THE DARK RIVER
FILM FEST
I was fortunate that one of my producers, Mike Voss, recently bought a house in a nearby rural suburb. After fetching me from the airport, we drove to his lovely Tara-like new home on 23 acres where he invited several friends for an "opening night reception." Far from the stereotypical "rednecks", we, New Yorkers, love to mythologize about, Louisville is filled with a vibrant art community and patrons who enjoy culture and raising thoroughbred horses for the nearby Kentucky Derby. The Louisville Bat Museum rocks!
The screenings began the following day (Saturday) at 11 AM. Due to a wacky hour time change between Louisville and Columbia County, we had to leave three hours prior to be there two hours before. The time change is antiquated, maddening and meant a hell of a lot more driving time. (There are sure a lot of morning cows roaming off highway-210!)
The venue for the screenings was a converted leather factory which is now called The Pointe which contains the Art Sanctuary where all films premiered. It is a cavernous space which houses many art organizations for the local community. Aside the usual jujubes and soda pop, the venue had a liquor license which came in handy because the heat had yet been fully incorporated and the booze helped us all stay warm and toasty.
The director of the festival, EC Sharp, is also a filmmaker and envisioned the festival as a showcase for up-and-coming independent filmmakers so their voices can be heard. He poured his heart and soul into the venture and did amazing job producing the fest but, just as important, making sure all the films could technically be heard and seen.
Over the next two days we watched 20 odd films and shorts. Several were well executed, entertaining and had a clear "mission" and "cleanly" rendered. Many of the features that did not succeed had a common thread of an underworked, unfocused script. One lesson learned -- you must have your script perfectly tuned before you invest blood and treasure in creating a film. Time and time again, I found myself leaning over to my producer asking: What just happened? What does the hero want? Why is she praying in a New York synagogue when she was set up as a Mother Superior in Calcutta? A clean, coherent and tightly edited script is an absolute.
Film fests are superb platforms to meet other artist entrepreneurs who are succeeding. An unexpected treat was meeting my fellow filmmakers; Jeffrey Engelson (Coming Soon) and Chris Sullivan (Mopeds From Heaven) were two writer/directors who created excellent shorts for Dark River.
Several days after I returned home, I got the news that my film, I Killed you 'Cause I had To, won best feature horror/thriller. It is truly an honor after the blood, sweat, tears, arguments, highs 'n lows of writing/directing my first narrative feature. I'm thrilled for my cast, crew and my team of producers; we can all proclaim we are now award-winning filmmakers!
Final Lesson: Green Light Yourself!
Write a script, audition, crew up, shoot it and market it. Don't have the resources for feature? Write a short. You can render a film on your home computer and use the web as your theater. Grab some popcorn and --
Keep writing!
PRESS: Louisville Mojo.com
The movie, “I Killed You 'Cause I Had To.” involves Leo, a parking garage security guard, uses his video camera to film new next-door neighbor Sima, a beautiful Indian girl. Leo films her at different moments, telling her that he's making a documentary when in fact he's on a train wreck of delusion. Events erupt when he's invited to her “engagement party” and meets her fiancé. Take creepiness and instability to the nth factor and you barely begin to cover this “docu-reality”-shot feature. It is the most uncomfortable movie I've watched in a long time (to which the director responded, “Then I did my job.”)
MY ATLANTA
FILM FESTIVAL WEEKEND
After so many rejections, it's astonishing to get that e-mail with the subject reading: "Congratulations from the Atlanta Film Festival!" I was fortunate enough to be chosen, along with five other writers for a weekend of mentoring and spoiling in the Peachtree capital of the world, Atlanta, Georgia.
2009 Screenplay Winners
Grilled Cheese Virgin by Steven Arvanites (New York, NY)
Gurus by Homa Mojtabai (Atlanta, GA)
Highway to Nowhere by Lanre Olabisi (New York, NY)
Horror Comic by Stephen Hoover (Baton Rouge, LA)
The Jerusalem Syndrome by Caveh Zahedi (Brooklyn, NY)
Wajda by Haifaa Al Mansour (Dhahran, Saudia Arabia)
Leaving my packing for the morning of my departure (I had plenty of time -- right?), I learned from airtran.com my flight was canceled and I needed to catch an earlier flight. I wished the Guinness Book of World Records were in my living room because I literally packed, showered and dressed in 11 minutes! I later discovered I forgot to pack underwear but that's another story.
