Top Christmas Movies (in alphabetical order)
A Wish for Wings That Work
Die Hard & Die Hard 2
Emmet Otter's Jug-Band Christmas
Love Actually
Miracle on 34th Street (1947)
Serendipity
Honorable Mentions (in alphabetical order)
Go
Gremlins
Holiday Inn
Home Alone
Lethal Weapon
The Family Stone
White Christmas
Saturday, December 26, 2009
Monday, September 14, 2009
Rest In Peace, Patrick Swayze.
Patrick Swayze passed away Monday after a long battle with pancreatic cancer.
http://movies.msn.com/movies/article.aspx?news=431218>1=28101
Don.
http://movies.msn.com/movies/article.aspx?news=431218>1=28101
Don.
Monday, August 31, 2009
HOLY !@#$%^!!
The Walt Disney Co is in the procees of buying Mavel Enterprises. All that is required is stockholder approval.
I can see the cross-overs now...
Spiderman v. The Sorcerer's Apprentice
Wolverine v. Goofy
The Starjammers on Treasure Planet
Darkwing Duck meets Howard the Duck
The possibilities are endless...
Don.
http://scifiwire.com/2009/08/disney-buys-marvel-for-4.php
I can see the cross-overs now...
Spiderman v. The Sorcerer's Apprentice
Wolverine v. Goofy
The Starjammers on Treasure Planet
Darkwing Duck meets Howard the Duck
The possibilities are endless...
Don.
http://scifiwire.com/2009/08/disney-buys-marvel-for-4.php
Wednesday, August 26, 2009
Rest In Peace, Ted Kennedy.
This is not solely entertainment news... But it is world news.
Senator Edward "Ted" Kennedy has passed away.
http://www.msnbc.msn.com/id/32491712/?gt1=43001
Don.
Senator Edward "Ted" Kennedy has passed away.
http://www.msnbc.msn.com/id/32491712/?gt1=43001
Don.
Thursday, August 20, 2009
Just a quick update...
My buddy that has been planning his series of children's books for nearly a decade took my post as a challenge.
By 12:01am on October 1st, 2009 he has agreed to have sent me a full and complete 1) prologue, 2) epilogue and 3) chapter one.
Stay tuned...
Don.
By 12:01am on October 1st, 2009 he has agreed to have sent me a full and complete 1) prologue, 2) epilogue and 3) chapter one.
Stay tuned...
Don.
Tuesday, August 18, 2009
When should you give it up your dreams?
Recently, I had lunch with a friend that is following her dreams. I met her a few years back when she answered a job notice for my film, Phobia. She was an outstanding and unbelievable worker that was always looking to do and learn more. She became a highly respected and liked crew member. Over the next couple of years, she worked on numerous productions in various positions. However, during that time the film production business began to slow up. She began to pursue her teaching degree. This year she completed her degree and became certified. With the limited production jobs and her degree, she began interviewing for teaching positions… she had nearly given up on her dream to work in production. THEN, out of nowhere a production company called her from her resume submission months earlier. She now works for an extremely busy production company in an important capacity. She could have given up on her dreams, but she did not.
My dream of being a writer began when I was in the single digits. My first comic story was submitted before I was 15-years-old. My first screenplay was written before I ever considered going to college. Over the last few years, I have (with a creative partner) had a Los Angeles-based international agent, optioned a feature-length film script, had that same script go into pre-production with a $10M budget (before a hurricane closed it down), directed a short film and had the same short film debut at a film festival in NYC. I make baby step progress towards fulfilling my dream.
Despite knowing that, as Lao-tzu would put it, “A journey of a thousand miles begins with a single step.”, it can be quite a test on occasion to keep focused and directed to your dreams.
I have met many people over the years that have seemed as passionate as me, or even more so. Yet, after a time they drop their dreams and “make do” or “settle”. I can’t tell you how many people I have met that have put an expiration date on their dreams; people that have quit because they have not had the success that they thought that they should have by their 25th or 30th 0r 35th or 40th or whatever.
Louise Hay was 61-years-old when she published her 1st book. At the age of 80 and as a publisher, her book company became one of the largest publishers of Christian books in the world.
Many people in the entertainment industry may not receive any acclaim until later in life. Sir Ian McKellen had parts in over a dozen films from the time he was about 30-years-old; however it was not until he turned 60 and Apt Pupil and Gods and Monsters were released that the world “discovered” him. Then, X-Men and Lord of the Rings made him a worldwide acting superstar.
I have a friend that has a dream of writing a line of children’s books. For nearly 10 years we have been talking about these characters and plots… I know what will happen for at least ten books. I am so invested in these books after talking about them for so long that I fight him every time he wants to make changes. However, he is “to busy”, by his admission, to write. Yet, he wants to put an expiration date on his dream. He has the passion, the talent but I’m not sure about the confidence. It will be an injustice if I am the only one to ever hear his stories… especially since he has had some creative ideas that I would like to use, but have agreed not to… at least until he can publish…
Myself. It seems that I have been climbing up Mount Everest, in a blinding snowstorm, with a broken leg or two ever since the principal photography of Phobia ended. I have had two children born (they are a BIG plus- but still they can slow progressive forward movement). I have had multiple family members pass away after long illnesses. My son, who is nearly 2-years-and-9-months, has probably spent more than 6 months of his life (total) in the hospital just visiting loved ones. Throw in a near-death accident and other health issues for loved ones. Mix in a little bit of being laid off. I get down on occasion; once in a while I want to put an expiration date on my dreams… but I can’t.
I was born and mostly raised in the Hudson Valley in N.Y. The place I lived was not exactly small or rural, but it had a “small hometown” feel to it. Much like the place that The Dixie Chicks sing about in “The Long Way Around”, people grow up and marry the kids of their parents’ friends and buy a house a block away from their parents. I never, not even as a child, felt like I belonged there. I have a dream of something more, a dream that will never die.
So, what do I do?
I stop, take a deep breath (or ten), then I plant my feet, lower my head down and prepare to force my way forward, no matter what the pace.
After all, “A journey of a thousand miles begins with a single step.”, and I have taken that 1st single step.
Don.
My dream of being a writer began when I was in the single digits. My first comic story was submitted before I was 15-years-old. My first screenplay was written before I ever considered going to college. Over the last few years, I have (with a creative partner) had a Los Angeles-based international agent, optioned a feature-length film script, had that same script go into pre-production with a $10M budget (before a hurricane closed it down), directed a short film and had the same short film debut at a film festival in NYC. I make baby step progress towards fulfilling my dream.
Despite knowing that, as Lao-tzu would put it, “A journey of a thousand miles begins with a single step.”, it can be quite a test on occasion to keep focused and directed to your dreams.
I have met many people over the years that have seemed as passionate as me, or even more so. Yet, after a time they drop their dreams and “make do” or “settle”. I can’t tell you how many people I have met that have put an expiration date on their dreams; people that have quit because they have not had the success that they thought that they should have by their 25th or 30th 0r 35th or 40th or whatever.
Louise Hay was 61-years-old when she published her 1st book. At the age of 80 and as a publisher, her book company became one of the largest publishers of Christian books in the world.
Many people in the entertainment industry may not receive any acclaim until later in life. Sir Ian McKellen had parts in over a dozen films from the time he was about 30-years-old; however it was not until he turned 60 and Apt Pupil and Gods and Monsters were released that the world “discovered” him. Then, X-Men and Lord of the Rings made him a worldwide acting superstar.
I have a friend that has a dream of writing a line of children’s books. For nearly 10 years we have been talking about these characters and plots… I know what will happen for at least ten books. I am so invested in these books after talking about them for so long that I fight him every time he wants to make changes. However, he is “to busy”, by his admission, to write. Yet, he wants to put an expiration date on his dream. He has the passion, the talent but I’m not sure about the confidence. It will be an injustice if I am the only one to ever hear his stories… especially since he has had some creative ideas that I would like to use, but have agreed not to… at least until he can publish…
Myself. It seems that I have been climbing up Mount Everest, in a blinding snowstorm, with a broken leg or two ever since the principal photography of Phobia ended. I have had two children born (they are a BIG plus- but still they can slow progressive forward movement). I have had multiple family members pass away after long illnesses. My son, who is nearly 2-years-and-9-months, has probably spent more than 6 months of his life (total) in the hospital just visiting loved ones. Throw in a near-death accident and other health issues for loved ones. Mix in a little bit of being laid off. I get down on occasion; once in a while I want to put an expiration date on my dreams… but I can’t.
I was born and mostly raised in the Hudson Valley in N.Y. The place I lived was not exactly small or rural, but it had a “small hometown” feel to it. Much like the place that The Dixie Chicks sing about in “The Long Way Around”, people grow up and marry the kids of their parents’ friends and buy a house a block away from their parents. I never, not even as a child, felt like I belonged there. I have a dream of something more, a dream that will never die.
So, what do I do?
I stop, take a deep breath (or ten), then I plant my feet, lower my head down and prepare to force my way forward, no matter what the pace.
After all, “A journey of a thousand miles begins with a single step.”, and I have taken that 1st single step.
Don.
Sunday, August 16, 2009
District 9 = WOW.
District 9 ... was an event.
The last film that I went to see that I could say that about was Cloverfield.
Much like Cloverfield, quite a bit of District 9 is told through a documentary... but not all. This was the one bad thing that I can say about the film. The 1st 15 or 20 minutes were all told in documentary mode then there was a jump out and then back in and then it started cutting between the two. Eventually this worked, but there should have been cutting between the two from the beginning so that it was not jarring when it first happened. This was the only time I really felt that I was taken out of the story.
That said, I think I loved the film. At this point, I did not love it as much as Ain't It Cool's Harry Knowles. Read his much more eloquent (and quite accurate) review here http://www.aintitcool.com/node/42012. Much like Harry though, I do want to see the film another time... or three.
I found a few plot points predictable, yet I was still incredibly impressed.
There was A LOT of killing of humans and aliens and yet, the Halloween 2 trailer that played before was considerably more gorey.
I had seen the Alive in Joburg short and while I was intriqued by it I was overall not that impressed. But I took a chance on this film... And the F/X did NOT disappoint. The budget for District 9 is listed at $30M. The special effects here rivial any $150-200M movie out right now... or soon to be released.
The acting by most was better than average. However, Sharlto Copely who plays the lead, Wikus Van De Merwe is extraordinary in his range. From where he starts to where he ends and everything in between. One should expect him to be the next big male actor.
This IS Classic Science Fiction. This could easily have been a novel by Phillip K. Dick or Clark or Asimov or Orwell.
I hope no sequel is made.
District 9 is definitely one of my top two films of the year and one of my top sci-fi films ever.
Just go with an open mind, because what you think you know about the film just from the trailers... you don't know.
Don.
(this photo borrowwed from http://pro.imdb.com/media/rm1764984832/tt1136608)
Saturday, August 15, 2009
Rope
Anyone that knows me knows that Alfred Hitchcock is my favorite director. He has some movies that have received great acclaim over the years. Rope is not exactly one of them.
Rope made Hitchcock my favorite director. What he did. He changed the rules on shooting a film. The film is truly an exquisite piece of art.
Quint, a blogger at Ain't it Cool News, just posted a review of the film. I am glad to see that people continue to rediscover the underrated Hitchcock films.
Quint's review can be found here http://www.aint-it-cool-news.com/node/42051.
I would encourage anyone interested in film to watch the film a few times and learn quite a bit.
Don.
Rope made Hitchcock my favorite director. What he did. He changed the rules on shooting a film. The film is truly an exquisite piece of art.
Quint, a blogger at Ain't it Cool News, just posted a review of the film. I am glad to see that people continue to rediscover the underrated Hitchcock films.
Quint's review can be found here http://www.aint-it-cool-news.com/node/42051.
I would encourage anyone interested in film to watch the film a few times and learn quite a bit.
Don.
Friday, August 14, 2009
Guilty Pleasure... or Underrated Great Television?
How could I forget my number 1 guilty pleasure?
Psych.
Well, maybe the show does not qualify as it has witty and intelligent writing. Maybe it is a fact that I was a child of the 1980's, but I throughly enjoy the fact that one epside can reference classic '80's television, music, film and general pop culture, while guest-starring an acclaimed actress from a 1990's sitcom, with a plot that is "ripped from the headlines" and make it work in a fun and intelligent way.
The directing is often fun with the use of the "psych-vision" and flashbacks. The acting is better than average. And, you have to love a show that will occasionally make fun of itself with the opening credits... and always does with the closing ones.
If you were a "nerd" or "geek" in the '80's... Shawn Spencer would be your hero.
USA's Psych... Great television... undiscovered.
Don.
(this photo was borrowed from http://pro.imdb.com/media/rm2089128448/tt0491738)
Psych.
Well, maybe the show does not qualify as it has witty and intelligent writing. Maybe it is a fact that I was a child of the 1980's, but I throughly enjoy the fact that one epside can reference classic '80's television, music, film and general pop culture, while guest-starring an acclaimed actress from a 1990's sitcom, with a plot that is "ripped from the headlines" and make it work in a fun and intelligent way.
The directing is often fun with the use of the "psych-vision" and flashbacks. The acting is better than average. And, you have to love a show that will occasionally make fun of itself with the opening credits... and always does with the closing ones.
If you were a "nerd" or "geek" in the '80's... Shawn Spencer would be your hero.
USA's Psych... Great television... undiscovered.
Don.
(this photo was borrowed from http://pro.imdb.com/media/rm2089128448/tt0491738)
Thursday, August 13, 2009
Will it never end...?
A Buffy The Vampire Slayer without Whedon or Giles or Xander or Willow or Anya?
(this photo borrowed from http://pro.imdb.com/media/rm3623787776/tt0118276)
A Rockford Files without James Garner?
(this photo borrowed from http://pro.imdb.com/media/rm3234960640/tt0071042)
and NOW... ?
A Battlestar Galatica movie?
By Bryan Singer???
That re-boots the 1970's television Series?????
(see Variety story here: http://weblogs.variety.com/bfdealmemo/2009/08/singer-back-to-scifi.html)
Why? Oh, why?? Do the money collectors always need to beat a good idea to death??? While raping and piliging our memories????
