Filmmaking Fans

            There are a lot of people I know that complain about the films that are coming out of Hollywood, and yet when I ask them what is the last independent film they went and saw to support they cannot name even one. But when asked what studio film they saw last, they rattle off films even from the past opening weekend.

            If you are a true fan of something, the worst thing you can do is be passive. There is so much white noise out there with all of the distractions it’s a wonder that anything without a major budget makes it at all. If you enjoy fantasy films, get out there and enjoy them, enjoying them equals supporting them!

            I have some good friends that love to listen to audio books. And when they find a good one, they let all of their friends borrow their CD. That is the worst thing a true fan can do. Think of it this way – your money is your “vote” to keep whatever you love going. Be it a film, book, or band. Independents do not have deep pockets and the only way they’ll survive is if you get out and vote for them. Let others know about it and then encourage them to buy a copy of their own.

            Fan engagement is down so much that in order to get just a few fans into action – indie filmmakers must spend a ton of resources to spur them into action and even then if you get 20% you are doing great. It’s a good time for indie filmmakers and yet a hard time. Good in the sense that the price of equipment has dropped significantly, the digital age of acceptance is upon us and the distribution platform is ever expanding. It’s a hard time for us as there is so much content out there all competing for the elusive fan.

           

            I believe there are 3 types of “fans”. The first is just someone who is passively interested in your film (The Looker). The 2^nd will like your fan page and may buy your DVD, but not much more than that (The Seeker). The 3^rd is the most important, but is so hardest to achieve, and that is an ambassador of the film (The Doer). Ambassadors will like your page buy your DVD and most importantly they will share your film with their friends and actually engage you when you post things or ask questions, and will be a voice for the film. They are the life-blood of indie filmmakers.

So should you find yourself enjoying an indie film/book/band/game – get out there and help spread the word and vote with your dollar!

           For without you we are nothing. 

What do I need to do to get (re-)started in filmmaking?

A friend of mine recently reached out to me and asked, “Help, I don’t know how to get back involved with filmmaking!” She is a great writer, but due to life’s circumstances, she has not written anything for a long time. She is now married with two small children that demand her attention. She had given up her writing to pursue her dreams of becoming a wife and a mother – very noble things. But, the passion in her heart for filmmaking never ceased. She was able to keep it at bay for awhile, but recently it’s called her gently out of her Hobbit hole. She does not share this same calling with her family, so it takes being around other creative people to help foster this longing.

I can totally relate, but for people like us we can never leave filmmaking on the altar for long. It’s more of a calling than a desire to just do film. Our goal is not a hobby, but a profession. But, she had been out of it for so long, she no longer knew where to look. Here’s what I offered her, which can be for a writer, actor, or filmmaker:

1. Find the local 48 Hour Film Project in your area. http://www.48hourfilm.com/ - they have them all over the world. People take them very seriously and really give it their all. I was very impressed about the team I found myself on. Or there are others, like the 168: http://www.168project.com/

The point here is really to surround yourself with filmmakers – reach out and make connections. Plus, you get to say you actually completed a project – how many writers/actors/filmmakers can say that?

2. I was a little skeptical about this next idea, but when I attended one – I found 25 other local filmmakers just like me. Check out the MeetUps in your area: http://www.meetup.com/.

The group had gear and desire – they are still meeting today making projects.

3. Just about every college out there has some type of film program. Look within their communications department. You can either a) take a class, or b) volunteer for student projects. Just reach out to them, let them know what you can do, and be a contributor when you get a chance.

4. Use social media to find filmmakers – from YahooGroups, to Google+, to Facebook (of course). Filmmakers know other filmmakers.

I have found most people out there have a desire to make things as professional as they can and they are willing to sacrifice for it. If you can't find a group in your area, I encourage you to step up and start a group then (be a producer). You never know, you might find yourself taking 30 days off work and doing a feature!

Here’s to making next year about doing projects!

What other advice would you have offered? Leave a Comment and share! 

We have representation

The Highland Film Group has joined the team as our sales agent. We reviewed offers from several distributors and sales agents, but HFG was a cut above the rest. We’re excited about this partnership and looking forward to good things to come. Fellows Hip distribution is now in full swing!

Keep the buzz going! Encourage everyone to visit our IMDB page and YouTube trailer. Invite them to join our Facebook fan page too and follow us on Twitter.