Friday the 13th was a blistery day compounded by the threat of torrential rain. I soon discovered upon arriving at LaGuardia, Gate B30, my newer flight was also canceled. I was two for two! But the writing gods were with me and I got on the third, newer-er flight which was serendipitous because my fellow winner, Lanre Olabisi, was booked on the same flight. A really great guy and extremely talented writer, we chatted our way down to Atlanta.
We were greeted at the airport by Dan Krovich,
Festival Director, and the most organized man in the world. I wish he was in charge of a federal deficit -- we'd be in the black matter of a few years!
We were put up at the Midtown Hotel. Upon entering room 213, I noticed a funky smell but thought, it's a Hotel room, they're all smell funky. I showered, put on the same underwear, and headed for the reception at Straits owned by the rapper Ludacris.
It is there where we formally met our mentors:
Amy Dotson, Producer
SWEATHEARTS OF PRISON RODEO, Deputy Director for IFP
Rob Long, Writer/Producer
CHEERS, GEORGE & LEO, Host of KCRW's Martini Shot
Nate Kohn, Producer
ZULU DAWN, SOMEBODIES
Robert Orr, Writer
UNDERWORLD: RISE OF THE LYCANS
Monty Ross, Producer
MALCOLM X, DO THE RIGHT THING, CLOCKERS
Jay Wade Edwards, Producer/Director/Editor
STOMP! SCREAM! SHOUT!, AQUA TEEN HUNGER FORCE
Each professional commanded acute knowledge of the biz proving an invaluable resource to, we, the chosen writers.
After mingling, laughing and discussing NPR with the dynamic and very funny executive director, Gabe Wardell, we crunched-munched our way through delectable hors d'oeuvres (my favorite - the baby chicken legs encrusted in sesame seeds - gruesome but delicious) and too many cocktails.
Bedtime! Upon returning to 213, the funky smell turned into a nauseating poop odor. Bad news: repacking. Good news: upgraded to a junior suite - room 216.
Wearing the same underwear (thank god this blog is not scratch-n-sniff), Saturday we were caffeinated at 9 AM and joined our mentors at the Margaret Mitchell House. The front apartment houses the personal collection of celebrated the author who penned, Gone With The Wind. It is buttressed by a prodigious gift shop where you can buy everything from T-shirts to miniature Mammy figurines.
After a series of introductions and fun icebreakers, we paired off with our mentors and hunkered down on the upper porch. My first mentor was Jay Wade Edwards, the producer/editor of Aqua Teen Force @ Adult Swim. A terrific guy, he imparted invaluable notes to improving my script, Grilled Cheese Virgin. The lesson: keep your antagonist as a constant threat to your protagonist's adventure. Don't merely imply the threat but include a present physical danger. Having vetted the script dozens of times, I missed this lesson. I am now executing a "villain rewrite."
My afternoon mentor was Robert Orr, the scribe of Underworld 3: Rise of the Lycans. His advice skewed from the perspective of a seasoned and successful screenwriter. He provided a practicum on how to survive the Hollywood system by choosing your battles well; sometimes, the big picture is more important than the fight at hand. Also, the skill of to pitching your script successfully; you'll fail but once in a while it all clicks and get yourself a sale. Both gentlemen offered excellent device and I am extremely grateful.
After a quick break, we were off to the visitor center at the Margaret Mitchell House where nearly 100 Atlantans attended to hear excerpts from all the winning scripts. It's always frightening and exhilarating to hear your words out loud. PS: I immediately re-wrote the scene that was read aloud!
Full Disclosure: I loved being the shared center of attention for a few hours! Guilty as charged!
After, we were whisked off by the unflappable driving genius, Paula Martinez - Managing Director, to Magic Mushroom Pizza, where we hungry writers and staff devoured 13 pies. All delicious! But the evening wasn't over yet! We were ferried to the Claremont, Atlanta's most famous burlesque stripper bar. It's main attraction? 60-year-old strippers! Yes, you heard me right! I now know what my mother looks like naked and it's not a pretty sight!
The next morning, I put on the same underwear for a final time, chugged my custom order of Starbucks, and participated in an invaluable roundtable with the mentors and writers. It was an extraordinary conversation and I gleaned an incredible amount of insight.
