I try not to do anything unless I research it to death. And lemme tell ya I think I know more about cable advertising and media buying then I ever wanted to know. All this research is part of the marketing plan. No, no, don't expect to see any Monster Cop commercials anytime soon. But perhaps in the future. Just trying to flesh out every bit of the agenda. You can add on top of all that the current research on guerrilla marketing that I've been brushing up on. I've always been a fan of Jay Conrad Levinson. I feel I've learned much about marketing from all of his books.
I found myself wondering around the book stores and libraries today before going into work. I realized that there was really nothing for me to look for. Most of the research I needed has been online. If it is in book form, I've already read it. After perusing most of Mr. Levinson's teachings, which I had actually read years ago, I realized that there was nothing left to learn. Ok, well that's not true, there is always something to learn. But as far as a book on filmmaking, independent movie making, movie marketing, low budget production, digital production, and DIY distribution? I don't think there is anything left for me to read.
I flipped through the usual mags, Filmmaker, Moviemaker, yadda yadda. Don't get me wrong, great mags they are, but I don't need another article telling me how easy it has become to self distribute. Every article, every book, every piece of paper that had anything to do with movie making or distributing, I had already read, or already knew what it was going to say.
The thing is much of that info is obsolette. I picked up a book on No budget distribution, published just last year, already the data in it was outdated. It is after all January 2007. Technology is moving fast and the opportunities for DIY movie making and distribution are growing faster than can be documented. It's pretty easy to find publications that already have it wrong just weeks after they've been published. It's come down to it. The knowledge has caught up to the present. Nothing in books can prepare me. It's all about the current trends being reported now.
It was just today that I learned of 2 new trends in technology and marketing that will be quite useful for the indie distributor. Hopefully I'll get to utilize them soon. All the old data I've already consumed, and the new stuff I'm keeping an eye on. The preliminary research is over, and it's time to start taking some very big steps. We're most definitely off the map here, and perhaps soon, instead of me reading the news, I'll be making some.
This whole DIY distribution thing is some scary shit.
Ain't it cool?
- P
Wednesday, January 24, 2007
Monday, January 22, 2007
Without A Box
The Golden Globes. Yeah, I forgot about em. I was at work.
The Superbowl. I'll probably forget about that too.
The Oscars. I really don't care.
The Superbowl, well, that has to do with me not keeping up with any sporting even that didn't involve cards, pool, or free form fighting this past year. As far as awards. I'm at the point where I don't really care what movie wins an award, because I've got my brain wrapped around making and marketing my own. However I am quite happy that Jennifer Hudson won. And it's about damn time Eddie Murphy received something as well as Forest Whitaker. So good for them. And Sacha Baron Cohen, yes I am happy you won too. But I'm still envious that you get to bang Isla Fisher with frequency. So congrats and screw you.
I didn't care to tune in, cuz I'd rather be working. I'm glad for the winners, but I don't find myself taking nights off for award shows or TV events anymore. Unless there is some sort of segment on Indie Self distribution, I most likely will not be tuning in to the Oscars. Especially if I'm working, either at the day job or my real job.
I find myself lately surrounded by budget sheets and scrap pieces of paper covered in scribbles of numbers and prices and costs and sales figures. I'm trying to take a note from a wise piece of advice Lance Weiller (The Last Broadcast) said in an article on DIY Distribution. "Don't lose that same empowerment that you felt when you picked up the camera and shot the film in the first place."
So very true. It doesn't end when the movie is in final cut. That is honestly only the beginning. And since that final edit last year, it's been a bumpy road that hasn't really alloted me the chance to get going. But I've got my second wind back, and I'm ready to get going on distribution.
I'm aiming for a DVD release date of March, but in reality it may be more like April. This is also going to coincide with Festival Screenings as well as separate theatrical screenings. Any place I can show this movie I will and at the same time let people know that they can own it on DVD. This is also going to coincide with some fundraising for the sequel. I'm going full steam ahead on MONSTER COPS the movie. The series will come after. I fully garuntee an interesting and fun fundraising and marketing ride. Get the bail money ready, cuz I've got a plan.
I've got 5 packages to send out. Each with a DVD screener/press kit/promo kit. I already did one video about the basic DVD screener creation and what that entails, but I'm documenting the creation of the full kit and promo materials. I hope to have that up in a few weeks.
I really don't know what I would do without WITHOUTABOX. If you're an indie filmmaker and you're not utilizing Withoutabox.com, than you are just plain missing out. It's a festival data base and a one stop shop for entering festivals online. No need to fill out any paper work, now you can find the fest or fests you want, submit your info and press kit details, have your entry form and applications filled out automatically online, pay all of your entry fees online, and all you have to do is mail your DVD screener in. Entering fests have been so much easier since Withoutabox came along a few years back. It's also a huge help that you get discounts on many of these fest fees.
And they've really grown too. Almost every fest on the planet has signed up with them, making it easier to enter fests in one shot. Now they also provide DVD on demand delivery. They will burn and send in your DVD everytime you enter a fest online. Soon they will be much like Indieflix or Customflix where indies can distribute there DVD's on demand. They've even started something called AUDIENCE. It's pretty much MYSPACE for Filmmakers. Got a movie to promote, you can start your own Audience Page and upload pics, info, and trailers. Check out THE MIDNIGHT SPECIALS AUDIENCE PAGE. Many films have already used Audience to build buzz about their movie.
I'll tell ya though it's getting hectic having to keep up with all these promo pages. Audience, Myspace, Indieloop, etc. But it's worth it everytime I see how many new hits there are on monstercops.com. How the hell are we so popular in Germany? Everytime I check the stats, there's 20 new hits from Germany. I don't think I've even sent a screener out that far. Whatever, as long as they spend as much time as they do on the site getting to know the movie, I'm cool with it.
As posted on the WTW Blog, there will be some major changes to monstercops.com and whethertheweather.com. Got some major work to do.
The Superbowl. I'll probably forget about that too.
The Oscars. I really don't care.