I have a better idea... why not dig up some of the creatively inspired but short-lived shows of years past? I know that I would live to see an updated version of Otherworld or Automan or even StreetHawk.
Think about it.
I'll even pitch the new series and write a script for you.
Don.
(this photo borrowed from http://pro.imdb.com/media/rm3623787776/tt0118276)
A Rockford Files without James Garner?
(this photo borrowed from http://pro.imdb.com/media/rm3234960640/tt0071042)
and NOW... ?
A Battlestar Galatica movie?
By Bryan Singer???
That re-boots the 1970's television Series?????
(see Variety story here: http://weblogs.variety.com/bfdealmemo/2009/08/singer-back-to-scifi.html)
Why? Oh, why?? Do the money collectors always need to beat a good idea to death??? While raping and piliging our memories????
I have a better idea... why not dig up some of the creatively inspired but short-lived shows of years past? I know that I would live to see an updated version of Otherworld or Automan or even StreetHawk.
Think about it.
I'll even pitch the new series and write a script for you.
Don.
Sunday, August 9, 2009
Guilty Pleasures…
There are some shows that are… unbelievable. Shows like The Shield, the last two seasons or so of Lost. These are shows that are expertly written, directed, produced and acted. Then there are…
The guilty pleasure shows.
These are the shows that may not be the best written, or directed or produced or acted but that are entertaining and keep me tuning in week after week.
ALL things BBC America sci-fi…
Primeval shouldn’t really work but it does in a BIG way. The show just ended its 3rd season here in the US and every season it has managed to get better. Any show that can kill of main characters and successfully bring up less important characters to take their place has got to be doing something right- after all The X-Files could never do it. Primeval has killed off at least three main characters and made a fourth one leave with little chance of her coming back this past season alone.
Three of the charcters shown here do not make it to the end of Season 3.
(this photo borrowed from http://pro.imdb.com/media/rm492931072/tt0808096)
Torchwood: Children of Earth was phenomenal. Again, seemingly a BBC convention to keep fans on the edge of their seats- killed off a major character, sent another in to space, got the last main character pregnant and blew up their base of operations. All the while they were telling a gripping dark story.
Three of the charcters shown here do not make it to the end of Season 3.
(this photo borrowed fromhttp://pro.imdb.com/media/rm2443416576/tt0485301)
Doctor Who: Everything David Tennant. I was never a fan of the pre-Tennant series. But he brings such an energy and excitement and underlying sorrow and darkness that despite the not-so-great special f/x – this is one of my favorite sci-fi shows of all time. This is my 2nd favorite BBC show of all time just behind Coupling. I mention this because while rumors are that David Tennant is leaving the show when it returns in 2010 the writer of the best episodes of the series AND creator and writer of Coupling will be taking over as showrunner/ head writer. So, I suspect that I will give the show a couple of episodes to wow me.
(this photo borrowed from http://pro.imdb.com/media/rm596808192/tt0436992)
Gordon Ramsay. Whether it’s watching The F Word on BBC A or Hell’s Kitchen on FOX, Gordon is educational or entertaining depending on the show. But he and his shows are never boring.
(this photo borrowed from http://pro.imdb.com/media/rm2527433728/nm1451059)
Top Chef. I complain about the Masters episodes but I still watched them. However, I am much more looking forward to the return of the regular series, as-well-as Tom and Padma. My wife is looking forward to this show as well, since it causes me to be creative in the kitchen.
(this photo borrowed from http://pro.imdb.com/media/rm3960572672/tt0765425)
Gene Simmons’ Family Jewels. I received my 1st KISS album when I was about 7 or 8 years old. But I was much more familiar with Shannon Tweed from her roles on Days of Our Lives and Falcon Crest and Hot Dog: The Movie. Imagine my surprise when I saw that the Tweed-Simmons family is like the rest of us… albeit on another level. This is the only show that my wife and I watch live and not DVR’d.
(this photo borrowed from http://pro.imdb.com/media/rm3679425024/tt0498617)
Drop Dead Diva. I believe that there was a show on Lifetime in the late -80’s when I was still a young teenager called ENG. The show came from Canada I believe and was rebroadcast on the network. That was the only show that I ever watched on Lifetime. So, imagine my surprise when I was flipping around and caught the credits and saw a name I recognized. Thania St. John. May not be a Whedon (there is one of them in the credits of this show as well- Jed) but she has quite the pedigree. She has worked on such shows as Buffy, Roswell, VR5, 21 Jump Street, Lois and Clark and Eureka. Maybe it was because I had never heard of the show and had no expectations… But I was thoroughly entertained. It could so play down to the audience… and it doesn’t. With Journeyman and Eli Stone gone, this could be THE show with heart.
(this photo borrowed from http://mytakeontv.wordpress.com/2009/07/12/sunday-must-watch-drop-dead-diva-on-lifetime/)
Which brings me to Eureka… I could not really describe why this show works. But it does. I usually can argue why a show is bad or good. But with this show there are not a lot of great elements on their own… but the product that comes out keeps frustrating me when I have to wait for the next episode. I will note that the season long story arcs and the attention grabbing endings are big positives.
(this photo borrowed from http://pro.imdb.com/media/rm994547456/tt0796264)
I am sure that there are more on my DVR, but I am to tired to get the remote as I type this…
Last but not least is…
The Penguins of Madagascar. Yup. I said it. My son never made it through Madagascar and I fell asleep all 5 times I played it. We both found the 2nd move more entertaining- but I always thought that the penguins were the best part. One day while I was setting the DVR for another show, we discovered this show. My son loves it. We enjoy popping popcorn and sitting down at some point in the day to catch an episode or two. The best thing is that are no commercial during each “episode” just before, after and in between. Also, in a time when some many animated series promote sex, violence and pure stupidity the penguins are always trying to do the right things for their friends and neighbors.
(this photo was borrowed from http://www.myfreewallpapers.net/cartoons/pages/madagascar-penguins.shtml)
Don.
The guilty pleasure shows.
These are the shows that may not be the best written, or directed or produced or acted but that are entertaining and keep me tuning in week after week.
ALL things BBC America sci-fi…
Primeval shouldn’t really work but it does in a BIG way. The show just ended its 3rd season here in the US and every season it has managed to get better. Any show that can kill of main characters and successfully bring up less important characters to take their place has got to be doing something right- after all The X-Files could never do it. Primeval has killed off at least three main characters and made a fourth one leave with little chance of her coming back this past season alone.
Three of the charcters shown here do not make it to the end of Season 3.
(this photo borrowed from http://pro.imdb.com/media/rm492931072/tt0808096)
Torchwood: Children of Earth was phenomenal. Again, seemingly a BBC convention to keep fans on the edge of their seats- killed off a major character, sent another in to space, got the last main character pregnant and blew up their base of operations. All the while they were telling a gripping dark story.
Three of the charcters shown here do not make it to the end of Season 3.
(this photo borrowed fromhttp://pro.imdb.com/media/rm2443416576/tt0485301)
Doctor Who: Everything David Tennant. I was never a fan of the pre-Tennant series. But he brings such an energy and excitement and underlying sorrow and darkness that despite the not-so-great special f/x – this is one of my favorite sci-fi shows of all time. This is my 2nd favorite BBC show of all time just behind Coupling. I mention this because while rumors are that David Tennant is leaving the show when it returns in 2010 the writer of the best episodes of the series AND creator and writer of Coupling will be taking over as showrunner/ head writer. So, I suspect that I will give the show a couple of episodes to wow me.
(this photo borrowed from http://pro.imdb.com/media/rm596808192/tt0436992)
Gordon Ramsay. Whether it’s watching The F Word on BBC A or Hell’s Kitchen on FOX, Gordon is educational or entertaining depending on the show. But he and his shows are never boring.
(this photo borrowed from http://pro.imdb.com/media/rm2527433728/nm1451059)
Top Chef. I complain about the Masters episodes but I still watched them. However, I am much more looking forward to the return of the regular series, as-well-as Tom and Padma. My wife is looking forward to this show as well, since it causes me to be creative in the kitchen.
(this photo borrowed from http://pro.imdb.com/media/rm3960572672/tt0765425)
Gene Simmons’ Family Jewels. I received my 1st KISS album when I was about 7 or 8 years old. But I was much more familiar with Shannon Tweed from her roles on Days of Our Lives and Falcon Crest and Hot Dog: The Movie. Imagine my surprise when I saw that the Tweed-Simmons family is like the rest of us… albeit on another level. This is the only show that my wife and I watch live and not DVR’d.
(this photo borrowed from http://pro.imdb.com/media/rm3679425024/tt0498617)
Drop Dead Diva. I believe that there was a show on Lifetime in the late -80’s when I was still a young teenager called ENG. The show came from Canada I believe and was rebroadcast on the network. That was the only show that I ever watched on Lifetime. So, imagine my surprise when I was flipping around and caught the credits and saw a name I recognized. Thania St. John. May not be a Whedon (there is one of them in the credits of this show as well- Jed) but she has quite the pedigree. She has worked on such shows as Buffy, Roswell, VR5, 21 Jump Street, Lois and Clark and Eureka. Maybe it was because I had never heard of the show and had no expectations… But I was thoroughly entertained. It could so play down to the audience… and it doesn’t. With Journeyman and Eli Stone gone, this could be THE show with heart.
(this photo borrowed from http://mytakeontv.wordpress.com/2009/07/12/sunday-must-watch-drop-dead-diva-on-lifetime/)
Which brings me to Eureka… I could not really describe why this show works. But it does. I usually can argue why a show is bad or good. But with this show there are not a lot of great elements on their own… but the product that comes out keeps frustrating me when I have to wait for the next episode. I will note that the season long story arcs and the attention grabbing endings are big positives.
(this photo borrowed from http://pro.imdb.com/media/rm994547456/tt0796264)
I am sure that there are more on my DVR, but I am to tired to get the remote as I type this…
Last but not least is…
The Penguins of Madagascar. Yup. I said it. My son never made it through Madagascar and I fell asleep all 5 times I played it. We both found the 2nd move more entertaining- but I always thought that the penguins were the best part. One day while I was setting the DVR for another show, we discovered this show. My son loves it. We enjoy popping popcorn and sitting down at some point in the day to catch an episode or two. The best thing is that are no commercial during each “episode” just before, after and in between. Also, in a time when some many animated series promote sex, violence and pure stupidity the penguins are always trying to do the right things for their friends and neighbors.
(this photo was borrowed from http://www.myfreewallpapers.net/cartoons/pages/madagascar-penguins.shtml)
Don.
Saturday, August 8, 2009
G.I. Joe is there!!! ...more or less...
G.I. Joe is throughly entertaining...
Just don't go expecting high art.
I was an avid reader of Marvel's Larry Hama's G.I. Joe comics of the 1980's. I liked the cartoon but felt that it strayed to much from the comic. The comic was GREAT! The fact the Joe team was based on a real military base was cool. The fact that Cobra was based out of Springfield was brilliant. The fact that Cobra Commander was a disillusuioned car salesman that inadvertantly began a ku klux klan organization to defy the government was ingenious and very phrophetic... (Maybe Timothy McVeigh was a Cobra Commander fan...) The Snake-Eyes stories (whether with Storm Shadow or Scarlett) were always a high point of that month's comic readings.
But I Digress...
G.I. Joe: The Rise of Cobra is kind of a happy mess. Dennis Quaid is frakking great as Hawk. Rachel Nichols was pretty kick ass as Scarlett (though to young for the role). Sienna Miller did a good job as The Baroness despite the writing.
The base located in the desert left me with questions- such as why is a super secret black ops organization being run from the middle of a third world country, among others.
The Snake-Eyes/Storm Shadow stuff was handled pretty well while taking little from the actual history. I understand that it is hard to take stories with a backdrop of Vietnam and modernize them. Even with the various Gulf War iniatives it is not the same. Making the "brothers" children was not a bad idea. Having them still be children when the Master was killed was not so great as it never allowed time for the kids to bond. This film made them appear to be enemies while skipping all of the parts that made them brothers.
One of the worst historical revisions was the line about Snake-Eyes taking a vow of silence after the death of the Master. Again, this may have worked had they still not have been kids. Really, would a black ops group recruit a man that would never talk? How did he even get into the military without being able to say "Yes, sir"? In the comics it was an accident that disfigured him. What was wrong with that?
Personally, I think that the script chose the wrong lead characters. Duke and Ripcord? Duke was just a replacement for Hawk... and Ripcord? I don't think that he was ever an interesting character. Though Marlon Wayans played him well. And having all of the villiany rest on McCullen's shoulders? Poor choices.
And, don't even get me started on those dumbass roboto suits...
And then there was that awful ending... Rex turns McCullen's face in to metal, when he had the original mask next to him the entire time? (Have you not learned anything for the ludicrisness of Fantastic Four's Dr. Doom's stupid metal skin?) The fact that both McCullen now Destro and Rex now Cobra Commander are captured AND the fact that The Baroness was revealed to be a pawn... and let's not forget the fact that Storm Shadow died (allegedl) violently. The only villain left is... the President of the United States/ Zartan.
So, sequel? The president closes down G.I. Joe and General Hawk with the help of the original Joes (i.e. Snake-Eyes, Scarlett, Stalker, Doc, Rock'n Roll, Grunt) and the healed Storm Shadow and Baroness save the world from... Serpentor!!!
Some may think that this is a bad review. It's not. This is an accurate review. I enjoyed the movie. I didn't look at my watch until about the last 5 minutes so it kept me entertained, which is more than most movies...
Don.
(this image borrowed from http://www.comicvine.com/gi-joe-a-real-american-hero-silent-interlude/37-113726/)
(this photo was borrowed from
http://www.harpersbazaar.com/cm/harpersbazaar/images/sienna-miller-gi-joe-de-44496488.jpg)
(this photo was borrowed from http://www.rachelnichols.net/gallery/showphoto.php/photo/12107/size/big/perpage/12)
(this photo borrowed from http://www.availableimages.com/images/pictures/2009/gi-joe-the-rise-of-cobra/aph_5.jpg&imgrefurl)
Just don't go expecting high art.