LESSONS:
It is a marathon not a sprint.
Guard your material's integrity but also know how to accommodate the "suits."
Rest assured talent is always discovered!
Never pack when you're harried or you'll wear the same underwear for days.
Have three actor "showcase moments" in your script.
Have "product" to sell. After you finish one script have the next one ready to pitch, arming yourself for the inevitable question -- "what are you working on now?"
And most important -- it's all about relationships. Your fellow writers are allies not competition. When you help another you help yourself! Word!
CONCLUSION:
It's a difficult and exasperating profession but, if you truly love it, the obstacles will melt away and you'll be assured that your life will have both inner and outer value.
Keep writing!
Hi Y'all from the
Austin Film Festival!
Arriving in Austin the first thing I noticed was the city and its inhabitants were nothing like my preconceived notion of what Texas should look like. Instead of 10 gallon hats, cowboy boots and Y'all's -- I discovered tattoos, nose rings and grunge T-shirts. Austin is a progressive, isolated hamlet that is really not part of the greater conservative state. It is ironic that it is the state capital. Besides the festival, there is Austin City Limits and the University of Texas. Longhorn football rules!!!
The epicenter of the film festival was the historic Driskill Hotel. Complete with ghosts, ornate ball rooms and magnificent stained-glass (former President Bush liked them so much she had 'em copied and brought to his ranch in Crawford -- golly!) there you picked up your photo ID badge, strung the lanyard around her neck and you are good to go! (A quick note, the Producers Badge provides carte blanche access to all events. Though pricey it really is the one to get as you can go to any panel, event or organized party.) The festival is so well organized that you can pre-plan your schedule online. Nervous not to miss a thing, I plotted everything down to the last party in the final hour. But soon found out that the best part of the festival is its unexpected surprises. It's just best to go with the flow and not try to preordain.
Another fantastic aspect of the festival is its accessibility. At the official BBQ, I courageously strode over to Oscar-winning director Ron Howard (Opey!) and "demanded" a photograph. The kind man put his hand over my shoulder, said "sure thing!" and the picture was clicked. However, I had on my Kodak in the wrong setting and the picture result was blurry and washed out. The Choice: keep the cruddy picture or ask again. So, I asked again. I must say the gentleman is one of the nicest. Approachable, congenial and always smiling the director took dozens of pictures with festival goers and was genuinely humbled throughout.
The Austin was my first ever film festival so I had expectations & anxiety. I was kindly invited to be a panel moderator and had a lot of homework. For the three panels, I needed to be fully knowledgeable on the subject -- my three topics were: Breaking into the Business, Art of the Pitch and Getting Past the Reader--included in the three panels were a total of seven industry guests. Not to look like a dope, I thoroughly researched each executive, producer and agent. My thorough preparation paid off, as the panel were lively, informative and most importantly fun. In planning my questions, I wanted to incorporate several of the concerns that I am frequently e-mailed from my membership. I was relieved by some of the responses and surprised by others.
Question: Do you need live in Hollywood to be a screenwriter?
Answer: No. You could live in Montana, Michigan, Zimbabwe or the North Pole. What is really is essential is excellent writing. However, there is a definite advantage to living in LA; it is the networking. It is the connection that you make at a chick LA party, coffee shop or AA meeting. But it is not hopeless if you do not live in the epicenter of film.
Question: Is age a factor in succeeding in a screenwriter?
Answer: No. It really comes down to the age of your ideas not the age on your birth certificate.
Question: As an unrepresented screenwriter can I send you my unsolicited material?
Answer: No! Repeatedly producers and executives and said they could not accept unsolicited material for legal reasons. Lawsuits are common. Their advice was to get an agent and submit it formally? How do I get an agent/manager? Keep writing and writing and eventually the cream rises to the top. Also network. If you store your script in your computer one will see your writing!
Question: What are writer "bad behaviors" after you hire them?
Answer: Besides a writer not being, at the very least, congenial the answer given most was don't be defensive when given a "script note." Listen, process and know there is a difference between winning the battle and winning the war! And, after given vetted notes the writer returns six weeks later, they are not addressed and something totally different has been re-submitted. The writer is usually fired and replaced. It was repeatedly offered that if you want control write a novel. If you want $$$-- write a screenplay. Finally, spelling and grammar errors - HIRE A COPYEDITOR! I know an excellent one -- ask me!