The Superbowl, well, that has to do with me not keeping up with any sporting even that didn't involve cards, pool, or free form fighting this past year. As far as awards. I'm at the point where I don't really care what movie wins an award, because I've got my brain wrapped around making and marketing my own. However I am quite happy that Jennifer Hudson won. And it's about damn time Eddie Murphy received something as well as Forest Whitaker. So good for them. And Sacha Baron Cohen, yes I am happy you won too. But I'm still envious that you get to bang Isla Fisher with frequency. So congrats and screw you.
I didn't care to tune in, cuz I'd rather be working. I'm glad for the winners, but I don't find myself taking nights off for award shows or TV events anymore. Unless there is some sort of segment on Indie Self distribution, I most likely will not be tuning in to the Oscars. Especially if I'm working, either at the day job or my real job.
I find myself lately surrounded by budget sheets and scrap pieces of paper covered in scribbles of numbers and prices and costs and sales figures. I'm trying to take a note from a wise piece of advice Lance Weiller (The Last Broadcast) said in an article on DIY Distribution. "Don't lose that same empowerment that you felt when you picked up the camera and shot the film in the first place."
So very true. It doesn't end when the movie is in final cut. That is honestly only the beginning. And since that final edit last year, it's been a bumpy road that hasn't really alloted me the chance to get going. But I've got my second wind back, and I'm ready to get going on distribution.
I'm aiming for a DVD release date of March, but in reality it may be more like April. This is also going to coincide with Festival Screenings as well as separate theatrical screenings. Any place I can show this movie I will and at the same time let people know that they can own it on DVD. This is also going to coincide with some fundraising for the sequel. I'm going full steam ahead on MONSTER COPS the movie. The series will come after. I fully garuntee an interesting and fun fundraising and marketing ride. Get the bail money ready, cuz I've got a plan.
I've got 5 packages to send out. Each with a DVD screener/press kit/promo kit. I already did one video about the basic DVD screener creation and what that entails, but I'm documenting the creation of the full kit and promo materials. I hope to have that up in a few weeks.
I really don't know what I would do without WITHOUTABOX. If you're an indie filmmaker and you're not utilizing Withoutabox.com, than you are just plain missing out. It's a festival data base and a one stop shop for entering festivals online. No need to fill out any paper work, now you can find the fest or fests you want, submit your info and press kit details, have your entry form and applications filled out automatically online, pay all of your entry fees online, and all you have to do is mail your DVD screener in. Entering fests have been so much easier since Withoutabox came along a few years back. It's also a huge help that you get discounts on many of these fest fees.
And they've really grown too. Almost every fest on the planet has signed up with them, making it easier to enter fests in one shot. Now they also provide DVD on demand delivery. They will burn and send in your DVD everytime you enter a fest online. Soon they will be much like Indieflix or Customflix where indies can distribute there DVD's on demand. They've even started something called AUDIENCE. It's pretty much MYSPACE for Filmmakers. Got a movie to promote, you can start your own Audience Page and upload pics, info, and trailers. Check out THE MIDNIGHT SPECIALS AUDIENCE PAGE. Many films have already used Audience to build buzz about their movie.
I'll tell ya though it's getting hectic having to keep up with all these promo pages. Audience, Myspace, Indieloop, etc. But it's worth it everytime I see how many new hits there are on monstercops.com. How the hell are we so popular in Germany? Everytime I check the stats, there's 20 new hits from Germany. I don't think I've even sent a screener out that far. Whatever, as long as they spend as much time as they do on the site getting to know the movie, I'm cool with it.
As posted on the WTW Blog, there will be some major changes to monstercops.com and whethertheweather.com. Got some major work to do.
Saturday, January 20, 2007
When dealing with distributors ...
it's always a good idea to consult the people they are already distributing.
Got a few emails from some people I contacted about a few of these distributors that keep tugging at me. And boy am I glad I contacted them. I've learned some very interesting things about some of these fairly popular companies. Now I'm not gonna name any names, or give away too much, that would just be bad business karma. But just know, over the next year, I'll be helping out my fellow indies by getting the word out about their product. I swear some of these guys just plain got screwed by their distributor. And these are some VERY good movies.
One indie filmmaker in particular made a deal with, let's call them Company A. Company A has had there movie for about 4 years now and they've barely done any marketing and have only sold about 500 copies. I'm hoping to God their contract is up with Company A soon. This particular movie is EXTREMELY marketable and a decent distributor should have no problem at least clearing 10,000 copies a year. Let's say you sell 10,000 DVD's at about 11 dollars each, that's $110,000.00 a year, and if the contract is 70 percent of profits to the distributor and 30 percent to the filmmaker, after the expenses have been recouped we're talking at least $24,000.00 to the filmmaker for one year. In 4 years that should have been a total of $96,000.00 that should have been paid to the filmmaker. In this case since Company A has only sold 500 copies in 4 years, the profit goes to recouping expenses of the distributor first. Which basically means this particular filmmaker hasn't seen a dime.
Tip: Be sure there is a stipulation in your contract with the distributor that says if they don't earn you X amount of dollars within X amount of time, then you retain all rights.
And what's even sadder is that we are only talking about DVD sales. What about pay-per-view, digital download, mobile video, cable, even theatrical? Your distributor should be busting his ass getting your movie out there. He should be hitting the pavement screaming to people about the catalog of great movies he has including yours. I swear talking to some of these filmmakers and really hearing these horror stories, just confirms my beliefs. Why am I going to hand over my movie to someone who is only going to do what I can do myself? The problem with DIY distribution is that you may not have the clout and weight of an experienced distribution company, but I've got the contact info for the pay-per-view folks, I know that I can easliy make my movie available on DVD, online, and even in some retail outlets, I can put my movie up for digital downloads, and I'm not that far off reaching basic cable. And as far as marketing is concerned, hearing the inside track of what alot of these companies do to get marketing done, is basically what I was going to do except I won't have to pay someone else to do it.
