn't appreciate the short film format per se but it's smarter (I.E. you learn more) burning a thousand dollars making 5 to 10 short films to learn your limits rather than making one feature for a thousand dollars to very likely learn less. This has been my humble experience. Your egoism will vary.

So with all that said, (many advance thanks Clive for allowing me to stump at your pulpit) I can't vouch for making money at this unless you sell out early and make chintzy horror films with the blood, boobs and beast formula. But I can say, if the goal is to have some fun and create opportunity for yourself to do bigger and better films YOUR way, then you are well on your way all.

Peace!

Michigan Film Incentives further clarified - Yes, I'm for hire.

aeg@unsafefilmoffice.com (A.E. Griffin) — Tue, 29 Apr 2008 15:33:00 +0000

Hello World!

For those that know us, yes, we still plan on doing a similar style information seminar at this year's Thriller! Chiller! with a focus of selling Michigan to our out-of-state filmmakers who visit. (Although I'm thinking we may need a bigger boat now for this year's festival if submissions are any indication of potential out-of-state interest in participation.)

For all other visitors, below is the summary of a recent town hall style meeting we've had here on the east side of the state. Chuck Peterson, esteemed WMFVA president, granted kind permission to me to repost his recent WMFVA list serv message here as follows:
_________________________________

Last night, an "informal get-together" at Grace & Wild Studios in Farmington Hills took place to answer some often asked questions about how the new film incentives will work and the opportunities they may provide. Many of the speakers noted they were expecting about 50 people to show up but each of the 500 chairs was filled and an additional (what looked like) 500 people were standing in the huge sound studio. Among them were many people from West Michigan who made the 2+ hours trek.

Hosted by Mitch Albom, who has been one of the champions of formulating and supporting a Michigan film incentives package, the forum included multiple waves of experts: The legislators, the Film Office staff, the unions, and film/video community organizers. After each expert had some time to speak there was a Q&A session with all the panelists lined up behind two audience microphones.

I'm sure most WMFVA members have heard details about the incentives in some form but here are some highlights that were illuminated last night as I understood them:

* All incentive paths start at the Michigan Film Office. Projects will need to be pre-approved with a 90 day window to begin the project with one 90 day extension.

* A project must have a minimum $50,000 budget to be eligible (but doing the math, a $50,000 budget is a $30,000 outlay.) Projects can be film, television, corporate video or commercials.

* Only Michigan taxpayers can receive incentive credit payments. No Michigan tax form - no credits.

* The greatest incentives (42%) are for hiring Michigan residents land shooting in "core communities." There is a financial incentive to hire local talent whenever possible.

* Zero-interest loans will be available up to $15 million dollars.

* The Film Office budget has gone from about $150K per year to $2 million per year. They now have 4 staffers including a Production Accountant and a contract Web Developer. MFO Director, Janet Lockwood, noted that she will be looking for qualified film scouts in all areas of Michigan.

* Out-of-State "above the line" expenses have $2-million dollar cap and are eligible for a 30% rebate.

* Film Infrastructure investments are eligible for a 25% credit and that is available up front. There must be a minimum $250,000 infrastructure investment.

* There is a 50% incentive if you hire a Michigan resident who is considered to be "in-training." That means less than four credits on major productions. The Catch 22 here is that it will be hard to get the first credit because studios are reluctant to hire anyone with no credits. Union representatives recommended that people get their first credits on low-budget productions.

* The Angel Investment Bill (the one bill in the package that has not passed) allowing incentives for media investors in qualifying projects is not yet dead. It is anticipated to be passed in some form at some point.

One audience question that received a lot of applause was a question about, "Who applies for the incentives in the case of a project with a client, an advertising agency and a producer?" There was some scratching of heads on the panel so it is clear that there are still lots of details that need to be figured out.

What was also clear to everyone was that these incentives are going to be very good for our industry and there is a huge interest both in-state and out-of-state.

Chuck Peterson
WMFVA Board Chair
________________________________

Hello World?

Still here? Cool!

By the way, I'm for hire AND I'm a Michigan Resident Taxpayer. UnSAFE Film Office is a registered LLC if that adds any relief to the questions and/or concerns about professional legitimacy and tax qualifications for assessment of the ability to take maximum advantage of the Michigan Film Incentive for both our benefits.

Drop me a line at aeg@unsafefilmoffice.com for further details. Discretion is assured. Professional inquires only please. I may be semi-pro but I'm also not stupid. I qualify the facts and do my research so one had better be able to back up what they say they can do because I can and do every time out of the gate.

What I'm saying here is that I'm available and open to the discussion of possibilities. I'm not desperate, star-struck or need to be validated as an artiste, OK?

Here's my IMDB, which is in constant struggling flux with IMDB over additional credits that I've earned, so further professional references are available upon request to objectively establish my grit, ethics and integrity.

However, I do have less than "four professional credits" so I'm also eligible for the 50% rebate status as an "in training" Michigan resident (hint, hint.) Need an example of a possible job I feel I could do? How about an excellent "in training" location scout. Being a life long resident, I know Michigan. And I know what it has and doesn't have as a resource because I've lived in enough places inside and outside of this state to also appreciate and know it's differences from community to community and state to state. I know what to look for in and how to break down a script that takes into account issues and concerns that deal with the process of making a film. Issues such as local authorities, infrastructure, services, schedules, and availability to resources. I already do this now as a microcinema filmmaker with extraordinary success. Imagine the possibilities that open up with some financial backing as my resource.

And before anyone asks, the term "UnSAFE" and the way I use it is my way of telling the world that I think outside of the box with my work and my demeanor. My movies prove it, my impeccable work ethics prove it. Anyone who knows me or has worked with me in the Michigan Film scene - whether they "like" me or otherwise - knows when I say it, I mean it. [ego on]It gets done when I'm involved.[ego off] And if I can't/won't/don't do it, I'll point you to a person or persons here in this state who can/will do it as well as - or even better than - myself without expectation of reward or compensation. Yes, regardless of whether I "like" them or not too. ;)

So if that's the kind of problem-solving, go-getter, kick ass, down-to-Earth Michigan filmmaker you're looking for then don't hesitate to move quickly and give me a shout.

I sure don't. ;)

...is all it takes.

aeg@unsafefilmoffice.com (A.E. Griffin) — Tue, 22 Apr 2008 20:25:00 +0000

All You've Got (7min, 45 sec)

All You've Got - For more amazing video clips, click here
Written by Shirley Clemens
Directed, produced and shot by A.E. Griffin
Edited by Keith Golinki

Or click image to check it out at Undergroundfilm.com:

Boy, I sure do love those cats over at Underground Film! By far the best presentation forum the web offers at this time. Not to mention some wonderful films there. I'm honored to be in the company of such unique and talented voices as this website features.

Go ahead. Take a look around. I'll still be here when you get back.

Count on it.