I was an avid reader of Marvel's Larry Hama's G.I. Joe comics of the 1980's. I liked the cartoon but felt that it strayed to much from the comic. The comic was GREAT! The fact the Joe team was based on a real military base was cool. The fact that Cobra was based out of Springfield was brilliant. The fact that Cobra Commander was a disillusuioned car salesman that inadvertantly began a ku klux klan organization to defy the government was ingenious and very phrophetic... (Maybe Timothy McVeigh was a Cobra Commander fan...) The Snake-Eyes stories (whether with Storm Shadow or Scarlett) were always a high point of that month's comic readings.
But I Digress...
G.I. Joe: The Rise of Cobra is kind of a happy mess. Dennis Quaid is frakking great as Hawk. Rachel Nichols was pretty kick ass as Scarlett (though to young for the role). Sienna Miller did a good job as The Baroness despite the writing.
The base located in the desert left me with questions- such as why is a super secret black ops organization being run from the middle of a third world country, among others.
The Snake-Eyes/Storm Shadow stuff was handled pretty well while taking little from the actual history. I understand that it is hard to take stories with a backdrop of Vietnam and modernize them. Even with the various Gulf War iniatives it is not the same. Making the "brothers" children was not a bad idea. Having them still be children when the Master was killed was not so great as it never allowed time for the kids to bond. This film made them appear to be enemies while skipping all of the parts that made them brothers.
One of the worst historical revisions was the line about Snake-Eyes taking a vow of silence after the death of the Master. Again, this may have worked had they still not have been kids. Really, would a black ops group recruit a man that would never talk? How did he even get into the military without being able to say "Yes, sir"? In the comics it was an accident that disfigured him. What was wrong with that?
Personally, I think that the script chose the wrong lead characters. Duke and Ripcord? Duke was just a replacement for Hawk... and Ripcord? I don't think that he was ever an interesting character. Though Marlon Wayans played him well. And having all of the villiany rest on McCullen's shoulders? Poor choices.
And, don't even get me started on those dumbass roboto suits...
And then there was that awful ending... Rex turns McCullen's face in to metal, when he had the original mask next to him the entire time? (Have you not learned anything for the ludicrisness of Fantastic Four's Dr. Doom's stupid metal skin?) The fact that both McCullen now Destro and Rex now Cobra Commander are captured AND the fact that The Baroness was revealed to be a pawn... and let's not forget the fact that Storm Shadow died (allegedl) violently. The only villain left is... the President of the United States/ Zartan.
So, sequel? The president closes down G.I. Joe and General Hawk with the help of the original Joes (i.e. Snake-Eyes, Scarlett, Stalker, Doc, Rock'n Roll, Grunt) and the healed Storm Shadow and Baroness save the world from... Serpentor!!!
Some may think that this is a bad review. It's not. This is an accurate review. I enjoyed the movie. I didn't look at my watch until about the last 5 minutes so it kept me entertained, which is more than most movies...
Don.
(this image borrowed from http://www.comicvine.com/gi-joe-a-real-american-hero-silent-interlude/37-113726/)
(this photo was borrowed from
http://www.harpersbazaar.com/cm/harpersbazaar/images/sienna-miller-gi-joe-de-44496488.jpg)
(this photo was borrowed from http://www.rachelnichols.net/gallery/showphoto.php/photo/12107/size/big/perpage/12)
(this photo borrowed from http://www.availableimages.com/images/pictures/2009/gi-joe-the-rise-of-cobra/aph_5.jpg&imgrefurl)
Thursday, August 6, 2009
Rest In Peace, John Hughes.
The writer-director of such iconic films as Home Alone and The Breakfast Club died in NYC today of a heart attack.
note: The above photo was borrowed from http://pro.imdb.com/media/rm1296145408/tt0088847
Wednesday, July 29, 2009
Write What You Know...?
It's been a long couple of weeks but version 1.0 of the newest RnD script has been completed.
So, do I write what I know?
Who believes that Roberto Orci and Alex Kurtzman have fought ancient gods, trained in a black ops CIA unit, battled alien robots or flown in a starship?
I have met many people that absolutely believe that you write what you know and nothing more. They don't seem to understand that the axiom of "Write what you know" pertains to the human condition.
One can understand how people react in general situations. Much like the actors that remember the death of their childhood pet to cry for a big dramatic moment, writers have to be able to look at the moments of their lives and take the emotions and feelings and transfer that to the characters and other worlds that they create.
Do you write what you know?
Don.
So, do I write what I know?
Who believes that Roberto Orci and Alex Kurtzman have fought ancient gods, trained in a black ops CIA unit, battled alien robots or flown in a starship?
I have met many people that absolutely believe that you write what you know and nothing more. They don't seem to understand that the axiom of "Write what you know" pertains to the human condition.
One can understand how people react in general situations. Much like the actors that remember the death of their childhood pet to cry for a big dramatic moment, writers have to be able to look at the moments of their lives and take the emotions and feelings and transfer that to the characters and other worlds that they create.
Do you write what you know?
Don.
Wednesday, July 1, 2009
Karl Malden, Rest In Peace...
Oscar winnng Karl Malden has joined Pitchman/reality TV star Billy Mays, music icon/king of pop Michael Jackson, TV icon Farrah Fawcett and the legendary Ed McMahon as having passed away within the past week.
Friday, June 26, 2009
The Year of Development Hell (Part 8)...
Continued from a previous post...
The (option) year was not over yet… We still had a few more highs and lows in front of us…
For Christmas, our agent let us know that he was aggressively pursuing the money men to get the film back on track. About a week or so after New Years we received a call from our agent, he told us that he was in NYC and would be meeting with people with money.
Friday night, we received a late night e-mail, sent from his phone… most probably while at a club in the city. He said that the meetings had gone well and that we should expect to hear from him by Monday and that we would then receive our contracts and checks for low six-figures within two weeks.
We didn’t want to get our hopes up…
But we started to “plan”. RnD would take a good portion of our checks to pay down our debts. Then, we were going to take time off from our IT jobs and head to L.A. for a few months. We were doing all the research… without getting our hopes up.
Then Monday came and… we heard nothing. Tuesday… Wednesday… By Friday we were concerned. Why hadn’t we heard anything? Phone calls, e-mails, texts all went unanswered.
Two weeks later… We received an e-mail from an assistant that our agent never had and explained that his agency was merging with a literary agency. It was mostly matter of fact but included a few questions.
As I stated previously, RnD had wanted to get rid of this albatross of a script and move one. Included with our answers was the fact that we would not offer our script up for option again. They could buy it or we would keep it to fix and pitch it again.
Within a week, coincidentally, was the option date of our script. A few days after that…
We received an e-mail from yet another new person at this new merged literary agency. Our services would no longer be required…
We never heard from our (now former) agent… again.
(The funny thing is that a number of his former “talent” have since gone on to bigger careers than they ever had when they were at his agency.)
Not really the end…
Not quite a new beginning…
Don.
The (option) year was not over yet… We still had a few more highs and lows in front of us…
For Christmas, our agent let us know that he was aggressively pursuing the money men to get the film back on track. About a week or so after New Years we received a call from our agent, he told us that he was in NYC and would be meeting with people with money.
Friday night, we received a late night e-mail, sent from his phone… most probably while at a club in the city. He said that the meetings had gone well and that we should expect to hear from him by Monday and that we would then receive our contracts and checks for low six-figures within two weeks.
We didn’t want to get our hopes up…
But we started to “plan”. RnD would take a good portion of our checks to pay down our debts. Then, we were going to take time off from our IT jobs and head to L.A. for a few months. We were doing all the research… without getting our hopes up.
Then Monday came and… we heard nothing. Tuesday… Wednesday… By Friday we were concerned. Why hadn’t we heard anything? Phone calls, e-mails, texts all went unanswered.
Two weeks later… We received an e-mail from an assistant that our agent never had and explained that his agency was merging with a literary agency. It was mostly matter of fact but included a few questions.
As I stated previously, RnD had wanted to get rid of this albatross of a script and move one. Included with our answers was the fact that we would not offer our script up for option again. They could buy it or we would keep it to fix and pitch it again.
Within a week, coincidentally, was the option date of our script. A few days after that…
We received an e-mail from yet another new person at this new merged literary agency. Our services would no longer be required…
We never heard from our (now former) agent… again.
(The funny thing is that a number of his former “talent” have since gone on to bigger careers than they ever had when they were at his agency.)
Not really the end…
Not quite a new beginning…
Don.
Thursday, June 25, 2009
Rest In Peace, Farrah Fawcett.
Actor Farrah Fawcett has passed away.
http://tv.msn.com/tv/article.aspx?news=416214>1=28103
http://pro.imdb.com/news/ni0850666/
Don.
http://tv.msn.com/tv/article.aspx?news=416214>1=28103
http://pro.imdb.com/news/ni0850666/
Don.
Wednesday, June 17, 2009
The Year of Development Hell (Part 7)...
Continued from a previous post...
Where would we go?
Nowhere.
Everyone that had been interested in the script/film before had gotten new work. All of the edits and re-writes that we made for the specific cast and crew now just weighed heavy on the script. As the writer, I was confused.
I tried to take this time to get back to our original draft, with a few of the edits left in. The original idea was loved in pitch form and had been optioned. I just wanted to take it back to the beginning and then build it up from there.
I/we were told flat out, NO! The script was liked and approved how it was and that version was NOT to change.
So, we weren’t allowed to make the script better. Our connection to the film had been relegated to…
doing research for our agent…
As fall turned in to winter, we heard less and less about the film. Our agent was still looking at other literary properties and sending them to us for evaluation as possible films or television projects.
As the New Year rolled around, we discussed whether we should try to relocate to Los Angeles OR shoot our own short film. Either way, we had decided that we would not offer another option on our script (any version of it). We would sell it outright if anyone wanted to buy it, but we no longer wanted to be involved with it.
We wanted to move on… we wanted to write and create… again.
(and so it continues...)
to be continued, again...
Don.
Where would we go?
Nowhere.
Everyone that had been interested in the script/film before had gotten new work. All of the edits and re-writes that we made for the specific cast and crew now just weighed heavy on the script. As the writer, I was confused.
I tried to take this time to get back to our original draft, with a few of the edits left in. The original idea was loved in pitch form and had been optioned. I just wanted to take it back to the beginning and then build it up from there.
I/we were told flat out, NO! The script was liked and approved how it was and that version was NOT to change.
So, we weren’t allowed to make the script better. Our connection to the film had been relegated to…
doing research for our agent…
As fall turned in to winter, we heard less and less about the film. Our agent was still looking at other literary properties and sending them to us for evaluation as possible films or television projects.
As the New Year rolled around, we discussed whether we should try to relocate to Los Angeles OR shoot our own short film. Either way, we had decided that we would not offer another option on our script (any version of it). We would sell it outright if anyone wanted to buy it, but we no longer wanted to be involved with it.
We wanted to move on… we wanted to write and create… again.
(and so it continues...)
to be continued, again...
Don.
Tuesday, June 9, 2009
The Year of Development Hell (Part 6)...
Continued from a previous post...
I, by no means, would not compare what happened to our film to what happened to the people that lived in New Orleans. I know a few people that were displaced by the damage that occurred. However…
A while after the incident, I received a phone call from a colleague. He told me that we had been mentioned on a news channel as one of the productions that had been affected by the damage. (I must note that he was “flicking around” and did not pay attention to what channel it was. Also, I never found a reference online. However, he did refer to it by the revised name Clinical; we always referred to the script/film as Phobia when talking with anyone except our agent.)
RnD helped support the various charities that were providing assistance, we donated food, clothing, home goods, money and time to work at the Ice Palace which had become a makeshift “distribution center”.
Our agent kept trying to get the location team back in… but obviously they were not allowed.
Our DP turned 1st time director left to direct another project that never materialized. Our actors left as well, they needed to work. Everyone was released.
It was September now, more than half a year had passed and we were now starting over… with a script that we (the writers) no longer liked. The money was still ready to go. All we needed to do was lockdown locations, get a new cast and crew signed on and the money would be released…
All we needed to do… Ugh!
We were no longer being tasked with inane notes. Now, we were being tasked with finding places to shoot the film and to then pitch that idea in a way to our agent that he could then pitch it to the rest of the production team and money men.
Prague. Vancouver. Los Angeles. Tampa. All were considered. And, many more international and national cites as well. I believe at one point an actual rundown "Ghost Town" in the south west was in consideration...
The producers only had so much time to get everything in place before they would have to start looking for new money. They wanted the film in the can before Christmas. Where would we go?
(and so it continues...)
to be continued, again...
Don.
I, by no means, would not compare what happened to our film to what happened to the people that lived in New Orleans. I know a few people that were displaced by the damage that occurred. However…
A while after the incident, I received a phone call from a colleague. He told me that we had been mentioned on a news channel as one of the productions that had been affected by the damage. (I must note that he was “flicking around” and did not pay attention to what channel it was. Also, I never found a reference online. However, he did refer to it by the revised name Clinical; we always referred to the script/film as Phobia when talking with anyone except our agent.)
RnD helped support the various charities that were providing assistance, we donated food, clothing, home goods, money and time to work at the Ice Palace which had become a makeshift “distribution center”.
Our agent kept trying to get the location team back in… but obviously they were not allowed.
Our DP turned 1st time director left to direct another project that never materialized. Our actors left as well, they needed to work. Everyone was released.
It was September now, more than half a year had passed and we were now starting over… with a script that we (the writers) no longer liked. The money was still ready to go. All we needed to do was lockdown locations, get a new cast and crew signed on and the money would be released…
All we needed to do… Ugh!
We were no longer being tasked with inane notes. Now, we were being tasked with finding places to shoot the film and to then pitch that idea in a way to our agent that he could then pitch it to the rest of the production team and money men.
Prague. Vancouver. Los Angeles. Tampa. All were considered. And, many more international and national cites as well. I believe at one point an actual rundown "Ghost Town" in the south west was in consideration...
The producers only had so much time to get everything in place before they would have to start looking for new money. They wanted the film in the can before Christmas. Where would we go?
(and so it continues...)
to be continued, again...
Don.
A Couple Days Off...
Monday afternoon a very close family member passed away. I will be taking the next few days off from writing to do what needs to be done and be with family.
I did have one additional chapter in "The Year of Development Hell" ready to go so I will post that now.
Thank you.
Don.
I did have one additional chapter in "The Year of Development Hell" ready to go so I will post that now.