Question: after turning the title page, when do you know a script is bad or good?
Answer: The first page! Harsh but true. Execs., readers and agents know if someone can write by the first page. That is why it is so essential to get your script in as great a shape as possible before releasing it to the industry. Also, it is a craft -- learn it.
Question: How do you find screenwriters?
Answer:
(1) Festivals
The festival is an extraordinary way to network and solidify connections. Personally, my script was requested by three managers and agents. They need new material and want to discover the next "it" screenwriter.
(2) Competitions
By winning or even placing at the right contest, you could definitely garner attention. The Nicholl Fellowship, of course, is the granddaddy of them all. I was lucky to have on my final panel the head of the Nichol Fellowship, Mr. Greg Beal; he's an affable guy who loves to talk about the competition. He let slip that next year, most likely, all submissions will be via the Internet and PDF. He shared that his readers, at first, resisted reading screenplays on screen, however, when the process was finished they vowed never to read a script on paper again. He shared how the Nicholl can change a writer's life. For example, the writer of Finding Forrester and The Skeleton Key. But also as some Nicholl winners are older, they have secure, well-paying jobs and have no intention on uprooting and moving to LA. And finally, a fun fact: the greatest number of screenplays entered by one participant-- 112 scripts. To my recollection, Greg relayed not one got into the first round!
(3) Internet
Many in the industry troll the Internet for competition winners, blogs and most importantly, shorts of the films. A lot of writers are found on YouTube when they make a "trailer" of their script or o a video blog. It is also a great marketing tool to get your material read.
The Films:
I was so busy with my panels and networking that I found little time to see films. However, after partnering on an upcoming short, Helium Man, directed by the crazy talented Mr. Nick Piper, I went to see several shorts programs and, in essence, "checking out the competition." Some were extraordinarily produced mini-extravaganzas! The acting, cinematography, direction and production values were excellent. I wondered how much these shorts cost? $100,000/400,000? However after viewing nearly 20 shorts my favorite had none of these qualities; it was poorly shot, grainy to look at and the editing negligible. What it did have? A great script! The audience laughed and cheered and voted it audience favorite. The Story: a wheelchair-bound teenager struck with cerebral palsy struggles for the attention of a beautiful girl while on a rock collecting high school science trip. It was touching and most of all hysterical! Again, as you all know, it always comes down to the script. I did see one feature-length documentary entitled, Tales of the Script. It was hilarious, depressing and very true. It tracks the trials and tribulations of several successful screenwriters of films such as Ghost, Go Fish and Willy Wonka and how they are treated and mistreated in Hollywood. William Goldman, also in the film, summed it all up in his one infamous line -- Nobody Knows Anything.
One of my favorite things at the festival was the Roundtables. Literally, at a round table, eleven writers sit and an industry guest takes the remaining seat. For 25 minutes you ask the panelist questions. Most execs were charming and chatty, some more on the defensive as some writer's social graces were lacking. They usually blurted the First Question -- "Will you read my script"? At one Roundtable, I had two "writers" cross chatter constantly as the panelist tried to speak. One Luddite even whipped out a camera and snapped away. The executive was so riled he excused himself from the table. I was reminded of that ol' saying -- "you get more bees with honey than vinegar". If you honestly engage them you'll find it much better and productive experience then pushing your personal agenda.
Awards Luncheon:
After Ron Howard made a very funny and touching acceptance speech for his award, the screenplay competition winners were announced. Some were genuinely shocked and others were moved to tears. It was thrilling to see other struggling writers achieving the high point in their career. The physical award is killer! It is a brass typewriter mounted on a wooden disk with a scroll of "paper" jutting from the roller. Jeff Williams who won for best drama, Pure, accepted his award and made a heartfelt speech and then sat down at the next table. He just kept shaking his head saying, "I can't believe it!" over and over again and staring at his award. It's what dreams are made of.
Conclusions:
What I did right at the festival was to enjoy every possibility to make an industry connect - whether through moderating panels or plain old approaching a guest and introducing myself. What I didn't do is actually relax and enjoy the fun part of AFF -- go to all the parties and hang out with other writers. Next time, I'll do more Starbucks super-chatting with the other screenwriters. For the most part those attending were respectful, interesting and extraordinarily talented.