Unless a distributor can come up to me and offer me something that I can't do, then maybe I'll work with them. But for alot of these companies that I've been dealing with, I've been doing the research, I've been getting the info, and it doesn't sound like you can do any better job than I can. As a matter of fact it sounds like I can do a much better job than you, because I've got the full passion of this project. I love this movie. It's my baby and who better to take care of it than the baby daddy. Yeah that's right, I got fuckin ghetto on your ass.
Bottom line is, if you want something done, you gotta do it yourself.
ya-ya ya know it!
And yes I've been listening to the Ghostbusters 2 soundtrack.
AND SPEAKING OF GHOSTBUSTERS! Look what was leaked recently.
GHOSTBUSTERS 360 BITCHES!!!!
But apparently there are some licensing issues, so there is a possibility this is as close to a game (or a sequel) we'll ever get. I'd also like to note that this is similar to the look I'm going for with MONSTER COPS / SHADOW COMPANY. For a few of the action scenes that is.
Checkout More Here at Team XBOX
Got a few emails from some people I contacted about a few of these distributors that keep tugging at me. And boy am I glad I contacted them. I've learned some very interesting things about some of these fairly popular companies. Now I'm not gonna name any names, or give away too much, that would just be bad business karma. But just know, over the next year, I'll be helping out my fellow indies by getting the word out about their product. I swear some of these guys just plain got screwed by their distributor. And these are some VERY good movies.
One indie filmmaker in particular made a deal with, let's call them Company A. Company A has had there movie for about 4 years now and they've barely done any marketing and have only sold about 500 copies. I'm hoping to God their contract is up with Company A soon. This particular movie is EXTREMELY marketable and a decent distributor should have no problem at least clearing 10,000 copies a year. Let's say you sell 10,000 DVD's at about 11 dollars each, that's $110,000.00 a year, and if the contract is 70 percent of profits to the distributor and 30 percent to the filmmaker, after the expenses have been recouped we're talking at least $24,000.00 to the filmmaker for one year. In 4 years that should have been a total of $96,000.00 that should have been paid to the filmmaker. In this case since Company A has only sold 500 copies in 4 years, the profit goes to recouping expenses of the distributor first. Which basically means this particular filmmaker hasn't seen a dime.
Tip: Be sure there is a stipulation in your contract with the distributor that says if they don't earn you X amount of dollars within X amount of time, then you retain all rights.
And what's even sadder is that we are only talking about DVD sales. What about pay-per-view, digital download, mobile video, cable, even theatrical? Your distributor should be busting his ass getting your movie out there. He should be hitting the pavement screaming to people about the catalog of great movies he has including yours. I swear talking to some of these filmmakers and really hearing these horror stories, just confirms my beliefs. Why am I going to hand over my movie to someone who is only going to do what I can do myself? The problem with DIY distribution is that you may not have the clout and weight of an experienced distribution company, but I've got the contact info for the pay-per-view folks, I know that I can easliy make my movie available on DVD, online, and even in some retail outlets, I can put my movie up for digital downloads, and I'm not that far off reaching basic cable. And as far as marketing is concerned, hearing the inside track of what alot of these companies do to get marketing done, is basically what I was going to do except I won't have to pay someone else to do it.
Unless a distributor can come up to me and offer me something that I can't do, then maybe I'll work with them. But for alot of these companies that I've been dealing with, I've been doing the research, I've been getting the info, and it doesn't sound like you can do any better job than I can. As a matter of fact it sounds like I can do a much better job than you, because I've got the full passion of this project. I love this movie. It's my baby and who better to take care of it than the baby daddy. Yeah that's right, I got fuckin ghetto on your ass.
Bottom line is, if you want something done, you gotta do it yourself.
ya-ya ya know it!
And yes I've been listening to the Ghostbusters 2 soundtrack.
AND SPEAKING OF GHOSTBUSTERS! Look what was leaked recently.
GHOSTBUSTERS 360 BITCHES!!!!
But apparently there are some licensing issues, so there is a possibility this is as close to a game (or a sequel) we'll ever get. I'd also like to note that this is similar to the look I'm going for with MONSTER COPS / SHADOW COMPANY. For a few of the action scenes that is.
Checkout More Here at Team XBOX
Thursday, January 18, 2007
Life is on the wire, the rest is just waiting.
Thanks for that one Papa Wallenda. If you don't know about the high flying Wallendas, they are an elite group of high wire walkers. Papa Wallenda was the first of em. The Daddy of all tight rope walkers. And here he does indeed speak the gospel. Life is indeed on the wire. And I'm on it man. That's what it feels like right now. I'm walking that tight rope. Just trying to keep my balance. One false move and I'm gone. Just trying to make friends with gravity.
You'll have to forgive me if you're one of the many people who have messaged me, emailed me, or called. I'll get back to you soon. Right now I'm on the wire. Too busy trying to keep my balance. And I got people on all sides tuggin at me. Tellin me to go one way or another. Lemme tell you, this whole movie distribution thing is kickin me in the ass. Just in the last 24 hours, a few things have occured to change the way the game is played. Could be good and maybe even great, but it all depends on how steady I can keep it. Right now I'm just fascinated by how quickly things can change once you think you've made the right decision.
I had a few offers for the movie. I picked one. When one didn't look like it was going to work out. I decided to self distribute. And man I got gung ho about it. I had a plan all worked out. In the past two weeks, I've been making deals, talking to sponsors, hooking up screenings, talking to fests, and planning out convention appearances. I was ready to take this bad boy on tour. I got excited about the idea of handling my own movie, as opposed to handing it over to a company and let them handle my baby while I collect a small percentage off of something I've been busting my ass on for the past 3 years.
Here I am all excited, then that's when all of the companies that I've been denying, come back at me with better offers. And then the one that I picked originally has come back into the picture as well. Now, I'm not complaining. It's an excellent dilemna to be in. I remember when I had my first movie, and I was getting denied by crappy art house theatres. But it's a dilemna nonetheless. I want to stay independent, because in my hands I know what kind of noise I can make. I know what kind of publicity I can create and I get to keep one hundred percent of the profits. In the hands of a distributor, it's a garuntee that my movie will be available, but I won't have that much control over the business of it, and I only get a percentage of the profits.