Thank you.
Don.
Sunday, June 7, 2009
Why I Write...
I know that everyone is waiting to read what happened next in my Year of Development Hell...
But I decided to take a break for one day. Part 6 will be available on Monday.
For today...
[Why I write…]
“I write because there are not enough hours in the day. I am interested in way to many subjects, fascinated by so many diverse facts and figures. If I did not write, I would not accomplish anything – I’ve tried. My OCD and ADD would battle each other and I would never be able to leave my house. So, basically, I write… so, that I don't lose my mind. ”
Don.
But I decided to take a break for one day. Part 6 will be available on Monday.
For today...
[Why I write…]
“I write because there are not enough hours in the day. I am interested in way to many subjects, fascinated by so many diverse facts and figures. If I did not write, I would not accomplish anything – I’ve tried. My OCD and ADD would battle each other and I would never be able to leave my house. So, basically, I write… so, that I don't lose my mind. ”
Don.
Saturday, June 6, 2009
The Year of Development Hell (Part 5)...
Continued from previous post...
RnD is a creative partnership. I tend to do more of the writing. The D (of RnD) does more of the editing. But, by the time the script was (nearly) approved I had to step back. Larry D stepped up and made the tweaks that the producers, actors, director and everyone else wanted. I wanted out…
I took two days off and then he sent me his changes and the notes that we had been given and we worked them out and sent them in.
A couple days later, we were told that our agent was going to be heading to NYC in two weeks to meet with potential money people.
We had been given the list of names of actors that had been interested in the script and that were ready to sign on once the money was locked in.
We had been told that our previous deal would be a little better as the cast and crew that was expressing interest would help increase the budget and return-on-investment potential.
Previously, we were to split the WGA minimum, now we were told we would be paid double- thereby allowing each of us to make the minimum. We would continue to be on set every day. And…
I believe that I misspoke before. Initially, we were told that we would get Associate Producer credits. NOW, we were told that we would be listed as Co-Producers.
A couple of weeks later, we got the call. Financing would be in place. The paperwork had to be drawn up and signed, but there was essentially a handshake deal… (Yeah!)
Within a week, at the end of August, we got a call saying that a producer, location scout and a couple assistants were on the ground in New Orleans… (Do you see where I am going with this?)
Less than 24-hours later we received a second call, this one was to tell us that the location scouting team was being pulled out due to mandatory evacuations and that they would have to head back “in a couple of weeks.”
Less than nine hours after the last pre-production crew member got out of New Orleans…
Hurricane Katrina hit...
(and so it continues...)
to be continued, again...
Don.
RnD is a creative partnership. I tend to do more of the writing. The D (of RnD) does more of the editing. But, by the time the script was (nearly) approved I had to step back. Larry D stepped up and made the tweaks that the producers, actors, director and everyone else wanted. I wanted out…
I took two days off and then he sent me his changes and the notes that we had been given and we worked them out and sent them in.
A couple days later, we were told that our agent was going to be heading to NYC in two weeks to meet with potential money people.
We had been given the list of names of actors that had been interested in the script and that were ready to sign on once the money was locked in.
We had been told that our previous deal would be a little better as the cast and crew that was expressing interest would help increase the budget and return-on-investment potential.
Previously, we were to split the WGA minimum, now we were told we would be paid double- thereby allowing each of us to make the minimum. We would continue to be on set every day. And…
I believe that I misspoke before. Initially, we were told that we would get Associate Producer credits. NOW, we were told that we would be listed as Co-Producers.
A couple of weeks later, we got the call. Financing would be in place. The paperwork had to be drawn up and signed, but there was essentially a handshake deal… (Yeah!)
Within a week, at the end of August, we got a call saying that a producer, location scout and a couple assistants were on the ground in New Orleans… (Do you see where I am going with this?)
Less than 24-hours later we received a second call, this one was to tell us that the location scouting team was being pulled out due to mandatory evacuations and that they would have to head back “in a couple of weeks.”
Less than nine hours after the last pre-production crew member got out of New Orleans…
Hurricane Katrina hit...
(and so it continues...)
to be continued, again...
Don.
Friday, June 5, 2009
The Year of Development Hell (Part 4)...
Continued from previous post...
We had several actors that had expressed interest in the script. Actors that (if a true level system existed) would have been at a “B” level, maybe a “C” level. While the actors that we knew of were a lower level when they saw our script, many of them have risen up. A couple television shows and one of the biggest movies of 2009 star the actors that expressed interest in our script.
Quite a bit of stress and late nights lead us to a mostly acceptable script…
Then…
We were told that we needed a bigger opening. We had to add an opening that “grabbed the audience” and started the “roller coaster ride”. We needed to have a large set piece for the advertising campaign.
What we developed, I have to admit was a fun, dark, action-packed ride. It was great. Everyone loved it.
The problem was that we had been tasked with the job to create that big opening, while not touching one other word in the script. We had to develop a scenario that would essentially make no difference to the rest of script.
What we ended up with was a 1st ten-pages of script that was more worthy of a Final Destination film than of Phobia… or should I say… Clinical.
The 1st ten-pages created a disconnection with the rest of the script. The real problem for us truly was the fact that everyone claimed that they loved the opening… and no one saw the disconnection with the rest of the script.
Since RnD has been writing together, we had completed about four scripts per year. Since we had optioned our feature Phobia/Clinical script, we had not written one new script, nor performed one re-write.
Up until the point where we added the new opening, we had been so focused on doing whatever it took to get this project off the ground that we never started another script. I believe that this was the point where we had almost given up…
(and so it continues...)
to be continued, again...
Don.
We had several actors that had expressed interest in the script. Actors that (if a true level system existed) would have been at a “B” level, maybe a “C” level. While the actors that we knew of were a lower level when they saw our script, many of them have risen up. A couple television shows and one of the biggest movies of 2009 star the actors that expressed interest in our script.
Quite a bit of stress and late nights lead us to a mostly acceptable script…
Then…
We were told that we needed a bigger opening. We had to add an opening that “grabbed the audience” and started the “roller coaster ride”. We needed to have a large set piece for the advertising campaign.
What we developed, I have to admit was a fun, dark, action-packed ride. It was great. Everyone loved it.
The problem was that we had been tasked with the job to create that big opening, while not touching one other word in the script. We had to develop a scenario that would essentially make no difference to the rest of script.
What we ended up with was a 1st ten-pages of script that was more worthy of a Final Destination film than of Phobia… or should I say… Clinical.
The 1st ten-pages created a disconnection with the rest of the script. The real problem for us truly was the fact that everyone claimed that they loved the opening… and no one saw the disconnection with the rest of the script.
Since RnD has been writing together, we had completed about four scripts per year. Since we had optioned our feature Phobia/Clinical script, we had not written one new script, nor performed one re-write.
Up until the point where we added the new opening, we had been so focused on doing whatever it took to get this project off the ground that we never started another script. I believe that this was the point where we had almost given up…
(and so it continues...)
to be continued, again...
Don.
Thursday, June 4, 2009
The Year of Development Hell (Part 3)...
Continued from previous post...
We were told of one actress, she was then predominantly known for commercials but had been getting smaller roles in television- we had nothing against her. Then we were told which role she was to play… and we were like… What? She made no sense. But we had no decision making power- so fine. We tweaked the script for her “style”.
Then, we get a note saying that she is concerned with the nude scene. Nude scene? There was only one partially nude scene, between the two bi-sexual college girls – but that already had been cut. I can’t even tell you how many times we went back and forth about this nude scene. Our agent was going off the notes of the actor but he never knew what she was talking about.
It turned out that the “nude scene” was a post-sex scene in which her character answers the door in “just a man’s shirt”. The man was bigger than her and the type of shirt meant that the shirt should go well beyond her waist. Once we knew what the concern was, we were able to address the concern with the script.
However, like most of the notes that we were given, our agent took them and passed them on to us without asking any questions or getting a better understanding of what was being asked. This would become a recurring theme.
As more and more actors became interested, we received more and more notes. Many notes contradicting each other. Our agent passed the notes to on to us without any editing. When we questioned any of the notes or asked for clarification we were told to “do our job and write”.
At this time, I need to note a few things about our time with our agent… The night that we met the man that would become our agent, he handed us a script that he had just been given and asked for our comments on it. As time went in our relationship, he continued to come across material and send it to us for our opinion.
We have numerous unpublished manuscripts and self-published books that he considered purchasing the rights to. We helped develop product ideas for quite a few projects. We were even tasked with working with a married couple that owned the rights to an infamous college sports player’s life story. We often felt that the only reason he kept us around (before he optioned our script, anyways) was to do his development work for him. (But that is its own story…)
(and so it continues...)
to be continued, again...
Don.
We were told of one actress, she was then predominantly known for commercials but had been getting smaller roles in television- we had nothing against her. Then we were told which role she was to play… and we were like… What? She made no sense. But we had no decision making power- so fine. We tweaked the script for her “style”.
Then, we get a note saying that she is concerned with the nude scene. Nude scene? There was only one partially nude scene, between the two bi-sexual college girls – but that already had been cut. I can’t even tell you how many times we went back and forth about this nude scene. Our agent was going off the notes of the actor but he never knew what she was talking about.
It turned out that the “nude scene” was a post-sex scene in which her character answers the door in “just a man’s shirt”. The man was bigger than her and the type of shirt meant that the shirt should go well beyond her waist. Once we knew what the concern was, we were able to address the concern with the script.
However, like most of the notes that we were given, our agent took them and passed them on to us without asking any questions or getting a better understanding of what was being asked. This would become a recurring theme.
As more and more actors became interested, we received more and more notes. Many notes contradicting each other. Our agent passed the notes to on to us without any editing. When we questioned any of the notes or asked for clarification we were told to “do our job and write”.
At this time, I need to note a few things about our time with our agent… The night that we met the man that would become our agent, he handed us a script that he had just been given and asked for our comments on it. As time went in our relationship, he continued to come across material and send it to us for our opinion.
We have numerous unpublished manuscripts and self-published books that he considered purchasing the rights to. We helped develop product ideas for quite a few projects. We were even tasked with working with a married couple that owned the rights to an infamous college sports player’s life story. We often felt that the only reason he kept us around (before he optioned our script, anyways) was to do his development work for him. (But that is its own story…)
(and so it continues...)
to be continued, again...
Don.
Wednesday, June 3, 2009
The Year of Development Hell (Part 2)...
Continued from previous post...
Then, we were told… Keep in mind that all of our notes came through our agent. We never spoke to nor saw an e-mail from anyone else. So, while we take some of what he said with a grain of salt, all of what I am about to speak about we believe to be true, based on substantiating factors.
We were told that the script needed to be “darker” and there had to be “more deaths”. The script was written intentionally to be a small (under $10M) psychological horror film; we had limited the characters and the locations. “More deaths”, I thought, we have 10 speaking rolls and seven were dead by the end. More deaths meant adding people for no particular reason other to kill them. That is not the best reason to add a character to any script, but it could be done.
Making the film “darker” was a completely different challenge. No one could define “darker” to us. Did more deaths help cover it? Were they looking for more gore? Violence? Taking place at night? It was “throw me a frickkin’ bone”. We were willing to discuss, consider and make any changes that made the script better… but give me a clue as to what you mean…
So, I hoped that two more violent deaths and moving toward more of a Wes Craven style from the Alfred Hitchcock style would suffice… “They” liked the changes, but still wanted it to be “darker”. Ugh!!!
As a 1st time director, but previous DP on a few newer horror films became interested, more notes came in. Our script, originally set in a fictional college town was moved to New Orleans. The flair of the city was to be incorporated, as were as many real locations as possible. Days spent online and at the local mega-bookstores gave us a good insight and we went to work.
After we turned in the New Orleans draft, we were told that we had to work in a car. A specific classic car. The director was interested in signing on, but he wanted a specific classic car- and if we could work it into the script AND he could keep it after filming- then he would sign on. Our agent/producer really wanted this director as he had connections to a couple of the mini-majors.
It took some work, but we managed to work the car in and justify why it had to be this specific car.
With the director unofficially attached, they began talking to actors. That began a whole new slew of notes.
(and so it continues...)
to be continued, again...
Don.
Then, we were told… Keep in mind that all of our notes came through our agent. We never spoke to nor saw an e-mail from anyone else. So, while we take some of what he said with a grain of salt, all of what I am about to speak about we believe to be true, based on substantiating factors.
We were told that the script needed to be “darker” and there had to be “more deaths”. The script was written intentionally to be a small (under $10M) psychological horror film; we had limited the characters and the locations. “More deaths”, I thought, we have 10 speaking rolls and seven were dead by the end. More deaths meant adding people for no particular reason other to kill them. That is not the best reason to add a character to any script, but it could be done.
Making the film “darker” was a completely different challenge. No one could define “darker” to us. Did more deaths help cover it? Were they looking for more gore? Violence? Taking place at night? It was “throw me a frickkin’ bone”. We were willing to discuss, consider and make any changes that made the script better… but give me a clue as to what you mean…
So, I hoped that two more violent deaths and moving toward more of a Wes Craven style from the Alfred Hitchcock style would suffice… “They” liked the changes, but still wanted it to be “darker”. Ugh!!!
As a 1st time director, but previous DP on a few newer horror films became interested, more notes came in. Our script, originally set in a fictional college town was moved to New Orleans. The flair of the city was to be incorporated, as were as many real locations as possible. Days spent online and at the local mega-bookstores gave us a good insight and we went to work.
After we turned in the New Orleans draft, we were told that we had to work in a car. A specific classic car. The director was interested in signing on, but he wanted a specific classic car- and if we could work it into the script AND he could keep it after filming- then he would sign on. Our agent/producer really wanted this director as he had connections to a couple of the mini-majors.
It took some work, but we managed to work the car in and justify why it had to be this specific car.
With the director unofficially attached, they began talking to actors. That began a whole new slew of notes.
(and so it continues...)
to be continued, again...
Don.
Tuesday, June 2, 2009
The Year of Development Hell (Part 1)...
I have mentioned before that RnD optioned our feature film script Phobia, but I have only briefly spoken of our year in “development hell”.
It WAS the best of times… and the WORST of times.
We had been introduced to an agent through a mutual friend of ours. We met him and… I want to say that we liked him right away. But the truth was that we liked what he had to say and were not quite sure what to make of him.