Finally, the best piece of advice that I got from the festival is that you must keep writing. It is a process and you cannot expect to master by writing one, two or even three scripts. In his book Malcolm Gladwell said that you must dedicate 10,000 hours to something before you become truly great at it. Think about it. It's true.
Screenwriting is a craft like any other. It is sometimes not thoroughly respected -- one writer told me that he his heart surgeon said, "I'm gonna take up screenwriting after I retire. The writer replied, "yeah, and I'm going to take up angioplasty after I retire."
But if you truly love the craft and accept the financial rewards may be a long time, if ever, in coming and truly love being a writer then continue to follow your bliss and inevitably you will succeed!
Remember, writing is rewriting!
Founder, Steven Arvanites
~~~~~
An M.F.A in Screenwriting
Roanoke,VA.
When strolling the manicured grounds you feel like you're in the antebellum South with grand columned verandas and rocking chairs under magnolia trees and horses trotting past; Hollins has one of the largest equestrian programs in US. But though old and storied Holland is a very 21st-century up-to-date campus with a state-of-the-art award-winning library and visual arts center with its own museum. Ii is the best of both worlds: bucolic and tech savvy.
Just 20 minutes away is the town of Roanoke Virginia. As we drove into town my preconceived notion of a sleepy Southern Hamlet was immediately eradicated by the Taubman Museum of Art (a/k/a Art Museum of Western Virginia) not only houses works of art but is itself a work of art. The striking contemporary building which features Frank Gehry-esque design combines permanent and temporary exhibition galleries, an auditorium and other educational facilities.
This world-class architecture belies its immediate turn-of-the-twentieth century brick-and-mortar environment and town square famer’s market.
The M.F.A screenwriting program was started approximately 10 years ago and is the vision of Dr. Klaus Phillips. As true with any business or grassroots organization leadership comes from the top. And Dr. Phillips is by far one of the most intelligent film historians and kindest people you'd ever want to meet. Instantly upon meeting him I knew it was going to be a wonderful time because of his generous spirit and warm welcoming. And it surely didn't hurt that he didn't stop feeding me at the local restaurants. From Indian buffet to IHOP it was all magic to the belly. However, I must say grits are not my favorite and never will be. But when in Rome --
My first workshop was Friday evening and it was entitled, "Achieving Your Creative Writing Goals". It is attended by approximately 25 graduate students and staff. They were very receptive to the work shop and accompanying work sheet. It was heartening to receive so many supportive and wonderful e-mails attesting to the inspiration derived from the workshop.
The next day after a hearty breakfast, THANKS SANTA KLAUS, I did a script pitching workshop. It was a brand-new experience for the graduate screenwriting candidates. Though story and structure are rigorously taught, little is included regarding the business of screenwriting.
It was great to see the writers, at first terrified, walking to front of the student body and in sitting on the "hot seat" in front of "three executives." Each one succeeded and it was very satisfying to see their eyes light up when they successfully pitched their screenplay in a cogent and immediate manner. Many of the stories were wonderful and would make fantastic movies!
I decided to stay the rest of the week to visit my writing partner and artistic soul mate Hillary Homzie. Hollins University also has one of the premier children's literature programs; she is a visiting professor for a vaulted program. It's great to spend physical time with her as she lives across the country. After shopping at the local Wal-Mart we put together semi-feast of pork chops and bok choy, invaded the extensive DVD library collection and watched the Swedish vampire film, "Let the Right One in". It is one of the best if not the best vampire film I've ever seen. I recommend all of you to see it and enjoy its subtlety, power and message. It’s screenwriting at its most potent.
As I was sitting on my return flight home another Hollins workshop presenter, Professor Joe Gilford -- who will be speaking to NYCscreenwriter in September -- and I reflected on the wonderful experience and luxury of eradicating the outside world in a serene and supportive setting concentrating solely on screenwriting.
Though an M.F.A. in screenwriting does NOT guarantee you a job as an M.BA. would (well maybe not even in this economy) it does provide you with the opportunity to create material under the tutelage of experienced and passionate teachers in a safe cocoon.
I felt a twinge of regret that I never received this degree but count myself fortunate that I enjoy our craft and I am able to share it with others. Please check out Hollins University if you have any aspirations to earn a higher creative writing degree. More education is never a bad thing and is only tempered by the cost of tuition. Wouldn't it be great if higher education was subsidized as it is on the Continent? Perhaps it's something we Americans can aspire to. What’s the number of my local congressman?