And that's not even all of it. There's many other factors to consider. And the hits just keep on comin. And I can't seem to wrap my brain around anything else.
What would Papa Wallenda do?
Well maybe I'm looking to the wrong person as an example. He did fall to his death off of a tight rope. They say it was the high winds that blew him down. The family says there was a problem with the wire.
Lesson: Before proceeding across the high wire, check the weather, and secure the rope.
I got it.
You'll have to forgive me if you're one of the many people who have messaged me, emailed me, or called. I'll get back to you soon. Right now I'm on the wire. Too busy trying to keep my balance. And I got people on all sides tuggin at me. Tellin me to go one way or another. Lemme tell you, this whole movie distribution thing is kickin me in the ass. Just in the last 24 hours, a few things have occured to change the way the game is played. Could be good and maybe even great, but it all depends on how steady I can keep it. Right now I'm just fascinated by how quickly things can change once you think you've made the right decision.
I had a few offers for the movie. I picked one. When one didn't look like it was going to work out. I decided to self distribute. And man I got gung ho about it. I had a plan all worked out. In the past two weeks, I've been making deals, talking to sponsors, hooking up screenings, talking to fests, and planning out convention appearances. I was ready to take this bad boy on tour. I got excited about the idea of handling my own movie, as opposed to handing it over to a company and let them handle my baby while I collect a small percentage off of something I've been busting my ass on for the past 3 years.
Here I am all excited, then that's when all of the companies that I've been denying, come back at me with better offers. And then the one that I picked originally has come back into the picture as well. Now, I'm not complaining. It's an excellent dilemna to be in. I remember when I had my first movie, and I was getting denied by crappy art house theatres. But it's a dilemna nonetheless. I want to stay independent, because in my hands I know what kind of noise I can make. I know what kind of publicity I can create and I get to keep one hundred percent of the profits. In the hands of a distributor, it's a garuntee that my movie will be available, but I won't have that much control over the business of it, and I only get a percentage of the profits.
And that's not even all of it. There's many other factors to consider. And the hits just keep on comin. And I can't seem to wrap my brain around anything else.
What would Papa Wallenda do?
Well maybe I'm looking to the wrong person as an example. He did fall to his death off of a tight rope. They say it was the high winds that blew him down. The family says there was a problem with the wire.
Lesson: Before proceeding across the high wire, check the weather, and secure the rope.
I got it.
Wednesday, January 17, 2007
Make your very own GRINDHOUSE Trailer
Press Release as follows:
Austin, TX - January 15, 2007 - The South by Southwest (SXSW) Film Festival is putting out a call to filmmakers who would like to submit their best "grindhouse trailer," in honor of the April release from Robert Rodriguez and Quentin Tarantino, Grindhouse. A sample of the best submissions will be judged by Rodriguez himself, and presented during SXSW, on March 11, 2007.
Filmmakers have a deadline of February 12 to submit their “grindhouse trailer” (no longer than two minutes in length) to SXSW. The trailer should be made for a fictional feature-film, just like those being made by celebrity directors Eli Roth and Rob Zombie for Grindhouse. From those submissions, Rodriguez will determine the best of the bunch, and it will screen during a special presentation entitled “Robert Rodriguez’s Grindhouse 101” on Sunday, March 11. During the presentation, Rodriguez will share stories and footage from the making of the upcoming Dimension Films release.
“We really want filmmakers to come up with something fun, scary, freaky, and out-of-this-world for the competition,” says SXSW Festival Producer Matt Dentler. “This competition, like Grindhouse itself, is in the true spirit of innovative and fast-paced filmmaking.”
Submissions must arrive no later than February 12, to: “SXSW Grindhouse Trailers,” P.O. Box 4999, Austin, TX 78765. There is no application fee, but the trailers must be under two minutes in length, and made within the last 12 months. Films that have already been submitted to SXSW for 2007 consideration, are not eligible. The 2007 SXSW Film Festival occurs March 9-17 throughout downtown Austin, TX. Grindhouse will open nationwide on April 6, 2007.
Austin, TX - January 15, 2007 - The South by Southwest (SXSW) Film Festival is putting out a call to filmmakers who would like to submit their best "grindhouse trailer," in honor of the April release from Robert Rodriguez and Quentin Tarantino, Grindhouse. A sample of the best submissions will be judged by Rodriguez himself, and presented during SXSW, on March 11, 2007.
Filmmakers have a deadline of February 12 to submit their “grindhouse trailer” (no longer than two minutes in length) to SXSW. The trailer should be made for a fictional feature-film, just like those being made by celebrity directors Eli Roth and Rob Zombie for Grindhouse. From those submissions, Rodriguez will determine the best of the bunch, and it will screen during a special presentation entitled “Robert Rodriguez’s Grindhouse 101” on Sunday, March 11. During the presentation, Rodriguez will share stories and footage from the making of the upcoming Dimension Films release.
“We really want filmmakers to come up with something fun, scary, freaky, and out-of-this-world for the competition,” says SXSW Festival Producer Matt Dentler. “This competition, like Grindhouse itself, is in the true spirit of innovative and fast-paced filmmaking.”
Submissions must arrive no later than February 12, to: “SXSW Grindhouse Trailers,” P.O. Box 4999, Austin, TX 78765. There is no application fee, but the trailers must be under two minutes in length, and made within the last 12 months. Films that have already been submitted to SXSW for 2007 consideration, are not eligible. The 2007 SXSW Film Festival occurs March 9-17 throughout downtown Austin, TX. Grindhouse will open nationwide on April 6, 2007.
Liberation is near enough; there's no need to rush.
Today's tip boys and girls: Be cool.