Thanks for being with us on the journey, and be on the lookout for the latest distribution news!

Is piracy really a big deal?

http://my.spill.com/photo/movie-piracy

We've had people tell us to offer our movie for free and then ask for people to give (financially) as they see fit... really, that's a business model? It might be, but not one where you could stay in business for long or make more films. It might work once as a stunt, but it’s no way to do business. Part of the thinking was that people will pirate your film anyway, so give them the content so you can have some form of control over it. But is that really control? It’s seems like letting the pirates take over your ship. You’re still captain, but you’re locked in the brig.

I believe piracy is a huge deal and greatly impacts the film industry, especially the indies. I know the numbers are hard to find for an exact amount (financially) of the impact. Piracy isn’t good for anyone, but larger film companies can rebound from piracy and have more recourse and resources to fight piracy than small indie companies fighting to survive.

There are entire countries that do nothing to control entertainment piracy. You can walk the streets and order pirated movies, knowing they are pirated, and no one cares--it’s a way of life--and that’s a problem. Just talk to any deployed vet, or anyone that has visited China, Russia, Korea, Indonesia or heck even New York City. Just ask your friends. I would guess 3 out of 5 of my friends have pirated a movie, or supported pirating in some way, most innocently. They've downloaded a film at some point for "free." Or they've made copies for their friends after they themselves have paid for the film. All of this is “illegal,” really, and not good. 

If people say indies must compete with the studios, but then take away our chance for profit, how can we compete? With such a high risk investment already and a business model that offers your film for free and hopes for donations, as suggested, investors will flee in mass. Investors are hard enough to find in the first place, and almost every one I've spoken with has brought up piracy. So, I'm not concerned about piracy because of being stingy; it’s a concern of being able do business in the right way. My investors trust me and I need to do all I can to see they are protected.  No doubt the landscape is changing, and we have to adjust. But, chalking piracy up to "not that big of a deal" and giving up the ship to the pirates is not the way we should choose.

Now, what can be done? I'm not too sure. I know the studios are the driving force in this effort to combat piracy. I also know that local police departments and federal agencies are not going to do much unless it's so obvious and easy for them to handle. But the bottom line is still that it’s illegal. It may be a more socially acceptable crime, but it is more than civil. I don't think we lock someone up and throw away the key; that would be cruel. But giving them a fine and putting them on probation would be appropriate; and, more importantly, brining down the larger illegal entities that are the real pirates behind piracy. Shutting down the piracy sites. Put pressure on countries politically. It's a global issue with no easy resolution.

Piracy is a big problem, especially the more time goes by without anything being done about it, the more it's going to be acceptable and the more it will hurt us all. I'm in the filmmaking business, not some fashionable hobby. I also believe piracy is criminal and needs to be dealt with. This is not a victimless crime--filmmakers, film investors, and ultimately, film viewers are affected. See an indie film you like; it could be the last film by that indie company because of piracy.

More education on piracy is needed to help those who are innocently participating in it. But, to the ones who are sustaining it, shut them down.

If you enjoy a film, the worse thing you can do is not support it--or ask the filmmakers to put it out for free. I could be the end of the indie filmmaker.

This is just my two cents. What do you think?

  

Looking for some anti-piracy assistance? http://www.muso.com/home/

Copyright: http://www.copyright.gov/circs/circ40.pdf

Report piracy: http://www.ic3.gov/default.aspx  and http://www.iprcenter.gov/

Money for Films: Should I Try Crowd Funding?

Crowd funding is defined as “the collective cooperation, attention and trust by people who network and pool their money and other resources together, usually via the Internet, to support efforts initiated by other people or organizations.”

This new funding source has created some businesses to try and help you meet that goal. The two most popular are: 1) IndieGoGo and 2) Kickstarter.

They both will charge a fee for doing this. IndieGoGo will allow you to be funded regardless of whether you hit your goal or not in the allotted time. If you do not make your goal, you simply pay a higher premium. With Kickstarter, it’s an all or nothing deal. If you don’t make your goal, you simply do not get funded.