He had “offices” in New York, Los Angeles, Vancouver and Miami. He was developing a stable of talent: actors, singers, musicians. He even had two stuntwomen and we (RnD) were his 1st writers. He spoke of how he had a dream of being able to help package projects; he wanted to open a production company and in time, turn it into a mini-major studio. He spoke with lots of passion and conviction.
A couple days before we met him, he signed an actor from the HBO show Oz and he was already representing an heir to a legendary musician’s family dynasty. We knew going in that he was a small boutique agency. We appreciated what we felt would be a personal touch.
We pitched our script at the Screenwriting Expo that year, as-well-as the Hollywood by the Bay event, the night before. Fourteen out of 15 execs that listened to our pitch wanted to see the script. They were ALL impressed that we had an agent, as-well.
We met with our agent, before leaving L.A. and gave him the contact info for all of the execs we pitched. He said he would take care of it… that was his job after all.
A week later, we began playing phone/e-mail tag with him. A week after that, we finally heard from him and he had optioned it. Sort of…
What our agent did, was partner with a small producer and get us to option the script to them. I stress that our agent did this because agents are NOT allowed to be producers or production companies. This was something that we did not know at the time.
He told us that we would get the WGA minimum for the script, but we would also be on set everyday and we would be co-producers, involved with most of the decisions… though without the ability to make the decisions. We were totally cool with that. Script sale. Hollywood movie. On set. Producer credit. He had us; we were willing to do anything after that, and he knew it.
The 1st note came in. Change the name. There was a film that had been released in 1980 named Phobia. What about Clinical? Clinical? We tried to come up with alternatives. But our agent had a hard on for Clinical, so, Phobia became Clinical.
(and so it began...)
to be continued...
Don.
It WAS the best of times… and the WORST of times.
We had been introduced to an agent through a mutual friend of ours. We met him and… I want to say that we liked him right away. But the truth was that we liked what he had to say and were not quite sure what to make of him.
He had “offices” in New York, Los Angeles, Vancouver and Miami. He was developing a stable of talent: actors, singers, musicians. He even had two stuntwomen and we (RnD) were his 1st writers. He spoke of how he had a dream of being able to help package projects; he wanted to open a production company and in time, turn it into a mini-major studio. He spoke with lots of passion and conviction.
A couple days before we met him, he signed an actor from the HBO show Oz and he was already representing an heir to a legendary musician’s family dynasty. We knew going in that he was a small boutique agency. We appreciated what we felt would be a personal touch.
We pitched our script at the Screenwriting Expo that year, as-well-as the Hollywood by the Bay event, the night before. Fourteen out of 15 execs that listened to our pitch wanted to see the script. They were ALL impressed that we had an agent, as-well.
We met with our agent, before leaving L.A. and gave him the contact info for all of the execs we pitched. He said he would take care of it… that was his job after all.
A week later, we began playing phone/e-mail tag with him. A week after that, we finally heard from him and he had optioned it. Sort of…
What our agent did, was partner with a small producer and get us to option the script to them. I stress that our agent did this because agents are NOT allowed to be producers or production companies. This was something that we did not know at the time.
He told us that we would get the WGA minimum for the script, but we would also be on set everyday and we would be co-producers, involved with most of the decisions… though without the ability to make the decisions. We were totally cool with that. Script sale. Hollywood movie. On set. Producer credit. He had us; we were willing to do anything after that, and he knew it.
The 1st note came in. Change the name. There was a film that had been released in 1980 named Phobia. What about Clinical? Clinical? We tried to come up with alternatives. But our agent had a hard on for Clinical, so, Phobia became Clinical.
(and so it began...)
to be continued...
Don.
Monday, June 1, 2009
Don't do that... or Why I Hate UPS...
When I was a teenager, the Internet was not what it was to become… My family, not being the most affluent or technology interested, did not own a computer- until I bought one. I had to ask for a word processor for Christmas to be able to type.
I had been “writing” since I was a child. I say “writing” because I did not quite understand what I was doing was an important piece of the writer’s job. I was plotting and researching and making notes. By the time I hit my teens, I was interested in being a comics’ writer.
My 1st submissions were all hand written (don’t ever do that). Then, after one Christmas I was able to type (very slow and quite poor, mind you).
Around the time of high school graduation, I had been interested in screenwriting for awhile- and had a script ready to go for my favorite television show. Of course, I didn’t know the rules at that time… and pretty much broke all of them.
I brought back a character that had been killed off (don’t do that), in a very believable way. I made him the main focus of the story (don’t do that). The star of the show never knew he returned (don’t do that) and I plotted out the next script (don’t do that) that brought the two characters together. Now, in my defense, I will say that I potentially got rid of the resurrected character in the 2nd episode… but also had an entire storyline plotted out that could have been used… I was ready for anything. (Don’t do any of the above…)
But I digress…
I am here to discuss… script services. OK. I guarantee you that you are thinking of a different type of “script services”. What I am referring to is… typing.
Like I said, when I started writing, not everyone on the planet had a laptop and the Internet. I had a handwritten script on lined paper. I was reading Writer’s Digest for several years already. In their classifieds section, I found an ad for an agency in Manhattan that would type and format your scripts for you.
I sent them my script, my selection of card stock for the covers and a 10% down payment. Several weeks later, I received the galleys and I was blown away.
While kids that I went to school with were worrying about colleges, jobs or… the prom. I was making strides towards my passion and dream of becoming a writer.
Then… I waited… and… waited.
I soon received a bill for the scripts (I had more than one printed). I understood that the bill was to be paid on receipt, so I did not pay it. I figured that the scripts would be there any day. Then, another bill came…
After much going around and around, it turned out that the agency “allegedly” mailed the scripts by UPS (just one of the many reasons I hate and distrust UPS). The scripts were supposedly dropped off. I never received them; I never saw them.
This started a long battle. In today’s day and economy, they probably would have sicked the lawyers on me for the money… but this was a kinder, gentler time. I refused to pay; they refused to send me more scripts. Neither one of us would budge.
So, my screenwriting career was sidelined before it had a chance to begin.
One day, I will work with Stephen J. Cannell and when he likes me… I will pull out the handwritten script of my youth and ask him to read it… And hopefully, he won’t tell me that he loves it and would have hired me had he read that script years ago.
So, the moral to this story is… don’t ever, ever, ever send anything UPS.
Don.
I had been “writing” since I was a child. I say “writing” because I did not quite understand what I was doing was an important piece of the writer’s job. I was plotting and researching and making notes. By the time I hit my teens, I was interested in being a comics’ writer.
My 1st submissions were all hand written (don’t ever do that). Then, after one Christmas I was able to type (very slow and quite poor, mind you).
Around the time of high school graduation, I had been interested in screenwriting for awhile- and had a script ready to go for my favorite television show. Of course, I didn’t know the rules at that time… and pretty much broke all of them.
I brought back a character that had been killed off (don’t do that), in a very believable way. I made him the main focus of the story (don’t do that). The star of the show never knew he returned (don’t do that) and I plotted out the next script (don’t do that) that brought the two characters together. Now, in my defense, I will say that I potentially got rid of the resurrected character in the 2nd episode… but also had an entire storyline plotted out that could have been used… I was ready for anything. (Don’t do any of the above…)
But I digress…
I am here to discuss… script services. OK. I guarantee you that you are thinking of a different type of “script services”. What I am referring to is… typing.
Like I said, when I started writing, not everyone on the planet had a laptop and the Internet. I had a handwritten script on lined paper. I was reading Writer’s Digest for several years already. In their classifieds section, I found an ad for an agency in Manhattan that would type and format your scripts for you.
I sent them my script, my selection of card stock for the covers and a 10% down payment. Several weeks later, I received the galleys and I was blown away.
While kids that I went to school with were worrying about colleges, jobs or… the prom. I was making strides towards my passion and dream of becoming a writer.
Then… I waited… and… waited.
I soon received a bill for the scripts (I had more than one printed). I understood that the bill was to be paid on receipt, so I did not pay it. I figured that the scripts would be there any day. Then, another bill came…
After much going around and around, it turned out that the agency “allegedly” mailed the scripts by UPS (just one of the many reasons I hate and distrust UPS). The scripts were supposedly dropped off. I never received them; I never saw them.
This started a long battle. In today’s day and economy, they probably would have sicked the lawyers on me for the money… but this was a kinder, gentler time. I refused to pay; they refused to send me more scripts. Neither one of us would budge.
So, my screenwriting career was sidelined before it had a chance to begin.
One day, I will work with Stephen J. Cannell and when he likes me… I will pull out the handwritten script of my youth and ask him to read it… And hopefully, he won’t tell me that he loves it and would have hired me had he read that script years ago.
So, the moral to this story is… don’t ever, ever, ever send anything UPS.
Don.
Sunday, May 31, 2009
Pitching to Win…
The 1st time that we (RnD) pitched a script to a development executive we had virtually no idea what we were doing.
I thought that a pitch had to describe the entire script. We had five minutes. We spent the entire time talking about the script. We interested three out of five execs. But, they liked the idea- not the pitch.
As time went by, we learned more about pitching. We talked to people about their styles and we spoke with developments execs about what they were looking for. One of the last times that we pitched at a pitching “event”, we interested 14 out of 15 execs that we pitched to. And, that one that was not interested asked us to send him other ideas; he was just not interested in the idea that we pitched.
It should be noted here, that the script that we pitched here was Phobia. The feature script that was optioned, went into pre-production and was derailed by Hurricane Katrina. We later shot Phobia – The Short as a prequel to the feature.
But I digress…
What we have found works best for us is to have a phenomenal 30-second pitch… If you are pitching at an “event” you usually have five minutes. If you are pitching “in real life” you may only have 3o-seconds…
Here is our secret formula. (If we help you make a sale, you must remember us and ensure that we are thanked in the credits.)
Be courteous and nice. Remember that the person you are pitching probably does not want to be there. Ask them how they are doing- and try to mean it.
Introduce yourself. You are pitching yourself here. Why would this exec want to work with you? If you have the opportunity to know who you are pitching before hand- research them. Can you find ANY common ground that you can mention?
Don’t flinch. No matter what. We have had people eat while we were pitching. Someone once pulled up a chair and started recording us. We even had someone take a phone call and proceed to yell to his girlfriend directions for her to get out of canyon country while she was losing her signal. Never let them see you sweat- no matter how much you may be fuming on the inside. They will appreciate it.
If you have multiple projects that you are ready to pitch, ask if they are looking for any genre in particular. Explain that you have numerous projects in a few different genres.
Now pitch. Ideally, everything up until this point has taken 60-seconds, no more than 90. Now, give the execs the best roller coaster ride you can in 30-seconds. Hit the important generalities. You don’t need to explain that the lead character’s name is John Locke… and not base on the character from Lost, but on the real life philosopher… No one needs to know the trivia at this stage.
BAM! You are done. Ask them if they have any questions. They will. Their questions will help you figure out if you left an important part out of the pitch and/or you will learn what this particular exec is focusing on.
If all does go badly, and you have time left, tell them you know that was bad and ask them what they look for in a good pitch. This is a last resort as some execs will see this as you trying to improve yourself, while others will take this to mean that you are simply not prepared.
Good luck.
Go forth and pitch…
Don.
I thought that a pitch had to describe the entire script. We had five minutes. We spent the entire time talking about the script. We interested three out of five execs. But, they liked the idea- not the pitch.
As time went by, we learned more about pitching. We talked to people about their styles and we spoke with developments execs about what they were looking for. One of the last times that we pitched at a pitching “event”, we interested 14 out of 15 execs that we pitched to. And, that one that was not interested asked us to send him other ideas; he was just not interested in the idea that we pitched.
It should be noted here, that the script that we pitched here was Phobia. The feature script that was optioned, went into pre-production and was derailed by Hurricane Katrina. We later shot Phobia – The Short as a prequel to the feature.
But I digress…
What we have found works best for us is to have a phenomenal 30-second pitch… If you are pitching at an “event” you usually have five minutes. If you are pitching “in real life” you may only have 3o-seconds…
Here is our secret formula. (If we help you make a sale, you must remember us and ensure that we are thanked in the credits.)
Be courteous and nice. Remember that the person you are pitching probably does not want to be there. Ask them how they are doing- and try to mean it.
Introduce yourself. You are pitching yourself here. Why would this exec want to work with you? If you have the opportunity to know who you are pitching before hand- research them. Can you find ANY common ground that you can mention?
Don’t flinch. No matter what. We have had people eat while we were pitching. Someone once pulled up a chair and started recording us. We even had someone take a phone call and proceed to yell to his girlfriend directions for her to get out of canyon country while she was losing her signal. Never let them see you sweat- no matter how much you may be fuming on the inside. They will appreciate it.
If you have multiple projects that you are ready to pitch, ask if they are looking for any genre in particular. Explain that you have numerous projects in a few different genres.
Now pitch. Ideally, everything up until this point has taken 60-seconds, no more than 90. Now, give the execs the best roller coaster ride you can in 30-seconds. Hit the important generalities. You don’t need to explain that the lead character’s name is John Locke… and not base on the character from Lost, but on the real life philosopher… No one needs to know the trivia at this stage.
BAM! You are done. Ask them if they have any questions. They will. Their questions will help you figure out if you left an important part out of the pitch and/or you will learn what this particular exec is focusing on.
If all does go badly, and you have time left, tell them you know that was bad and ask them what they look for in a good pitch. This is a last resort as some execs will see this as you trying to improve yourself, while others will take this to mean that you are simply not prepared.
Good luck.
Go forth and pitch…
Don.
Saturday, May 30, 2009
The Goldberg Gambit
A few years ago, I had a retired guru working for me. He was gruff and quite a few people didn’t like him. I always liked him and got along great with him. We started working at the place on the same day.
For a year or so, we were essentially equals. He worked part-time, I was full. We worked in different departments, but helped each other out as needed.
When I was promoted up to team leader in my area, half of my team was transferred out to other areas. This was not a good time for me. I was not used to struggling.
Bob knew I was struggling and that I had a brief concern with whether I could succeed or not. He gave me a GREAT piece of advice. He said…
Never apply/take a job that you are qualified for. If you do, you will become bored and lose interest. Find the job that is a step or two above where you are now. This will allow to stretch and stay interested, if you are learning new things daily.