Dear Patrick,
Don't rush. First timer's rush. There's a bit of experience here. You're no first timer. You've done this before. Nice and easy wins the race. No, no, I'm not saying stop the plan, or not do anything. I'm saying take a pause if need be, but while in motion, be cool baby. You can't run outta hell, the demons will snatch you up quick. If you can be cool and walk, they won't even pay you any attention. Be cool.
So you've got this movie. People seem to like it. A few distributors seem to want it. But you've decided to self distribute because you wanna keep the rights to your own work and you've got a solid plan in place. Cool. But things start to fall apart. Are they really falling apart? Is this the time to panic? No. It's time to be cool. Let the chips fall where they may, and then find your way around it. Be cool. Oh, what's the big deal? The computer's fuckin up? It won't let you burn DVD's. It's being immensely slow. Well of course it's being slow. It's a 4 year old computer with a shitty processor. You use the damn thing for everything from editing movies to composing music, what did you think was going to happen.
So go get it fixed. What? It costs too much and you might as well get a new computer? Well then get a new computer? What? You can't afford one. Then save up for it. Stop whining Patrick, and save up for it. Just like everything else you've had to do, work for it, save for it, but for God's sakes, stop bitching and just be cool. Plus, it's not like you're not making money. Stop being a stingy assed bastard with the dough, be financially smart, wait a few weeks, and I'm sure you'll be back on track, but until then I'm sure there is plenty for you to do that doesn't involve the computer. Yes, yes I know you've got a ton of emails from people wanting a screener. Am I supposed to feel sorry for you. Oh poor Patrick, people want to see his movie. Shut the fuck up. At least you've got people wanting to see it. Email them bitches back and let em know there is a delay. Until then get off your whiny ass.
Yeah, yeah, you're panties are all in a bunch because it's been an emotional year, and so many tough things, SHUT THE FUCK UP! WE KNOW it's been a tough fuckin year. Stop crying about it and stop using it as an excuse to give up or make amateur mistakes, and get on with the real plan. The computer problem will be fixed, just like when the camera broke in the middle of production. What did you do? You spent two weeks working on graphics and titles until you could finally get a new camera. See all better and you got other shit done at the same time. Same situation, it's just happening now at the distribution and marketing end. It'll be all ok in a matter of weeks, so stop it. So shut up and be cool.
Yes I know other things are going on here as well. Emotional stuff, family stuff, personal stuff. But don't you dare make this an excuse to stop doing the other things that need to be done. You've got some shooting to do. You've got plenty of shots to get and that doesn't require a computer, so go get em. Um, also I believe there are a ton o press kits for you to piece together. And rewrite that frickin press release already. And stop watching Dick In A Box, I know it's funny, but it's getting a little gay you watching it so many times, and you're eventually going to get yourself in trouble when you finally sing it too loud at work. And get a hair cut.
Today's word is:
foofaraw: excessive or flashy ornamentation; also, a fuss over a trivial matter.
In other news, my theatre is going totally digital. By Thursday there will be only three 35mm projectors and that's only as back ups to three of the digital houses. For the most part all theatres will be completely digital. The upside is, that as a projectionist my job just got mega easy. The downside is that as a tech my knowledge of 35mm projectors is out the window. And believe me I've been studying my ass off on every manual I can find on these digitals. This is a whole new world and a whole new era. Exciting and surreal all at once. No more hum from the projector motors. No sound of 35mm film running through loops in the projector head. No more sounds of squeaky platters spinning. Now it's all about pixels, sattelite uplink, and hard drive ingestion. But I'll post more on that later. I actually may end up doing a video about it for CurrentTV. If time permits.
In perpetuity. So bad ass.
Dear Patrick,
Don't rush. First timer's rush. There's a bit of experience here. You're no first timer. You've done this before. Nice and easy wins the race. No, no, I'm not saying stop the plan, or not do anything. I'm saying take a pause if need be, but while in motion, be cool baby. You can't run outta hell, the demons will snatch you up quick. If you can be cool and walk, they won't even pay you any attention. Be cool.
So you've got this movie. People seem to like it. A few distributors seem to want it. But you've decided to self distribute because you wanna keep the rights to your own work and you've got a solid plan in place. Cool. But things start to fall apart. Are they really falling apart? Is this the time to panic? No. It's time to be cool. Let the chips fall where they may, and then find your way around it. Be cool. Oh, what's the big deal? The computer's fuckin up? It won't let you burn DVD's. It's being immensely slow. Well of course it's being slow. It's a 4 year old computer with a shitty processor. You use the damn thing for everything from editing movies to composing music, what did you think was going to happen.
So go get it fixed. What? It costs too much and you might as well get a new computer? Well then get a new computer? What? You can't afford one. Then save up for it. Stop whining Patrick, and save up for it. Just like everything else you've had to do, work for it, save for it, but for God's sakes, stop bitching and just be cool. Plus, it's not like you're not making money. Stop being a stingy assed bastard with the dough, be financially smart, wait a few weeks, and I'm sure you'll be back on track, but until then I'm sure there is plenty for you to do that doesn't involve the computer. Yes, yes I know you've got a ton of emails from people wanting a screener. Am I supposed to feel sorry for you. Oh poor Patrick, people want to see his movie. Shut the fuck up. At least you've got people wanting to see it. Email them bitches back and let em know there is a delay. Until then get off your whiny ass.
Yeah, yeah, you're panties are all in a bunch because it's been an emotional year, and so many tough things, SHUT THE FUCK UP! WE KNOW it's been a tough fuckin year. Stop crying about it and stop using it as an excuse to give up or make amateur mistakes, and get on with the real plan. The computer problem will be fixed, just like when the camera broke in the middle of production. What did you do? You spent two weeks working on graphics and titles until you could finally get a new camera. See all better and you got other shit done at the same time. Same situation, it's just happening now at the distribution and marketing end. It'll be all ok in a matter of weeks, so stop it. So shut up and be cool.