For the indie filmmaker, many see this as a great way to get started. I have a few thoughts on the issue, having gone through this ourselves recently. We chose to go with IndieGoGo

1. You need to recognize you are simply going to be tapping your own personal resources. There are not thousands of people waiting in the wings to find your project and fund it. You will find a few new people, but the majority of funds will come from your own personal network of family and friends. And if they've all ready been tapped for resources, it’s somewhat hard to ask them to dig deep again.

2. Filmmakers need to STOP asking for the entire budget. I've seen one guy asking for $90,000 on Kickstarter. This is a crazy amount of money to be asking for through crowd funding. I don’t believe you’re likely going to raise these funds this way. Money at that level would have to come from a true angel investment campaign, which is very different. Crowd funders are not investors! They are giving you the money for whatever little incentives you might offer. Generally, true investors who invest significant money will want some agreed upon investment return and time-frame for the risk they are taking. Depending on the level of an “investors” investment, you also may possibly violate some SEC regulations. Now, someone will always have some exception to the rule—I get it. But, you need to stop and set realistic and obtainable expectations. You need to ask yourself, what it might mean if we don’t raise the funds. It’s great when you do, but it broadcast “failure” if you don’t. (FYI, the filmmaker only had $10 donated of the $90,000. I was not inclined to give, as I knew there was no way he was going to meet his goal through crowd funding).

Now, maybe that’s the point: as with Kickstarter, your go/no go is based upon you reaching a hard to obtain goal. But, you need to be ready for what failure might mean.

What crowd funding can be good for is a specific piece of the puzzle, such as seed money or having it go towards a specific budget item. Our crowd funding was for a campaign to help us market our film, www.TheFellowsHipMovie.com, properly. We were successful. We couldn't, and did not, raise the entire budget through crowd funding.

3. Don’t expect help from the service to advertise for you. They have so many projects that they only assist in advertising a select few. And, from our experience, I’m not sure the method to their madness. From time to time, an idea is so good it starts to catch on like a brushfire and gets well over funded. That’s what we all would like, but it’s the exception to the rule, not the norm.

Crowd funding has its place, but keep your goals realistic and achievable—and fair to you and your funders.

Now go and Express your Indie!

Filmmaking Crews are a TEAM sport!

Filmmaking is one of the few industries where the professional knows they need a fleet behind them, but the independents believe they can do it all on their own.

I’m not saying that one person cannot do a lot in the independent filmmaking world, but why would you? You cannot be an expert at everything. It’s true that very technical people can carry a lot of the load, but trying to carry the full load can drag you, and your project, under.

Right where you are, there are tons of people who are waiting for someone to step up and get something going. Just run an ad in CraigsList, and see the response you get.

Here’s my two cents. Get a team behind you. At minimum you are going to need:

1. Writer – If you are technical, usually you are not the best person to come up with the storyline. Don’t take this negatively; think of it as streamlining your craft. It’s better to be great at a few things than good at a lot.

2. Producer – This person has to be great with people. News flash – without the producer, there will be no filmmaking. Many filmmakers try and be it all. A producer can bring in funds, make introductions, recruit a great team, and then help manage that team. This person also needs to keep his eye on marketing, and how you plan on getting your film out there. If you make a great film but no one knows about it, who cares?

3. Technical – I would say this is about 90% of indie filmmakers out there today. They are the crew for production, usually as the Director/DP, and then they take on the entire post-production process as well. Meaning they film the movie, then they edit it, they do the VFX, sound design, etc. While you need others production and post-production, you should consider the following:

o Sound – Get someone to take great production sound, and to assist you with post-production sound design.

o VFX – The better your visuals, the higher the production value.

o Gaffer – Find that right person to make sure your lighting is correct. Outdoors they are not crucial, but indoors they are invaluable.

4. Score – There are way too many great musicians out there, not to be taking full advantage of what value they add to your team.

5. Actors – The world is full of wanna-be actors waiting for their chance. Give it to them!

Filmmaking is a team effort. And there are many people out there who want to say they worked on a film at least once in their lifetime. The more professional you treat your project, the more others will respond in kind.

Best of luck and keep us posted how your filmmaking adventures go! Until then – Express Your Indie!!