Every job that I have had since has been beyond where I was at the time I applied. But I got in, learned, exceeded and succeeded.
Now that I am looking for a job, I have gone against that idea and have been applying to jobs that I am qualified for. On the few occasions that I speak with the people, I am told that I am “overqualified”.
It’s time for me to remember The Goldberg Gambit and find the job I want that is above me… and go for it.
Don.
For a year or so, we were essentially equals. He worked part-time, I was full. We worked in different departments, but helped each other out as needed.
When I was promoted up to team leader in my area, half of my team was transferred out to other areas. This was not a good time for me. I was not used to struggling.
Bob knew I was struggling and that I had a brief concern with whether I could succeed or not. He gave me a GREAT piece of advice. He said…
Never apply/take a job that you are qualified for. If you do, you will become bored and lose interest. Find the job that is a step or two above where you are now. This will allow to stretch and stay interested, if you are learning new things daily.
Every job that I have had since has been beyond where I was at the time I applied. But I got in, learned, exceeded and succeeded.
Now that I am looking for a job, I have gone against that idea and have been applying to jobs that I am qualified for. On the few occasions that I speak with the people, I am told that I am “overqualified”.
It’s time for me to remember The Goldberg Gambit and find the job I want that is above me… and go for it.
Don.
Friday, May 29, 2009
SAG... Worth its Weight in Gold?
When we were trying to decide whether to go through the whole process of becoming a SAG signatory or not, I wasn’t sure that the SAG card was going to make a difference.
When we learned that one of Larry’s friend of a friend high school classmate was a working professional actor, we contacted her. She went to the same high school as he did, but different years. He knew of her from a friend. He contacted her and we spoke about what she was doing and if she might be free. She was game.
We pursued becoming a SAG signatory for her. However, when we were hiring cast and crew, the fact that we were a signatory impressed most people. It showed that we knew what we were doing. At that point… we didn’t know… exactly.
Larry and I flew up to NYC to attend a meeting on becoming an Independent signatory. We stayed at the Marriott in Times Square, it was just a couple blocks away. We spent a whole lot of money… to learn… not so much.
Some would say that I am borderline OCD. I like to research; I like to read. I spent a couple days going though the SAG site and learning everything I could. I did make a (small) list of questions, which the SAG representative was able to answer. Our return on investment was not great. However, I would rather have spent the money to go up to NYC and not learn much, than have not spent the money and risked not knowing what I needed to know.
Ultimately, we had only one SAG actor on our shoot, but two had just become SAG-eligible. If I had to make one comment, I would say that the SAG actors were more serious. Not about their craft or ability but about themselves. They claimed to be actors, nothing more. Some of the non-union actors would say they were an insurance salesman (or insert job here) that wants to be an actor. I think that Phobia – The Short had an amazing cast (and crew), both union and non-union.
Given the choice, I would always want to be a SAG production- especially in the indie category, where it is easier to have union and non-union actors. You may think that it is too much hassle. But, just do it…
Don.
http://www.sagindie.org/
When we learned that one of Larry’s friend of a friend high school classmate was a working professional actor, we contacted her. She went to the same high school as he did, but different years. He knew of her from a friend. He contacted her and we spoke about what she was doing and if she might be free. She was game.
We pursued becoming a SAG signatory for her. However, when we were hiring cast and crew, the fact that we were a signatory impressed most people. It showed that we knew what we were doing. At that point… we didn’t know… exactly.
Larry and I flew up to NYC to attend a meeting on becoming an Independent signatory. We stayed at the Marriott in Times Square, it was just a couple blocks away. We spent a whole lot of money… to learn… not so much.
Some would say that I am borderline OCD. I like to research; I like to read. I spent a couple days going though the SAG site and learning everything I could. I did make a (small) list of questions, which the SAG representative was able to answer. Our return on investment was not great. However, I would rather have spent the money to go up to NYC and not learn much, than have not spent the money and risked not knowing what I needed to know.
Ultimately, we had only one SAG actor on our shoot, but two had just become SAG-eligible. If I had to make one comment, I would say that the SAG actors were more serious. Not about their craft or ability but about themselves. They claimed to be actors, nothing more. Some of the non-union actors would say they were an insurance salesman (or insert job here) that wants to be an actor. I think that Phobia – The Short had an amazing cast (and crew), both union and non-union.
Given the choice, I would always want to be a SAG production- especially in the indie category, where it is easier to have union and non-union actors. You may think that it is too much hassle. But, just do it…
Don.
http://www.sagindie.org/
Thursday, May 28, 2009
A Couple of More Reasons Not to Watch the “Big Networks”…
UPDATE…
While Medium was not picked up by NBC, it was picked up by CBS and will air on Friday nights.
Despite the fact that the smallest network (MyNetworkTV) was up 46% in viewers last year, the network has essentially given up its status as a network and is moving to distribute syndicated content.
The good news is that MyNetworkTV has picked up several of recently cancelled “big network” shows. Law & Order: Criminal Intent and Deal or No Deal have found new life. As have one show that I have watched on an inconsistent basis- Are You Smarter Than a 5th Grader?, and one show that never miss… that is unless football pushed the show before it so late that my DVR would miss it… The Unit.
With the simple addition of The Unit, I will watch one more show on the MyNetworkTV non-network than I will be watching on NBC. And if Reaper get picked up as well...
http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1003977220
Don.
While Medium was not picked up by NBC, it was picked up by CBS and will air on Friday nights.
Despite the fact that the smallest network (MyNetworkTV) was up 46% in viewers last year, the network has essentially given up its status as a network and is moving to distribute syndicated content.
The good news is that MyNetworkTV has picked up several of recently cancelled “big network” shows. Law & Order: Criminal Intent and Deal or No Deal have found new life. As have one show that I have watched on an inconsistent basis- Are You Smarter Than a 5th Grader?, and one show that never miss… that is unless football pushed the show before it so late that my DVR would miss it… The Unit.
With the simple addition of The Unit, I will watch one more show on the MyNetworkTV non-network than I will be watching on NBC. And if Reaper get picked up as well...
http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1003977220
Don.
Wednesday, May 27, 2009
Just a couple of Phobia's jpgs...
The official Phobia - The Short poster.
The official Phobia logo.
Phobia - The Short was an official selection at New Filmmakers Fall 2007 Film Festival in NYC on Halloween.
The film Phobia was shot entirely in Florida.
Don.
Some Additional Links...
Some of my favorite and most useful links...
http://pro.imdb.com/
http://www.the-numbers.com/
http://www.aintitcool.com/
http://www.triggerstreet.com/
http://www.revver.com/
https://www.withoutabox.com/
http://www.sagindie.org/
http://www.indymogul.com/
http://www.wga.org/
http://www.afi.com/
http://www.ifta-online.org/afm/att_work.asp
http://www.copyright.cornell.edu/public_domain/
http://www.radicalcareering.com/
http://www.catherineclinch.com/
http://www.filminflorida.com/wh/ws.asp
http://www.fmpta.org/
http://www.tampahub.com/TampaBayFilm/index.html
Don.
http://pro.imdb.com/
http://www.the-numbers.com/
http://www.aintitcool.com/
http://www.triggerstreet.com/
http://www.revver.com/
https://www.withoutabox.com/
http://www.sagindie.org/
http://www.indymogul.com/
http://www.wga.org/
http://www.afi.com/
http://www.ifta-online.org/afm/att_work.asp
http://www.copyright.cornell.edu/public_domain/
http://www.radicalcareering.com/
http://www.catherineclinch.com/
http://www.filminflorida.com/wh/ws.asp
http://www.fmpta.org/
http://www.tampahub.com/TampaBayFilm/index.html
Don.
Listen up...
Just a couple of podcasts to listen to...
While there are dozens (if not hundreds) of podcasts relating to the behinds-the-scenes of filmmaking, I am quite fond of a few...
One focuses on the work of directors, appropriately located at http://www.watchingthedirectors.com/ The husband and wife team take a director that may be current or classic and discuss their body of work and evolution in each episode. The podcast has ended and the website has not been updated since last year. But, the shows are still available.
The second podcast focuses on screenwriters and can be found at http://creativescreenwritingmagazine.blogspot.com/
The final podcast is http://www.onthepage.tv/podcast.php hosted by Pilar Alessandra, script doctor and screenwriting consultant.I suggest that you check them out.
Don.
While there are dozens (if not hundreds) of podcasts relating to the behinds-the-scenes of filmmaking, I am quite fond of a few...
One focuses on the work of directors, appropriately located at http://www.watchingthedirectors.com/ The husband and wife team take a director that may be current or classic and discuss their body of work and evolution in each episode. The podcast has ended and the website has not been updated since last year. But, the shows are still available.
The second podcast focuses on screenwriters and can be found at http://creativescreenwritingmagazine.blogspot.com/
The final podcast is http://www.onthepage.tv/podcast.php hosted by Pilar Alessandra, script doctor and screenwriting consultant.I suggest that you check them out.
Don.
Monday, May 25, 2009
Lie. Get the job.
Recently, I answered an job posting for a short film. The writer-director liked me and my resume. I was offered my pick of jobs on the set. I asked what the shooting schedule was. [With two kids under the age of three and a wife that works about 12-hours a day, I don’t mind late or long hours but I have to have a schedule (tentative at least) so I can make sure my kids are covered.] I never got an answer.
I asked about the shooting schedule again. I was asked what job I wanted. I replied. I was told, “…great, welcome aboard”. I asked a 3rd time about the schedule- I never got a good answer.
I was given dates- that "may or may not be all of the shooting dates". It took me 2 days to make sure that I had triple back-up child care since I had no clue as to what times we would be shooting. I let the director know that I was totally available without restriction- and was then told that the position had been filled.
What? Was I being difficult by asking what the shooting schedule was? Was it unprofessional of me to explain that I just had to ensure that my children were taken care off?
In the making of my film, Phobia, I was irritated, annoyed and occasionally pissed when people would pull some schedule conflict out of the air. I appreciated and thanked the people that had provided me with their schedules and conflicts well in advance so that they could be worked out.
In my opinion, be honest… as early and as often as possible.
Don.
I asked about the shooting schedule again. I was asked what job I wanted. I replied. I was told, “…great, welcome aboard”. I asked a 3rd time about the schedule- I never got a good answer.
I was given dates- that "may or may not be all of the shooting dates". It took me 2 days to make sure that I had triple back-up child care since I had no clue as to what times we would be shooting. I let the director know that I was totally available without restriction- and was then told that the position had been filled.
What? Was I being difficult by asking what the shooting schedule was? Was it unprofessional of me to explain that I just had to ensure that my children were taken care off?
In the making of my film, Phobia, I was irritated, annoyed and occasionally pissed when people would pull some schedule conflict out of the air. I appreciated and thanked the people that had provided me with their schedules and conflicts well in advance so that they could be worked out.
In my opinion, be honest… as early and as often as possible.
Don.
Sunday, May 24, 2009
Salvation Terminated...
Well, I went to the movies Saturday and… much like homemade stew – Star Trek is even better the 2nd time around. To all the haters out there, this is the best film of the year… I said it. Best… film… of… the… year.
Of course, I did not originally go to see Star Trek again. I went to see Terminator Salvation…
Let me set the record straight. X-Men Origins: Wolverine was a feces fragment left lingering in the hot Arizona sun for the summer. Terminator is like sitting there watching the feces fragment linger in the hot Arizona sun for the summer.
TS was not… horrible. It was just… Ugh. It had no inertia, no movement… great special effects- but useless to the lifeless story.
No spoilers here. John Connor= wussy. Just like all other incarnations. Moon Bloodgood was totally underused and Bryce Dallas Howard… was she even in the movie? Anton Yelchin (Chekov from Star Trek, by-the-way) and Sam Worthington were the only actors that had any material to even attempt to act with.
OK...
***ONE SPOILER***
There is no tub sex… or sub text… in this movie. The boring first few seconds, clearly establish that Helena Bonham Carter is blatantly dying from cancer. Then, it had to be acknowledged and pointed out. Later in the film, it gets even more screen time. Apparently the target audience for this film is the brain damaged. The film spells everything out. Nothing is left to your mind for interpretation.
With this movie, I realized how McG directs…
Alfred Hitchcock used to spend a painstakingly amount of time on the storyboards for his films. When he was done, he was reported to say that the movie was complete… all that was left was to put it on film. He felt that as long as his storyboards were followed correctly, that anyone could capture the images on film.
After about the 1st 30-seconds of the film, myself and my companion began spitting out the film that was being paid homage to in the shot and/or scene. (Anyone that listened to the Charlie’s Angels director’s commentary knows that every shot in every scene comes directly from a film that he has seen.) From Apocalypse Now to Terminator, from T2 to Mad Max to Iron Eagle, from Planet of the Apes to The Transformers to Mission Impossible, from Battlestar Galactica to Cloverfield to I Am Legend, from Blackhawk Down to X-Men Origins: Wolverine… The list could go on… Pretty much, unless it was a Kevin Smith movie, Terminator Salvation paid “homage” to it.
Back to Hitchcock’s method… I figured out how McG directs. He pulls all of his DVD’s out and goes through them until he finds the shot or full scene he wants, then he records that and then moves on. When he is done, he simply hands his crew his homemade film and tells his crew to go shoot it.
Once again… if you feel the need to go see Terminator Salvation (or X-Men Origins: Wolverine) buy a ticket for Star Trek then go see whatever you want. I don’t believe in stealing the movies for free, but if you pay someone- then you are not technically stealing from the theatre. As for the studios and production companies… Everyone involved with the making of Star Trek should be rewarded and encouraged to make more; the people involved in the making of Salvation and Wolverine should be penalized and pushed to retire, to hopefully never darken our lives with such dreck again.
Don.
(Image borrowed from http://pro.imdb.com/media/rm3001845760/tt0796366)
Of course, I did not originally go to see Star Trek again. I went to see Terminator Salvation…
Let me set the record straight. X-Men Origins: Wolverine was a feces fragment left lingering in the hot Arizona sun for the summer. Terminator is like sitting there watching the feces fragment linger in the hot Arizona sun for the summer.