Yes I know other things are going on here as well. Emotional stuff, family stuff, personal stuff. But don't you dare make this an excuse to stop doing the other things that need to be done. You've got some shooting to do. You've got plenty of shots to get and that doesn't require a computer, so go get em. Um, also I believe there are a ton o press kits for you to piece together. And rewrite that frickin press release already. And stop watching Dick In A Box, I know it's funny, but it's getting a little gay you watching it so many times, and you're eventually going to get yourself in trouble when you finally sing it too loud at work. And get a hair cut.
Today's word is:
foofaraw: excessive or flashy ornamentation; also, a fuss over a trivial matter.
In other news, my theatre is going totally digital. By Thursday there will be only three 35mm projectors and that's only as back ups to three of the digital houses. For the most part all theatres will be completely digital. The upside is, that as a projectionist my job just got mega easy. The downside is that as a tech my knowledge of 35mm projectors is out the window. And believe me I've been studying my ass off on every manual I can find on these digitals. This is a whole new world and a whole new era. Exciting and surreal all at once. No more hum from the projector motors. No sound of 35mm film running through loops in the projector head. No more sounds of squeaky platters spinning. Now it's all about pixels, sattelite uplink, and hard drive ingestion. But I'll post more on that later. I actually may end up doing a video about it for CurrentTV. If time permits.
In perpetuity. So bad ass.
Thursday, January 11, 2007
Before The Storm
Rule 1: Don't ever get frustrated about not being able to get somewhere when you haven't really decided where it is you're going. True. First things first. Decide on the destination. Pick your goal. Then go for it.
Example. I decided on a particular course of action for my indie film THE MIDNIGHT SPECIAL. I decided that we would try for this one particular process. And it doesn't appear to be working out. Which brings me to the next rule.
Rule 2: When you decide on the goal, everything that is the exact opposite of that will come into your existence. True.
Example: Every time I try to jump off my roof top in an attempt to "fly". Gravity comes into existence. Fucking gravity. And I've done this many many times. Same thing with watching movie previews. Right when I aim to enjoy a good trailer, Joel Schumacher's name pops up. Fucking Bat nipples.
This is how it's done. You aim for the goal, you shoot for the goal, something has to make you miss. Why? It's the law of opposites. One cannot exist without the other. You cannot possibly experience achieving the goal if one hasn't experienced NOT having the goal. How am I supposed to fly if I don't first know what it's like to not fly? How can I possibly love Batman Begins as much as I do without having first experienced Batman and Robin? Actually I think we all would've been just fine without Batman and Robin.
But without the opposite of what you want, what you want cannot exist in your reality, yet. Yet.
Now this is going to happen a bunch of times in a bunch of different ways. Things are going to have to suck. Things are going to have to get rough. But the best way to perceive all this is in training. Yes that's right, training. What you think is just the world crapping on you, is just the world getting you prepared for the inevitable, which is SHIT HAPPENS. And the best way to prepare for shit happening is to experience the shit happening. Ok this is sounding gross.
Point is with The Midnight Special, I knew from previous experience and training that the first few swings at the bat for distribution weren't going to work out all that well. If it did great. But chances are our first few offers were probably going to be too good to be true, or just plain fall apart. Which I'm no saying has completely happened, but I'm smart enough to know when the boats about to sink. Which brings me to the next rule.
Rule 3: Always have a lifeboat.*
Call it what you want. Don't put all your eggs in one basket. Forewarned is forearmed (Thank you Peter Vincent). Knowing is half the battle. You know what I mean. Have a plan. Don't get your hopes on one prospect. Send out many ships and one of them is bound to return through the shit storm.
With the movie I had a three part plan that included the expectation of the shit storm. And guess what? Everything is going according to plan. Shit storm is weathered. Actually there isn't really a shit storm, but I see one on the horizon and I've already got other ships out in different directions all of them scotch guarded and armed with three ply umbrellas. And Fabreeze, lots of Fabreeze.
Rule 4: Always use Fabreeze. Lysol just ends up landing on my tongue somehow.
Anyhoo.
The advantage nowadays is that it is not impossible to get distribution for your Independent film as long as it's good. You've got options like filmbaby.com, customflix.com, indieflix.com, and lulu.com. And if it's not good it better have some sex and violence. Sad but true.
Rule 5: Have a plan for your plan.
I'm probably going to put The Midnight Special on DVD soon through one of the above outlets, mainly cuz I hate disappointing these folks that keep emailing me. I really want people to see this movie. But I'm not stopping there. Just because you decide to self distribute doesn't mean your options are over. This is just the beginning and as far as my plan goes, we're only on part A of plan 1. Oh man we're just getting started here. But I've got part B of the plan in motion and I'm ever so slightly curious as to what would happen if I combined it with parts of plan 2, and some of part D of plan 6. You follow me? No. Me either.
All in all I've got plan upon plan. Like a safety net of sorts. One of my safety nets is the emergency fund. Our plan now is that before me or my wife set off to do anything else that costs money that isn't bills, we have to have an emergency fund. Not too much, just a thousand bucks put away in a money market account. I'm trying not to do anything too extravagant until that emergency fund is built up. Ya have to be prepared for the shit storm cuz it happens.
People get sick, get layed off, the car breaks, the computer crashes. Kinda hard to aim for those bigger goals in life when shit like that happens. With an emergency fund those things become more of a minor hassle than a major setback. And before we embark on anything else, I've got to make sure that fund is built back up. Gotta make sure that safety net is secure if it's going to catch us. And I've been lifting many weights and eating a whole lot more, so it has to be secure. With our plan for our plan in place, we're ready for anything. Which brings me to ...
Rule 6: You're never really ready for anything.
You cannot predict what your obstacle is going to be. You can foresee what some of them are, and perhaps even many of them. But not all of them. Honestly, was Indy really expecting for his father to be shot at the end of Last Crusade? Was Hip Hop really expecting Vanilla Ice? I don't think so. Otherwise the experience of the law of opposites would be void. And it isn't. So expect the unexpected. Ya know, like Ninjas.