Help on a film: the Intern

Oh the infamous intern/free labor…or is it? Most don’t even know that if you are a for profit company, then a true intern must be paid or you are in violation of the Labor Laws. Ouch. Trust me I know. This is not 100% true, but in most cases it is.
I know if you are doing a feature and using the latest RED camera, who wouldn’t want to jump in and help. I mean look at all the new graduates coming in to the workforce with no true skills. Plus, it’s FREE labor to you. But, that is actually not the case, and the Labor Department is starting to crack down, so be forewarned. And if you do want to use unpaid interns, you have to check off these six items: http://wdr.doleta.gov/directives/attach/TEGL/TEGL12-09acc.pdf
Just a few to highlight: the intern must be given adequate training to equal that of a school; the intern can not just take over someone else’s job who would be paid to do it; and you can’t take advantage of them, meaning you truly want to help the young intern get some real experience so he can eventually get paid for this type of work.
So, imagine, you can’t just have an intern as your boom op, because he would have to not be replacing someone who would/could get paid for that role. So you have to have a boom op. If you want the intern to get some experience, then the paid boom op must stand aside-still getting paid himself-and help the intern learn the ropes. You can’t just send the intern for coffee or errands, because that would be a PA job, not getting experience as a boom op. They must be “learning the trade.” It does actually make sense, if you stop and think about it.
Having interns can be a great opportunity for you and them. But, I think, sometimes what we’re truly looking for is a “volunteer.” We had several volunteers on our film.

Another really good article:
http://laborlaw.typepad.com/labor_and_employment_law_/2007/11/unpaid-internsh.html.

How to find investors with money the right way for movies.

Of course I have to qualify that I’m not a CPA or an attorney. Laws change all the time, so please do your own due diligence and ensure what I’m saying is accurate and correct, or better yet hire an attorney to do so. This is just a fellow filmmaker trying to help.

I’ve seen a lot of misinformation going out about investors. In fact many people are down right breaking some federal laws. I’m sure its innocent, but breaking them never the less.

Investments are generally dealt at the individual level, but once you cross over to soliciting for investors, the SEC comes in. I’m assuming this is just an LLC, and thus it is considered a “private” investment.

Here at some highlighted points to note (if not filed with the SEC):
1. An investor must be a “substantial and a pre-existing relationship”.
To be "pre-existing," a relationship should be “known” before the terms are developed and the investment begins. You have to know them before you start asking for the money.
The internet is new and still being defined as it relates to investors, but what I am sure of is you cannot blast a simple email out to others asking for money – as you are not allowed to advertise for investors and this has been deemed advertising. Just like you are not allowed to take an ad out in your local paper.

Is this how you think you are going to find your money anyways – through an email blast? Finding investors is hard work, you’re not going to find a legit investor with a sympathy email blast.

2. You are only allowed 35 non-accredited investors.
If they do not meet the qualifiers below – they are non-accredited. So, if your budget is $200k – and all you have access to are family and friends (most are probably non-accredited); a general rule of thumb: divide that by 35 and that’s the minimum amount you can accept for an investment.

An accredited investor is defined by Rule 501 of Regulation D of the Securities Act of 1933, and must abide by the registration requirements of the U.S. Securities and Exchange Commission (SEC). These investors must meet certain criteria.

The federal securities laws define the term accredited investor in Rule 501 of Regulation D as: (refer to http://www.sec.gov/answers/accred.htm for more information)
1. a bank, insurance company, registered investment company, business development company, or small business investment company;
2. an employee benefit plan, within the meaning of the Employee Retirement Income Security Act, if a bank, insurance company, or registered investment adviser makes the investment decisions, or if the plan has total assets in excess of $5 million;
3. a charitable organization, corporation, or partnership with assets exceeding $5 million;
4. a director, executive officer, or general partner of the company selling the securities;
5. a business in which all the equity owners are accredited investors;
6. a natural person who has individual net worth, or joint net worth with the person’s spouse, that exceeds $1 million at the time of the purchase;
7. a natural person with income exceeding $200,000 in each of the two most recent years or joint income with a spouse exceeding $300,000 for those years and a reasonable expectation of the same income level in the current year; or
8. a trust with assets in excess of $5 million, not formed to acquire the securities offered, whose purchases a sophisticated person makes.

Money is out there. Is it easy – no? But doing it the right, and legal way, is always the best way.