What I gleaned from the experience is that it is so important to create, B.I.C. time (butt in chair) time and a "sacred space" to do your craft. If you have to get up at 6 a.m. before work to get in your pages in so be it or if you're an after midnight writer all the better! Also, carve out that special place where all you do is write. It could be a closet, basement attic or the legendary map room in the New York public Library on Fifth Avenue. Claim it as your own and jealously guard it.
Finally, I valued my own experience because it validated my gift for teaching and lifted my spirits to see so many students dedicating their finances, time and gumption to our craft.
Thanks and remember keep writing!
TEACHING AT THE NORTHWEST SCREENWRITERS GUILD
Recently I was invited to
teach a Creative Goal Workshop at the
Northwest Screenwriters Guild in sunny
The Guild is fortunate
enough to partnership with Clear Channel and utilize their lush facilities for events.
After downing my congealed hamburger I immediately stepped into my
Q&A. It was hosted by Guild co-president Aadip Desai and attended by
proximately 60 plus members.
A pattern in the
questioning emerged:
How do I make my script better?
How do I sell my script?
How I do I get an agent?
It was oddly comforting to realize
screenwriting questions are universal from
Jet lag closing in, I
settled for a long winters nap then an early morning breakfast: a piece of dry
toast and black coffee = $32.79 in the hotel restaurant. I was picked up for my Creative Goal Workshop @ 10 a.m. A quick note the weather was again
sunny and bright. (I think they make up
the” bad weather myth” to keep people from moving to the area.)
I had approximately 26
participants and like my Q&A it was informative in its own distinct
way. I found the issues haranguing the writing goals of the
Conclusions reached through
the workshop included carving out a precious one or two hours in the morning or
evening to write, biting off small chunks of your script instead of the entire
100 + pages and finally communication with spouses, significant others,
children or whomever else regarding the sanctity of your writing time. There
were some therapeutic breakthroughs and all seemed comforted and satisfied that
they (we) are all in it together. Also, many seemed inspired and I felt
gratified that I assisted. I too was re-focused by being a part of the “conversation.” I outlined my next script on the return
flight to NYC.
With ”work” over my
generous hosts (Betty Ryan & Aadip
Desai) took me to historic Pike’s Place on the
The next day I bid farewell
to my groovy hosts and grabbed a flight down to
With Hillary's husband as
my host I was able to generously sample varietals of several different
I really enjoyed my trip to
I Hope you enjoyed my travelogue
and please check out the Northwest Screenwriters Guild on the web for an
amazing amount of resources and scheduled events.
KEEP WRITING!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Answer to the Financial Crisis?
WRITE MORE!!!
Milk
Wall-E
Man on a Wire
Frozen River
Milk
MY FIRST FILM FESTIVAL EXPERIENCE
Eerie Horror film Festival was my first. I did not know exactly what to expect -- would it be full of sales agents with Harvey Weinstein swooping in and buying up films? Or would the fest be populated with dedicated organic-loving filmmakers talking about the new “mumblecore movement” in independent cinema? I bought my video camera for the ride and dove in.
All films in competition were showing at the restored turn-of-the-century Erie Playhouse. Across the street stood the very conveniently located Avalon Hotel with its 70s décor, gum stained carpets and cathedral high ceilings.
After getting my all access pass as part of my prize package, I ventured into the Expo. The participants ranged from twenty-something-gore-loving-pot smoking slackers to twenty-something-gore-loving-pot-smoking slackers. I felt a bit out of my element but went along for the thrill ride. The Expo consisted of 15 or so vendors. The highlights were meeting actors still making a living off their Dawn of the Dead and The Hills Have Eyes roles decades later. And the pieced résistance was meeting Dee Wallace Stone, the mom from E.T. She did a Q&A on her epic film Cujo. She told a lot of funny stories especially how the dogs were just damn lazy and didn't want to bark, growl or maul. It was also interesting that a woman who was in one of the biggest films of all time was now in a horror film festival selling autographs for $10 apiece. I don't judge -- more power to her -- but I couldn't help thinking - why isn’t Steven Spielberg here? Ohhh! ‘Cause he produced and controlled the property. There’s a lesson!