Rule 7: When faced with Ninjas, act like a bear. They hate that. It'll either freak them out or annoy them, either way they'll just leave. And if they don't leave then you have to stand and fight. But becareful, if you fight a Ninja you're going to have to ...
Rule 8: Trust your instincts.
Instinct is like when your spirit or energy or inner mind, whatever, has experienced many different versions of the future, and is coming back to give you data on the situation. How many times have you tried something, failed, and then said, "I knew I should've done it the other way." How did you know? You're instincts told you. but what did you do? You listened to logic.
And hey, I'm not slamming logic. Logic is great. It's the exact measurement of process. Use it, gather all of the facts. But just because you know the wall is a foot higher than you're use to, doesn't mean you don't have it in you to scale it. A high percentage of a lot of things in your life are going to be because of you, what you can do, and what you believe in your heart you can do. If you know you can, then you can. Don't let them tell you that you can't. You decide for yourself. Which brings me to the most important rule ...
Rule 9: You can't
Just kidding.
Rule 9: There are no rules.
"When did Noah build The Ark? Before the storm. Before the storm."
- Robert Redford as Nathan Muir in SPY GAME
Example. I decided on a particular course of action for my indie film THE MIDNIGHT SPECIAL. I decided that we would try for this one particular process. And it doesn't appear to be working out. Which brings me to the next rule.
Rule 2: When you decide on the goal, everything that is the exact opposite of that will come into your existence. True.
Example: Every time I try to jump off my roof top in an attempt to "fly". Gravity comes into existence. Fucking gravity. And I've done this many many times. Same thing with watching movie previews. Right when I aim to enjoy a good trailer, Joel Schumacher's name pops up. Fucking Bat nipples.
This is how it's done. You aim for the goal, you shoot for the goal, something has to make you miss. Why? It's the law of opposites. One cannot exist without the other. You cannot possibly experience achieving the goal if one hasn't experienced NOT having the goal. How am I supposed to fly if I don't first know what it's like to not fly? How can I possibly love Batman Begins as much as I do without having first experienced Batman and Robin? Actually I think we all would've been just fine without Batman and Robin.
But without the opposite of what you want, what you want cannot exist in your reality, yet. Yet.
Now this is going to happen a bunch of times in a bunch of different ways. Things are going to have to suck. Things are going to have to get rough. But the best way to perceive all this is in training. Yes that's right, training. What you think is just the world crapping on you, is just the world getting you prepared for the inevitable, which is SHIT HAPPENS. And the best way to prepare for shit happening is to experience the shit happening. Ok this is sounding gross.
Point is with The Midnight Special, I knew from previous experience and training that the first few swings at the bat for distribution weren't going to work out all that well. If it did great. But chances are our first few offers were probably going to be too good to be true, or just plain fall apart. Which I'm no saying has completely happened, but I'm smart enough to know when the boats about to sink. Which brings me to the next rule.
Rule 3: Always have a lifeboat.*
Call it what you want. Don't put all your eggs in one basket. Forewarned is forearmed (Thank you Peter Vincent). Knowing is half the battle. You know what I mean. Have a plan. Don't get your hopes on one prospect. Send out many ships and one of them is bound to return through the shit storm.
With the movie I had a three part plan that included the expectation of the shit storm. And guess what? Everything is going according to plan. Shit storm is weathered. Actually there isn't really a shit storm, but I see one on the horizon and I've already got other ships out in different directions all of them scotch guarded and armed with three ply umbrellas. And Fabreeze, lots of Fabreeze.
Rule 4: Always use Fabreeze. Lysol just ends up landing on my tongue somehow.
Anyhoo.
The advantage nowadays is that it is not impossible to get distribution for your Independent film as long as it's good. You've got options like filmbaby.com, customflix.com, indieflix.com, and lulu.com. And if it's not good it better have some sex and violence. Sad but true.
Rule 5: Have a plan for your plan.
I'm probably going to put The Midnight Special on DVD soon through one of the above outlets, mainly cuz I hate disappointing these folks that keep emailing me. I really want people to see this movie. But I'm not stopping there. Just because you decide to self distribute doesn't mean your options are over. This is just the beginning and as far as my plan goes, we're only on part A of plan 1. Oh man we're just getting started here. But I've got part B of the plan in motion and I'm ever so slightly curious as to what would happen if I combined it with parts of plan 2, and some of part D of plan 6. You follow me? No. Me either.
All in all I've got plan upon plan. Like a safety net of sorts. One of my safety nets is the emergency fund. Our plan now is that before me or my wife set off to do anything else that costs money that isn't bills, we have to have an emergency fund. Not too much, just a thousand bucks put away in a money market account. I'm trying not to do anything too extravagant until that emergency fund is built up. Ya have to be prepared for the shit storm cuz it happens.
People get sick, get layed off, the car breaks, the computer crashes. Kinda hard to aim for those bigger goals in life when shit like that happens. With an emergency fund those things become more of a minor hassle than a major setback. And before we embark on anything else, I've got to make sure that fund is built back up. Gotta make sure that safety net is secure if it's going to catch us. And I've been lifting many weights and eating a whole lot more, so it has to be secure. With our plan for our plan in place, we're ready for anything. Which brings me to ...
Rule 6: You're never really ready for anything.
You cannot predict what your obstacle is going to be. You can foresee what some of them are, and perhaps even many of them. But not all of them. Honestly, was Indy really expecting for his father to be shot at the end of Last Crusade? Was Hip Hop really expecting Vanilla Ice? I don't think so. Otherwise the experience of the law of opposites would be void. And it isn't. So expect the unexpected. Ya know, like Ninjas.
Rule 7: When faced with Ninjas, act like a bear. They hate that. It'll either freak them out or annoy them, either way they'll just leave. And if they don't leave then you have to stand and fight. But becareful, if you fight a Ninja you're going to have to ...
Rule 8: Trust your instincts.
Instinct is like when your spirit or energy or inner mind, whatever, has experienced many different versions of the future, and is coming back to give you data on the situation. How many times have you tried something, failed, and then said, "I knew I should've done it the other way." How did you know? You're instincts told you. but what did you do? You listened to logic.