Some other great articles are:
http://startuplawyer.com/preferred-stock/life-is-too-short-to-deal-with-non-accredited-investors

http://allaboutindiefilmmaking.blogspot.com/2009/05/how-not-to-use-internet-to-find.html

How to use the internet with investors:
http://firemark.com/2009/05/13/how-not-to-use-the-internet-to-find-investors-for-your-film-or-theatre-project

Film Funding: How to use Section 181

I know there's been much talk on Section 181, but I wanted to chime in and give my two cents, as I fear not all of the information may be accurate.

Being a former cop, I know there is the "spirit" of the law vs. the "letter" of the law. I know what we all want Section 181 to be, but alas I'm afraid it has not been interpreted that way by the most important entity - the IRS. I know the legislation was written in such a way as to help investors feel better about investing with film in the US, to offer them an immediate tax break.

However, regardless of how we might interpret this, the important interpretation is how the IRS has defined it. Not an attorney or a CPA, just ask Mr. Wesley Snipes.

This is taken directly from the IRS:
Here is the link that explains the IRS regs that are in place for the statute section 181.
http://www.irs.gov/irb/2007-12_IRB/ar10.html

It is clear that there are a few major items that qualify for the deduction,
  -member of the production company
  -ACTIVE producer in the production
  -invested capital in the production

This allows for the amount of capital investment to be deducted from taxes in the year the expenses occured vs having to wait for income from the production before being able to take the deductions. It all evens out in the end.

It still has a cap of $15 million in total deductions, and has been retroactively extended till the end of 2011.

I do know that they are trying to amend the legislation to reflect the spirit of the law, and I know the IRS is trying to be very liberal; but for now - you better be very careful in how you "advise" others on Section 181.

Out of all of our current investors, myself and the two other owners of our company were the only ones able to take advantage of 181.

This is not official advice, just some thoughts - do with it as you may.

Updating the Buzz

The Fellows Hip: Rise of the Gamers Movie Supporters-We're glad you're on the journey with us!
It's with an excited hand that I type this update. We have a lot to be thankful for and the road ahead of us is a promising one. Buzz is in the air as we have received some local interest with a media source. Though it's in the early stages of what may be done-they are eager and hopeful for our success and desire to assist us with some PR.
We still are in some positive and encouraging talks with a very large online gaming company. Indications are that we are moving forward to form a partnership that would be fantastic for our marketing efforts. We've had some fun and innovative conversations with them about how this would all tie in, and I can ensure you that getting them onboard will be just as valuable as having "Frodo" attached to our film, though we are still in negotiations with some A-list actors to do a cameo.
We are currently completing our crew and are very pleased with their expertise, talent and passion. Everyday more people are joining us to help ensure this film meets its goals and is a success!
The last update would be that we have some overseas interest in the film, which does include a probable financial investment. We have also reached out to many of our contacts in the industry about where they may be able to assist us, as our motto is "people helping people."
We look forward to future updates, with even more positive news, as we press on!
Ron, Scott, and Shane
http://www.openingactproductions.com/
http://www.thefellowshipmovie.com/

When to Make a Good Film

Like many of you independent film nuts out there, we’re working on raising money to make our film. Some people say this isn’t the time—the economy sucks, investors are jittery and distributors of independent film have contracted. (Though a new independent distributor, Anchor Bay, bucked the trend recently and came on the scene for theatrical distribution. I wish them well.) But maybe that’s the point.

Anytime is a good time for a good film, but maybe now when people need a lift is even better. So far this year, the box office seems to be saying so. As of the end of March, movie revenues were $2.38 billion, up 12 percent from 2008, according to Media By Numbers. Even with higher ticket prices, movie attendance also was up 10.4 percent. Not bad. I’m sure auto dealers and other struggling businesses would welcome that trend right now. Some of us would like to see that for our stock portfolios, that’s for sure.

When times are bad, people won’t—and can’t—buy a new car, but they will welcome a new movie. During the Great Depression (that name was appropriate in so many ways), people would scrape up the 30 cents or so to see a movie. Sitting in the theater may not have helped them pay the mortgage, but it did do them some good. One book describes it like this

“Outside those sacred doors crouched the pale gray wolf of Reality and the Depression. On the skyline the dark, sullen hulk of the steel mills lay silent and smokeless, like some ancient volcano that had burnt itself out, while the natives roamed the empty streets and told wondrous tales of the time when the skies were lit by the fires of the steel crucibles. And there was something that occupied them all, called Work. Even the word “Work” itself had an almost religious, mythological tone.”