TS was not… horrible. It was just… Ugh. It had no inertia, no movement… great special effects- but useless to the lifeless story.
No spoilers here. John Connor= wussy. Just like all other incarnations. Moon Bloodgood was totally underused and Bryce Dallas Howard… was she even in the movie? Anton Yelchin (Chekov from Star Trek, by-the-way) and Sam Worthington were the only actors that had any material to even attempt to act with.
OK...
***ONE SPOILER***
There is no tub sex… or sub text… in this movie. The boring first few seconds, clearly establish that Helena Bonham Carter is blatantly dying from cancer. Then, it had to be acknowledged and pointed out. Later in the film, it gets even more screen time. Apparently the target audience for this film is the brain damaged. The film spells everything out. Nothing is left to your mind for interpretation.
With this movie, I realized how McG directs…
Alfred Hitchcock used to spend a painstakingly amount of time on the storyboards for his films. When he was done, he was reported to say that the movie was complete… all that was left was to put it on film. He felt that as long as his storyboards were followed correctly, that anyone could capture the images on film.
After about the 1st 30-seconds of the film, myself and my companion began spitting out the film that was being paid homage to in the shot and/or scene. (Anyone that listened to the Charlie’s Angels director’s commentary knows that every shot in every scene comes directly from a film that he has seen.) From Apocalypse Now to Terminator, from T2 to Mad Max to Iron Eagle, from Planet of the Apes to The Transformers to Mission Impossible, from Battlestar Galactica to Cloverfield to I Am Legend, from Blackhawk Down to X-Men Origins: Wolverine… The list could go on… Pretty much, unless it was a Kevin Smith movie, Terminator Salvation paid “homage” to it.
Back to Hitchcock’s method… I figured out how McG directs. He pulls all of his DVD’s out and goes through them until he finds the shot or full scene he wants, then he records that and then moves on. When he is done, he simply hands his crew his homemade film and tells his crew to go shoot it.
Once again… if you feel the need to go see Terminator Salvation (or X-Men Origins: Wolverine) buy a ticket for Star Trek then go see whatever you want. I don’t believe in stealing the movies for free, but if you pay someone- then you are not technically stealing from the theatre. As for the studios and production companies… Everyone involved with the making of Star Trek should be rewarded and encouraged to make more; the people involved in the making of Salvation and Wolverine should be penalized and pushed to retire, to hopefully never darken our lives with such dreck again.
Don.
(Image borrowed from http://pro.imdb.com/media/rm3001845760/tt0796366)
Saturday, May 23, 2009
Plan, Plan and Plan Again.
Being an independent filmmaker, one has to wear many hats- especially in the early days of pre-production.
When planning Phobia, I planned out an extremely tight schedule. I planned every shot and how to best work the days. We had 21 pages of script and 6 days, over three weekends. Which would work out to about 3 ½ pages a day. However, we had quite a bit of small bits of actions and also several special effects that took hours of prep.
No one thought that we could make the 6 day shooting schedule, especially one key crew member- who fought me every step of the way.
I knew what I could do and just had to keep everyone on schedule. I had a phenomenal 1st AD that helped me keep everything to my tight schedule. We worked well together, and even though I planned most of the schedule and shot list myself, I kept her and everyone on crew in the loop as much as possible.
I cannot say enough how great it is to work with a dedicated cast and crew. Dedication can help get things done when there is no more time, money or energy.
If you create a realistic production plan and can sell it to your potential cast and crew, you can develop quite a dedicated group.
You have to plan, plan, plan. And, then look at the plan and plan again.
Don.
When planning Phobia, I planned out an extremely tight schedule. I planned every shot and how to best work the days. We had 21 pages of script and 6 days, over three weekends. Which would work out to about 3 ½ pages a day. However, we had quite a bit of small bits of actions and also several special effects that took hours of prep.
No one thought that we could make the 6 day shooting schedule, especially one key crew member- who fought me every step of the way.
I knew what I could do and just had to keep everyone on schedule. I had a phenomenal 1st AD that helped me keep everything to my tight schedule. We worked well together, and even though I planned most of the schedule and shot list myself, I kept her and everyone on crew in the loop as much as possible.
I cannot say enough how great it is to work with a dedicated cast and crew. Dedication can help get things done when there is no more time, money or energy.
If you create a realistic production plan and can sell it to your potential cast and crew, you can develop quite a dedicated group.
You have to plan, plan, plan. And, then look at the plan and plan again.
Don.
Friday, May 22, 2009
Location, Location, Location...
SHOW your locations, especially when you have them.
No one will ever know how amazing you locations are, nor how beautiful the places you film, if you don't show them. Shooting Phobia, we were granted almost unlimited access to The University of Tampa.
Our one limitation was that we were not to shoot one very distinctive part of the campuses architecture. That was not a problem. I walked through with my DP and we discussed what to shoot and how to shoot it.
We were given a few rooms specifically, then allowed access to other rooms or any areas that did not interfere with the summer students' activities. We filmed in many different areas of one floor and then we were able to shoot in two different offices. We also shot six different locations outside on the university grounds.
The problem was that we did not get establishing shots. I had asked my crew to get the shots, but not followed up on them. We have these beautiful locations but no wide establishing shots to give the viewers the feeling of where we truly are.
If you have great locations, or even if you don't, get the best establishing shots that you can... and get quite a few of them.
Don.
PS. In life, you must follow up on everything. Or, its your fault.
No one will ever know how amazing you locations are, nor how beautiful the places you film, if you don't show them. Shooting Phobia, we were granted almost unlimited access to The University of Tampa.
Our one limitation was that we were not to shoot one very distinctive part of the campuses architecture. That was not a problem. I walked through with my DP and we discussed what to shoot and how to shoot it.
We were given a few rooms specifically, then allowed access to other rooms or any areas that did not interfere with the summer students' activities. We filmed in many different areas of one floor and then we were able to shoot in two different offices. We also shot six different locations outside on the university grounds.
The problem was that we did not get establishing shots. I had asked my crew to get the shots, but not followed up on them. We have these beautiful locations but no wide establishing shots to give the viewers the feeling of where we truly are.
If you have great locations, or even if you don't, get the best establishing shots that you can... and get quite a few of them.
Don.
PS. In life, you must follow up on everything. Or, its your fault.
Thursday, May 21, 2009
Collaboration - for better or worse...
Filmmaking is a collaborative medium. When a film gets distributed and makes money it becomes a movie. And a movie is part of show business. People tend to think of the filmmaking side but forget the show business part. Most people want to pursue the art without the business.
When you make a film, you have to realize that everyone working on the film is an artist. Everyone knows that the writer and actors are creative artists, not everyone thinks of gaffers or the boom operators are artists, as-well. Every artist is protective of their art. People are willing to buttheads and fight for their ideas - their art.
The director has to walk the show business line. In the world of television, generally the showrunner is a writer and usually the creator, he (or she) is the one that controls the direction of the show (along as the people paying the bills allow it). In the world of films, the director is the one that has the responsibility to provide the direction - the overall vision of the film. The director has to motivate all of the artists to do their best, while getting what he needs/wants for his (or her) vision. The director must also deal with the money men- whether producers, investors or studios.
Some great movies can be made when everyone is empowered and gives their best to the collaboration. However, some films fall apart from the poor act of collaboration.
Can you sell everyone on your vision? Can you work towards a compromise of ideas without a compromise of standards?
What do you want your filmmaking experience to be like?
Don.
When you make a film, you have to realize that everyone working on the film is an artist. Everyone knows that the writer and actors are creative artists, not everyone thinks of gaffers or the boom operators are artists, as-well. Every artist is protective of their art. People are willing to buttheads and fight for their ideas - their art.
The director has to walk the show business line. In the world of television, generally the showrunner is a writer and usually the creator, he (or she) is the one that controls the direction of the show (along as the people paying the bills allow it). In the world of films, the director is the one that has the responsibility to provide the direction - the overall vision of the film. The director has to motivate all of the artists to do their best, while getting what he needs/wants for his (or her) vision. The director must also deal with the money men- whether producers, investors or studios.
Some great movies can be made when everyone is empowered and gives their best to the collaboration. However, some films fall apart from the poor act of collaboration.
Can you sell everyone on your vision? Can you work towards a compromise of ideas without a compromise of standards?
What do you want your filmmaking experience to be like?
Don.
Wednesday, May 20, 2009
Who Watches the Networks?
I have been looking through the new fall shows and schedules of the "major networks"and I am struck with one question…
Who are the target audiences for the networks these days?
With the way that Donald Trump treated T-Boz and Khloe Kardashian on The Celebrity Apprentice, not to mention the way the Rivers women (Joan and Melissa) treated Brande and Annie (and the producers) - I will not be watching that show again.
And, with Life and Medium off the schedule, I can honestly say that I will not be wasting my valuable DVR hard drive space with any of the shows on the upcoming NBC schedule.
http://scifiwire.com/2009/05/nbc-picks-up-chuck-and-da.php
With FOX cancelling The Sarah Connor Chronicles and Prison Break, I will be watching Bones, Fringe, Dollhouse and the Gordon Ramsay shows. The Human Target looks like it could be an interesting new show, though.
http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1003974025
ABC has renewed the somewhat amusing Better Off Ted, and cancelled Amber Tamblyn’s The Unusuals as-well-as Boston Legal and the fantastic Eli Stone. So, it is safe to say that I will only definitely be watching Lost, Castle and Extreme Home Makeover. With Supernanny, Better Off Ted and V good possibilities, as long as my DVR has no conflicts.
http://www.nj.com/entertainment/tv/index.ssf/2009/05/abc_fall_schedule_announcement.html
Check out V clips here. http://www.aintitcool.com/node/41130
As for CBS, I can’t believe that The Unit has not been renewed. With that in mind, unless Medium moves to CBS, the only CBS shows that I have any interest in are the Monday Night Comedies (provided that they stay intact) and Survivor- depending on the cast of characters.
http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1003974084
Technically, CBS does not release its fall schedule until later today. The CW releases their schedule May 21st.
With barely a dozen shows of interest airing on the five “big networks” over seven nights--- I know that the networks are not programming shows for me.
So, who are they programming for?
Don.
Who are the target audiences for the networks these days?
With the way that Donald Trump treated T-Boz and Khloe Kardashian on The Celebrity Apprentice, not to mention the way the Rivers women (Joan and Melissa) treated Brande and Annie (and the producers) - I will not be watching that show again.
And, with Life and Medium off the schedule, I can honestly say that I will not be wasting my valuable DVR hard drive space with any of the shows on the upcoming NBC schedule.
http://scifiwire.com/2009/05/nbc-picks-up-chuck-and-da.php
With FOX cancelling The Sarah Connor Chronicles and Prison Break, I will be watching Bones, Fringe, Dollhouse and the Gordon Ramsay shows. The Human Target looks like it could be an interesting new show, though.
http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1003974025
ABC has renewed the somewhat amusing Better Off Ted, and cancelled Amber Tamblyn’s The Unusuals as-well-as Boston Legal and the fantastic Eli Stone. So, it is safe to say that I will only definitely be watching Lost, Castle and Extreme Home Makeover. With Supernanny, Better Off Ted and V good possibilities, as long as my DVR has no conflicts.
http://www.nj.com/entertainment/tv/index.ssf/2009/05/abc_fall_schedule_announcement.html
Check out V clips here. http://www.aintitcool.com/node/41130
As for CBS, I can’t believe that The Unit has not been renewed. With that in mind, unless Medium moves to CBS, the only CBS shows that I have any interest in are the Monday Night Comedies (provided that they stay intact) and Survivor- depending on the cast of characters.
http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1003974084
Technically, CBS does not release its fall schedule until later today. The CW releases their schedule May 21st.
With barely a dozen shows of interest airing on the five “big networks” over seven nights--- I know that the networks are not programming shows for me.
So, who are they programming for?
Don.
Tuesday, May 19, 2009
You need a pair of fresh eyes...
When do you know that it’s time to get a fresh pair of eyes on your project?
With studio films, they will show cuts of the movie and will let those strangers determine the fate/ plot of the movie. But for the independent filmmaker, what do they do?
As a screenwriter with a writing partner, we sometimes will run into the issue where we have discussed and plotted out the script so much that we know why things happen- but on occasion we miss them in the script. You need to have a few people that understand how scripts/films work and can intelligently explain their feelings and opinions.
At RnD, we have a good cross-section of readers that we use to gather opinions of our scripts after our 1st drafts are complete. We are then able to take a brief break from our script for the week or so that we give the readers and by the time that we have their notes- but before we read them, we will re-read the draft and make our own notes. Then, we will take our notes and the notes of our readers and begin our editing process from there.
When we were working on Phobia, we didn’t have many people that watched the movie that weren’t involved in the filmmaking process. I think that was one of the things that slowed up our editing process; whenever we seemed to have a final version we would discover something new.
We needed to have our own independent reviewers. You need them too. Anyone with a set of fresh and independent eyes can do wonders for you project.
Don.
With studio films, they will show cuts of the movie and will let those strangers determine the fate/ plot of the movie. But for the independent filmmaker, what do they do?
As a screenwriter with a writing partner, we sometimes will run into the issue where we have discussed and plotted out the script so much that we know why things happen- but on occasion we miss them in the script. You need to have a few people that understand how scripts/films work and can intelligently explain their feelings and opinions.
At RnD, we have a good cross-section of readers that we use to gather opinions of our scripts after our 1st drafts are complete. We are then able to take a brief break from our script for the week or so that we give the readers and by the time that we have their notes- but before we read them, we will re-read the draft and make our own notes. Then, we will take our notes and the notes of our readers and begin our editing process from there.
When we were working on Phobia, we didn’t have many people that watched the movie that weren’t involved in the filmmaking process. I think that was one of the things that slowed up our editing process; whenever we seemed to have a final version we would discover something new.
We needed to have our own independent reviewers. You need them too. Anyone with a set of fresh and independent eyes can do wonders for you project.
Don.
Monday, May 18, 2009
Save. Back up. Save again.
When I was in college, the school was using ¾” video recording equipment. To say that I shot and edited hundreds of hours of footage would be an understatement.