It seems the most popular films being sold at the Expo DVD tables were a combo of horror porn, bloody entrails and breasts. I’ll Slap You To Death, Bitch was my personal fav. It had a National Organization of Women endorsement sticker on the cover.
That evening the bar was full with several filmmakers who had shorts and features in the competition. Jason Mewes of Jay and Silent Bob fame held court in the bar while women gladly offered themselves to the self-professed pot and cigarette chain-smoker. He was delightfully obnoxious, goofy and entertained all through the chilly night.
The next day I toured
The awards ceremony was far from formal and was much laid back with the founder Greg Ropp as the Emcee along with other festival programmers.
As they mispronounces my name I stood up and wondered if this is what Oscar winners felt like in the Dorothy Chandler Pavilion during the Academy ceremony. I'm flattered and very grateful that my screenplay was singled out over hundreds of entries and receiving my fifteen seconds in the
To sum up the whole experience, it was wacky, interesting and made me thoroughly realized that horror is the only genre of film that requires no star other than blood splattering, organ eviscerating an ample breasts. I love horror! There were no distribution deals or wheeling dealing but rather a homey feel that entertained for the weekend and that I recorded faithfully with my camera.
~~~~~~~~~~~~~~~~~~~~~~
What I Learned The thing that I was most unprepared was the physical stress that directing entails. Most of the shoot days were typically 12 to 16 hours. Besides being director/ writer I was also served as transportation coordinator, script continuity supervisor, costumer, grip, lighting designer and a thousand other things. (We all did!) Great learning experiences all but I hope the next time I get to wear no more than one or two creative hats and sit down more than three minutes per shoot day. As part of my preparation I read several established director’s advice. What turned out to be the most viable advice was – “Where comfortable shoes.” Oh, how right he was! By the final day I was Jell-O on sticks. So for the next film I will definitely drop 225 pounds and get a vitamin B12 shot in the ass before I yell “action!”
Another lesson learned: you cannot scrimp technically on a film. You must be able to see it and hear it to enjoy it and sell it! If any of these elements are missing it siphons from your final artistic endeavor and marketplace product. The most striking lesson of this wonderful experience -- I am truly blessed with great friends and supporters who never hesitated to offer their services, time or expertise to the project. Whether it be as a PA , actor, finding locations or composing original music people were exceptionally generous in spirit and never hesitated to help. And if you do decide to use our wonderful city of the location definitely go to the outer boroughs. We found the citizens of
Finally, never try this at home.
It is impossible to do it all yourself. When an opening credit of the movie reads: A film by (insert name). it infuriates me. Filmmaking is an entirely collaborative process. To me it is a film by…everyone! It is an total team effort and if you falter you have the comfort of knowing that someone will pick you up and fill-in till you are back on your feet. I was extremely fortunate having my two producers, who I now count as excellent friends, as go-to guys who always made me feel confident and supported. Even when I added dancing pipe cleaning people to the script they bought me a box of multicolored pipe cleaners and never asked any questions!
I Killed You Could I Had To was rushed edited last week to meet the
I made mistakes – plenty of ‘em!
But I'm a firm believer in learning every time you screw up. And I've learned! But most of all I am proud that I got it done. I liken it to writing a script. You have to commit to the Butt-In- Chair time to get the words on the page. Whatever the outcome, whether the film becomes a success or a paperweight, I can say unequivocally say I did it!
And now it’s your turn -- what you waiting for?
Directing /Writing My First Feature
I directed my first feature film last month. Looking back at the experience I am reminded of what Madonna said when she arrived in
I cannot say enough about my producers. They are a pair of generous and like-minded gentlemen and NEVER scrimped or said no -- except to my digital wireless HD 17” monitor that I thought was essential to my artistic vision and enlightenment. In fact, they were generous to a fault. But we did not get a full-time director of photography nor a professional sound mixer. Again, this decision was borne out of ignorance. We just thought, what the heck, we could do it ourselves! We are now in the process of hiring a sound mixer (for who know$how much) to correct the audible mistakes we committed during principal photography. It is amazing what you manipulate during editing but it only goes so far. Technical issues should be left to technical experts.
SO IT BEGINS
I've never been an entrepreneur. There, I said it.
I have been teaching for three years and I love the challenge of communicating ideas. Inspiring the potential in each student is the most important quality a teacher can possess. Patience is crucial. Each in her/his own time.