That could describe a lot of places today—Michigan or Pittsburgh or Northern Indiana, where this story is set. The quote is from In God We Trust: All Others Pay Cash by Jean Shepherd. It’s the book from which that holiday classic and TBS marathoner, A Christmas Story, is adapted.

If you like the movie, you really should read the book. You will see that the screenplay is a skillful adaptation. There’s probably enough left though that they didn’t use for another movie. Was anyone else sad when Darren McGavin died a few years ago? The casting was pitch perfect.

One thing left out was the great chapter on the Orpheum Theater and its showman-owner Leopold Doppler. You get the impression that, at least in Hohman, Indiana, the movie theater was the heart and soul of the town, a place of wonder and relief, during the Depression. Shepherd writes,

“Mr. Doppler operated the Orpheum Theater, a tiny bastion of dreams and fantasies, a fragile light of human aspiration in the howling darkness of the great American Midwest where I festered and grew as a youth. Even now the word “Orpheum” sends tiny shivers of anticipation and excitement up the ventilation pipes of my soul. And Mr. Doppler, like some mythical God, reigned over his magnetic palace of dreams, fighting the good fight alone and uncheered.”

Of a typical moviegoer he writes,

“He scrabbled and scraped week after week to scratch up the price of a ticket…”

I know times are different (someone pointed that out recently when discussing this subject) and movies have a lot more competition with the Internet, videogames and other stuff, but movies seem to be holding their own. And while they have more options, people haven’t changed that much deep down since the Depression. Movies still have their own type of catharsis that people need. Some call it escape, but I don’t think it is. I’ve walked out of the doors of a theater encouraged to handle a few things, or at least in a better state of mind to face them.

So it may be a bit more difficult, but I think there’s no better time to make a film. The risks are great (Haven’t they always been for independent film?), but so are the rewards for you—and your audience. Now, if we can just get those investors onboard.

Enjoy! Scott

Movie making - is asking for help.

We have all heard that it takes a village to raise a child. Well, this is true with many endeavors. For us to live out our God given dreams – it’s going to take more than just relying on ourselves. We were created with a purpose and community in mind. We have a mission, but we can never do this alone. But, why is it SO hard to ask for help?

We don’t want to be a burden, or cause any hardship or work for others. Yet if someone in our close inner circle asked us for help, what wouldn’t we do for them? One of the hurdles in fulfilling our dream is getting over asking for help from others.

I know this all too well as an independent filmmaker. When people hear you’re making a film, they assume you have the magic money tree. But this is not the case. Most filmmakers have no clue where the money is going to come from. It isn’t going to take just a few people writing a check. It’s going to take a large amount writing checks for all different kinds of amounts. This is a big hurdle because it is not only asking for help – but asking for money.

This is slightly different; it is not a loan and the potential for a return of their trust in the filmmaker – can return…well “Blair Witch” cost roughly $35,000 to make and made well over $248,000,000, not a bad return for three investors.

People however invest in people – not projects. Setting a business model and strong Return on Investment plan is part of the process, but the bottom line is going to be asking several who believe in the filmmaker and the work they are doing to invest in the dream that is to be built.

A film is not a solo sport. We all know that the end credits take several minutes to fly by filled with the names of the people who helped in the film. So a filmmaker must not only ask for funds but also for other resources to complete the film. There is an army of people that help in the film making process. Just like in most dreams – it’s going to take that army to fulfill it.

Imagine if no one ever asked…what would get done? Well, I’m not about to find out! :)

Actors: A word from a director: Be unique!

In the indie market we are competing with big budgets and big stars; so the only way to do this, is we must have a great script with compelling characters; unique characters. The unique part – the one with depth, the one that has to have that certain look, appeal, charisma – now that’s the one I’m more concerned with casting. That is the one I will spend more time on.

Point #1 is to know what role you are putting in for and what role you should be putting in for. Sean Pratt, a DC area actor/coach (www.seanprattpresents.com), calls this your “essence”. This is knowing who you naturally are. Knowing you will always be cast as the biker gang member and never the cop is good to know. It doesn’t narrow you, it streamlines you. I’m doing that in my head anyway, perhaps you should help me come to the right conclusion.