Between my own production classes and assisting friends in other classes, I would probably have shot a couple hours of footage almost every day of the week and usually, I was locked in the editing bays for a good 8-12 hours a week, or more. I used to get lost in editing; there were quite a few weekend days that I would sign in at 8am and not realize that it was 5pm, until some staffer asked me if I wanted them to pick me up food when they ran out on break.
My dedication, hard work and skill led to me being asked by the school to shoot and edit a conference that would be used for educational purposes for New York State employees. I became involved in our school’s Communication Arts Society and helped create the TV/video side of it. We produced a talent show benefit for the St. Jude’s Foundation, which I shot and edited. That talent show introduced me and my future RnD partner to many local singers and bands; we were asked to create a number of music videos and short promotional documentaries for them.
Both the college that I earned my AS degree at and the one that granted me my BA used ¾” equipment. When I moved to FL, the dozen plus copy paper boxes filled with the ¾” tapes were placed in a (extremely large) storage unit- along with everything else that did not fit in my car.
Two years later, when I finally returned to empty out my storage unit, I made the decision to toss all of the tapes. Where was I ever going to get a ¾” editing deck?
I have a couple of letters acknowledging and thanking me for my work… That’s virtually it. I can put everything on my resume- but I have no footage, no reel to show as either proof that I did the work, or as a visual representation of my work, talent or style.
Now, two years or so ago, when I moved into my house- I did discover a couple of school projects that had been converted to VHS. I now have a couple (and only a couple) of examples of my college work, most of them 2nd or 3rd generation or later and all over 10-years-old. They are not really anything I can use on a current reel.
These days, you can buy a terabyte drive for barely $100 with sales and rebates, and of course there are DVDs and even jump drives for easy storage and organization. Don’t be a fool. ALWAYS keep a copy of EVERYTHING that you shoot, you never know when you might be able to use unused footage from one project for another.
Don.
Between my own production classes and assisting friends in other classes, I would probably have shot a couple hours of footage almost every day of the week and usually, I was locked in the editing bays for a good 8-12 hours a week, or more. I used to get lost in editing; there were quite a few weekend days that I would sign in at 8am and not realize that it was 5pm, until some staffer asked me if I wanted them to pick me up food when they ran out on break.
My dedication, hard work and skill led to me being asked by the school to shoot and edit a conference that would be used for educational purposes for New York State employees. I became involved in our school’s Communication Arts Society and helped create the TV/video side of it. We produced a talent show benefit for the St. Jude’s Foundation, which I shot and edited. That talent show introduced me and my future RnD partner to many local singers and bands; we were asked to create a number of music videos and short promotional documentaries for them.
Both the college that I earned my AS degree at and the one that granted me my BA used ¾” equipment. When I moved to FL, the dozen plus copy paper boxes filled with the ¾” tapes were placed in a (extremely large) storage unit- along with everything else that did not fit in my car.
Two years later, when I finally returned to empty out my storage unit, I made the decision to toss all of the tapes. Where was I ever going to get a ¾” editing deck?
I have a couple of letters acknowledging and thanking me for my work… That’s virtually it. I can put everything on my resume- but I have no footage, no reel to show as either proof that I did the work, or as a visual representation of my work, talent or style.
Now, two years or so ago, when I moved into my house- I did discover a couple of school projects that had been converted to VHS. I now have a couple (and only a couple) of examples of my college work, most of them 2nd or 3rd generation or later and all over 10-years-old. They are not really anything I can use on a current reel.
These days, you can buy a terabyte drive for barely $100 with sales and rebates, and of course there are DVDs and even jump drives for easy storage and organization. Don’t be a fool. ALWAYS keep a copy of EVERYTHING that you shoot, you never know when you might be able to use unused footage from one project for another.
Don.
Sunday, May 17, 2009
Prison Break... The doors are locked...
I just saw the Prison Break finale.
Several years ago, when the show 1st premiered, I wondered how a show could keep going for an entire season when the whole plot of the show was… a prison break. But with the two leads from two brilliant but cancelled shows - Joan of Arcadia (Wentworth Miller) and John Doe (Dominic Purcell), I took a chance… and loved it.
Over the years the show has had a few downs, and very many ups. This show has by definition been “edge of your seat” entertainment. At its best, it was better than 24.
Unfortunately, 24 and Jack Bauer continue to live on and fight more and more asinine threats, while Michael Scofield has left us.
My wife and I don’t like all that many of the same shows- but we both love Prison Break. We both have friends that we talk about the show with on Mondays.
Since the show returned with its last few episodes, the show has seemed weaker. Michael Scofield was no longer one of the most intelligent and interesting characters on television. As the finale progressed, I grew more and more irritated and couldn’t believe what the show was doing to Michael.
Then with five minutes left…
---SPOILER ALERT---
Several years ago, when the show 1st premiered, I wondered how a show could keep going for an entire season when the whole plot of the show was… a prison break. But with the two leads from two brilliant but cancelled shows - Joan of Arcadia (Wentworth Miller) and John Doe (Dominic Purcell), I took a chance… and loved it.
Over the years the show has had a few downs, and very many ups. This show has by definition been “edge of your seat” entertainment. At its best, it was better than 24.
Unfortunately, 24 and Jack Bauer continue to live on and fight more and more asinine threats, while Michael Scofield has left us.
My wife and I don’t like all that many of the same shows- but we both love Prison Break. We both have friends that we talk about the show with on Mondays.
Since the show returned with its last few episodes, the show has seemed weaker. Michael Scofield was no longer one of the most intelligent and interesting characters on television. As the finale progressed, I grew more and more irritated and couldn’t believe what the show was doing to Michael.
Then with five minutes left…
---SPOILER ALERT---
I saw it coming. The consistent rubbing of his head and the nose bleed at the end. Someone was paying for everything that had happened in the show… and it was the one person that we all wanted to see come out alive and safe. My wife was crying when they revealed Michael’s headstone. And I cannot deny, that even with seeing it coming from a mile away… I began to tear up as well. It did not matter how much the finale had sucked- at the end, the finale was a winner.
Don.
(Photo borrowed from http://pro.imdb.com/media/rm1532401920/tt0455275)
Zoe Hunter Saves the Universe...
The cast and crew of Phobia were dedicated and amazing. However, one woman gave up being away from her home and husband on her birthday to be part of our project. Zoe Hunter.
Zoe was the only member of our 50 person cast and crew that did not have a connection to the Tampa Bay area. She is a professional actress with (then)19 movies to her credit and numerous other voice-overs and commercials. She is a SAG member- and yes, we had to become a SAG signatory to hire her (more on that at a later date).
Larry and I met with Zoe and pitched her Phobia when we were in NYC for a SAG signatory meeting. We got along great. But you never know how someone will behave when they are working. She had by far the biggest resume of all of our cast and crew. When she noticed things being done… unconventionally, shall we say, she pulled Larry or myself to the side, in private, and voiced her concerns or opinions.
Zoe was a consummate professional, she never complained and made her tedious time in make-up fun. Zoe gets some of the best reactions and praise from the people that have seen the film. This is a benefit of working with a professional SAG actor.
Don.
All photos are (c) Nathaniel Smith.
Saturday, May 16, 2009
It’s in the contract, dumbass.
As I have been searching for jobs, I have been coming across various postings by filmmakers that are scrambling to replace people, places and equipment. You should always have contracts with everyone on your cast and crew.
With Phobia, I had thought that we had covered all of our bases. My producer and I had spent countless hours researching the contracts and forms used on film sets. We had everyone on our cast and crew sign multiple contracts that covered everything from being caught on screen to having their names used for promotional purposes.
However, with all of planning that we had done, we were far from perfect. Early on, when we were looking to crew up, we went over several people for one significant position. We made a decision based on who wanted lots of money and who would work for free. One of the guys that would work for free told us that he could get us free equipment.
I should have realized early on that he was going to be a problem, but we were in a time crunch and I’m sure he thought that he was trying to help. He was nothing but a problem, and I dreaded his phone calls every – single – day. He had guaranteed us free equipment, so we put aside his... idiosyncrasies.
Unfortunately, the closer we got to our shoot dates the more frequently his story changed. He couldn’t get in touch with his friend that owned the equipment. His other friend that owned equipment was out of the country. His third friend that had equipment wouldn’t let him use the equipment. There were more stories but I stopped listening and let my producer deal with him as I had so much going on trying to get the shoot ready.
Ultimately, this one crew member more than doubled our budget. Two days before principal photography was about to begin, we were forced to buy this equipment because we had trusted this man and had been giving us nothing but the runaround, resistance and problems.
Had we been provided the honest information about the equipment we would have been able to find inexpensive alternatives in the six weeks we had been depending on this man for so much of our needed equipment. Big studios can throw money at a film to fix problems. When you are self-financing, the jump from an $8,000 budget to $17,000 is destructive.
Have a contract that very explicitly spells out what each cast and crew member is to bring to the table. Even if you don’t have a barrage of lawyers, people will take you more seriously if you take yourself seriously and behave professionally. Don’t be a dumbass; get the contracts ready.
Don.
With Phobia, I had thought that we had covered all of our bases. My producer and I had spent countless hours researching the contracts and forms used on film sets. We had everyone on our cast and crew sign multiple contracts that covered everything from being caught on screen to having their names used for promotional purposes.
However, with all of planning that we had done, we were far from perfect. Early on, when we were looking to crew up, we went over several people for one significant position. We made a decision based on who wanted lots of money and who would work for free. One of the guys that would work for free told us that he could get us free equipment.
I should have realized early on that he was going to be a problem, but we were in a time crunch and I’m sure he thought that he was trying to help. He was nothing but a problem, and I dreaded his phone calls every – single – day. He had guaranteed us free equipment, so we put aside his... idiosyncrasies.
Unfortunately, the closer we got to our shoot dates the more frequently his story changed. He couldn’t get in touch with his friend that owned the equipment. His other friend that owned equipment was out of the country. His third friend that had equipment wouldn’t let him use the equipment. There were more stories but I stopped listening and let my producer deal with him as I had so much going on trying to get the shoot ready.
Ultimately, this one crew member more than doubled our budget. Two days before principal photography was about to begin, we were forced to buy this equipment because we had trusted this man and had been giving us nothing but the runaround, resistance and problems.
Had we been provided the honest information about the equipment we would have been able to find inexpensive alternatives in the six weeks we had been depending on this man for so much of our needed equipment. Big studios can throw money at a film to fix problems. When you are self-financing, the jump from an $8,000 budget to $17,000 is destructive.
Have a contract that very explicitly spells out what each cast and crew member is to bring to the table. Even if you don’t have a barrage of lawyers, people will take you more seriously if you take yourself seriously and behave professionally. Don’t be a dumbass; get the contracts ready.
Don.
Friday, May 15, 2009
IMDb, what fore art thou?
IMDb. Have you heard of it? I was talking with someone that is trying to raise money to shoot a film and they had never heard of IMDb.
Would you use a doctor that has never heard of the AMA?
IMDb is one of the best resources that an up-and-coming filmmaker/actor/etc… has. Even if you overlook the news and the message boards the site is indispensable. When we were crewing up and casting Phobia, the IMDb message boards were one of four places we posted and nearly ½ of the 200 candidates that we had came from there. But, I did say to overlook the message boards…
I had never been through a casting before; in college you use your friends and classmates. Once we had seen everyone and sat down to make our final decisions- I just was not sure who would be the best for some of the roles. To make matters worse, my producer, casting manager and I did not completely agree on who we liked. When I re-watched their audition tapes it didn’t help much. I then turned to IMDb.
I was amazed by people that handed me resumes with a long list of jobs that were not listed on the site. One person had a straight-to-video Tremors film on the resume but it was nowhere on his IMDb page. I understand that some jobs may be “uncredited” but you can still post them as “Other Works” or “Trivia” on your page.
Ultimately, the Phobia cast and crew totaled 50, with 27% having IMDb pages before our film was able to get listed and now 100% of the cast and crew have pages. When we were trying to get some deals and donations for our film it helped that we had that 27% listed. People saw that we weren’t just some fans trying to waste a few weekends making a “film”. We had some true cred because we had the people with credentials.
I am not sponsored by IMDb- and they pretty much have given me nothing but grief while trying to get the correct info posted for Phobia. However, it is one of the few websites that I do check every day- I check out the news, the message boards, get information on “that actor” that looked familiar on “that show” but was not sure who he was. I also like the fact that you can view people by birthplaces, etc…- I like this to help to develop possible contact information. The site also comes in handy when you're at home and your producer is at a red carpet premiere and calls and asks you who someone is.
If you have any interest in filmmaking, please... know what IMDb is.
Don.
Would you use a doctor that has never heard of the AMA?
IMDb is one of the best resources that an up-and-coming filmmaker/actor/etc… has. Even if you overlook the news and the message boards the site is indispensable. When we were crewing up and casting Phobia, the IMDb message boards were one of four places we posted and nearly ½ of the 200 candidates that we had came from there. But, I did say to overlook the message boards…
I had never been through a casting before; in college you use your friends and classmates. Once we had seen everyone and sat down to make our final decisions- I just was not sure who would be the best for some of the roles. To make matters worse, my producer, casting manager and I did not completely agree on who we liked. When I re-watched their audition tapes it didn’t help much. I then turned to IMDb.
I was amazed by people that handed me resumes with a long list of jobs that were not listed on the site. One person had a straight-to-video Tremors film on the resume but it was nowhere on his IMDb page. I understand that some jobs may be “uncredited” but you can still post them as “Other Works” or “Trivia” on your page.
Ultimately, the Phobia cast and crew totaled 50, with 27% having IMDb pages before our film was able to get listed and now 100% of the cast and crew have pages. When we were trying to get some deals and donations for our film it helped that we had that 27% listed. People saw that we weren’t just some fans trying to waste a few weekends making a “film”. We had some true cred because we had the people with credentials.
I am not sponsored by IMDb- and they pretty much have given me nothing but grief while trying to get the correct info posted for Phobia. However, it is one of the few websites that I do check every day- I check out the news, the message boards, get information on “that actor” that looked familiar on “that show” but was not sure who he was. I also like the fact that you can view people by birthplaces, etc…- I like this to help to develop possible contact information. The site also comes in handy when you're at home and your producer is at a red carpet premiere and calls and asks you who someone is.
If you have any interest in filmmaking, please... know what IMDb is.
Don.
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