I was told – never take auditions personally. Well guess what? They were right. If I, as the director, receive a headshot – I don’t immediately flip to the resume that I’m sure is on the back – I look at the photo. Point #2, have a professional looking headshot. This is not necessarily the one you pay for the most. A headshot should just be an honest picture of what you look like right now. So, if you are a teenager and have a growth spurt, or you change your hairstyle; do me a favor and update your headshot. I also like seeing other shots if you have them. I know this is not the norm, but again when I’m looking for that unique part – I need to see you differently perhaps. With headshots I make up my mind in about a split second on whether or not this person could be my “Squirrelly”; my unique character. Do they have the right look?

As most know, auditions are generally very quick, why? It is because the ability to act is in fact assumed. I am not certain what skill level you are at, but I am assuming you can act. The audition is to confirm your acting ability and to see what unique things you might bring to the table with the character. Are you naturally my Squirrelly? This brings me to point #3, know your ability. If acting is assumed and you just don’t have the gifting to be an actor – then the sooner you find this out the better.

Point #4, be unique! Joaquin Phoenix has a great career even though he has a big scar on his face that he doesn’t hide. It gives his characters more depth and uniqueness about him. He is a leading man, but he is also unique. When young Daniel Radcliff walked into the audition for Harry Potter – they knew right then and there that he was Harry Potter. No audition had even taken place – he had the right look, the essence.

What you may see as a weakness can be turned into uniqueness if putting in for the right role! So your weight, your height, the fact you look young or you can play “the nerd” – great! Use this to allow the director to come to the right conclusion; that you are unique and are the person the director is looking for.

I hope this helps and I am looking forward to seeing you submit for our film, “The Fellowship” in 2009!

What is the life-cycle of a film?

Something new that has begun listing movies as “in the future” status. No one has signed any deals, but there are plans the movie is going forward and will be made. The script is not complete, but the idea for the story has begun. This is not used in mainstream Hollywood, but is more of an Independent Film term, as seeking funding begins from the moment the idea was first conceived.
The next step is called being “in development”. The script is to be complete, and now a producer has signed on to go out and find the funds to make the film. Within a studio system, this is pretty easy as the funds are from within; but to an indie-filmmaker, “in development” is where many movies have died on the vine – never to have been made. The story is then flushed out and the script is finalized. A film distributor is usually sought after to ensure when a finish movie is delivered there is a plan for it to get to the audiences. Early on, there is an attempt to appeal to known talent, or A-List actors. This could also be known directors as well; it’s anything that can be attached to the film to give it more credibility for success. Once all agreements have come to terms and contracts are signed, the project is then “green lit” and the movie is slated to be made.
In “pre-production” the planning of the film is strategized over. Storyboards or visual images are drawn to give a sense of what each shot will look like, what resources might be needed for the shot as well. Each scene is looked at and accounted for similar to a project plan; this is also when a budget is attached to the film. Positions are decided upon as the need of the film is flushed out. Filling those positions also takes place. The team will be roughly 90% complete to this point.
“Production” is when the movie is filmed. Even the term “filmed” these days does not always mean put onto actual film. Most indie films are now shot onto a digital format and made to look like film later. Some large films, such as the new “Star Wars I, II, & III” were also all shot onto a high quality digital format by George Lucas. Films take from as short as a month to film to as long as years, such was the case in the trilogy “Lord of the Rings”. Each day, the director and his primary crew/managers (or “above the line” crew) will review what was filmed for that day known as “the dailies”. Once the filming is complete or “in the can”, they then move into the next phase.
“Post-production” is when all of the magic of filmmaking happens. The movie is put into a story order. The sound is tweaked, along with the look and feel of the film by a colorist. Special effects are added, as well as scoring the film or enhancing the film with music. Where would films be without the powerful partnership with music; think of “Jaws” without the eerie music. The editor creates a rough cut and works until they have a final or “locked” cut, where nothing else should be added to the film.
“Distribution” is the final process. This is how the movie gets seen by you, the audience. The preferred method is a theatrical release, but in the age we live in now; this could also mean straight to DVD, computer streamlined, or put out on television or a paid channel. A distribution channel is decided and the movie is released for mainstream audiences to view. An agreement is made for international release and the movie is put out to the world. The profits that are generated go back to the primary investor; either the studio, or individual production company. No truer than making a film, “you have to have money to make money”.