And hey, I'm not slamming logic. Logic is great. It's the exact measurement of process. Use it, gather all of the facts. But just because you know the wall is a foot higher than you're use to, doesn't mean you don't have it in you to scale it. A high percentage of a lot of things in your life are going to be because of you, what you can do, and what you believe in your heart you can do. If you know you can, then you can. Don't let them tell you that you can't. You decide for yourself. Which brings me to the most important rule ...
Rule 9: You can't
Just kidding.
Rule 9: There are no rules.
"When did Noah build The Ark? Before the storm. Before the storm."
- Robert Redford as Nathan Muir in SPY GAME
Yvonne De Carlo
Rest in peace. And thank you so much for the memories.
Learn more about Yvonne De Carlo at Brian's Drive In Theatre.
Learn more about Yvonne De Carlo at Brian's Drive In Theatre.
Tuesday, January 9, 2007
Hang The Code
I spend alot of time working on short films, writing, shooting, editing, etc. But usually when I'm stuck on something or if my mind needs a break, I have to wrap my brain around something else. Origami, piano, and most often sleight of hand. The first thing that comes up is usually a card trick or two. I love sleight of hand. I find the mechanics of the actual trick to be magical. The process in which one makes a card disappear, or how a paper rose floats in mid air is quite fascinating to me even when I already know the secret.
I remember when I was a kid and I was desperate to learn magic. I knew of sleight of hand and misdirection, but didn't know how to do it. I needed someone to show me the secret. I checked out books on the subject from the local library, but none of them were any help. They usually explained how to do the most moronic tricks no one would ever want to see let alone perform. Honestly, who cares if I can make it look like a butter knife is stuck to my hand.
I wanted the real stuff. Making a card disappear, I mean really disappear. Or how to pull one from the air with my sleeves rolled up. There was only one magic shop in the next town over, but they were no help. If I wanted to learn a trick I needed to trade for it or pay for it. I had no other tricks to trade, and the money they were asking for was insane. I would go and ask other magicians I would see perform at theme parks or Six Flags, but none of them would let me in. I would always hear tell of "The Code" and how a good magician never reveals his secrets.
Finally I met a magician in a very small shop in a flea market, he felt for me and decided to show me two things. How to make a card disappear, and how to turn a dollar bill into a hundred and back again. This was my first step into understanding how other tricks worked. I learned about practice and showmanship and I learned about the code.
The code basically said that you should never give the secret of a trick away. Ruins the magic. If everyone knew how it was done, then no one would have any fun watching it. I took this to heart. And as I got older, and as I performed more tricks for people, kids would always ask me to show them how to do something, anything. And then I in turn would tell them about the code, and how I could never reveal my secrets. There was one kid in particular who just would not leave me alone. He begged me and pleaded with me. All he wanted to know was how to do one trick. How did I turn that 1 dollar bill into a 50. (I wasn't making much at the time, I didn't have a 100). I felt bad for him. But I stuck to my guns and told him I just couldn't do it.
I remembered this recently. I remembered how disappointed he was. And now looking back on it I feel even worse, because I remember how badly I wanted to learn magic. Something, anything. I remember how all those magicians would snub me and wave me away everytime I begged them for knowledge. I remember how "The Code" was shoved in my face over and over.
I understand the code. I understand and respect how certain things should never be revealed to hold on to that entertaining illusion. And I'm not one to just spill my guts about every trick in the book. But what about those kids that wanna know something to get them started. Like that one kid that one day that I just wouldn't give it up. Nowadays it's little easier. There are a number of magic sites you can go to to purchase the secret of any trick you wanna start practicing. But I still feel a little bad about that kid.
So this ones for you kid. And for all you others out there who are broke and need a place to start working on your craft. Here's a little gem for ya. Here's a video that reveals the secret of turning one bill into another. No sound, black and white, pure and simple demonstration. And it's the only trick I'll give up on video. And as for "The Code". I say with this one, hang the code and hang the rules. They're more like guidelines anyway.
Plus I'm cheating a little here since I know of two other different ways to do this, but hey, at least I'm giving something up.
Dollar Bill Trick Revealed - video powered by Metacafe
I remember when I was a kid and I was desperate to learn magic. I knew of sleight of hand and misdirection, but didn't know how to do it. I needed someone to show me the secret. I checked out books on the subject from the local library, but none of them were any help. They usually explained how to do the most moronic tricks no one would ever want to see let alone perform. Honestly, who cares if I can make it look like a butter knife is stuck to my hand.
I wanted the real stuff. Making a card disappear, I mean really disappear. Or how to pull one from the air with my sleeves rolled up. There was only one magic shop in the next town over, but they were no help. If I wanted to learn a trick I needed to trade for it or pay for it. I had no other tricks to trade, and the money they were asking for was insane. I would go and ask other magicians I would see perform at theme parks or Six Flags, but none of them would let me in. I would always hear tell of "The Code" and how a good magician never reveals his secrets.
Finally I met a magician in a very small shop in a flea market, he felt for me and decided to show me two things. How to make a card disappear, and how to turn a dollar bill into a hundred and back again. This was my first step into understanding how other tricks worked. I learned about practice and showmanship and I learned about the code.
The code basically said that you should never give the secret of a trick away. Ruins the magic. If everyone knew how it was done, then no one would have any fun watching it. I took this to heart. And as I got older, and as I performed more tricks for people, kids would always ask me to show them how to do something, anything. And then I in turn would tell them about the code, and how I could never reveal my secrets. There was one kid in particular who just would not leave me alone. He begged me and pleaded with me. All he wanted to know was how to do one trick. How did I turn that 1 dollar bill into a 50. (I wasn't making much at the time, I didn't have a 100). I felt bad for him. But I stuck to my guns and told him I just couldn't do it.
I remembered this recently. I remembered how disappointed he was. And now looking back on it I feel even worse, because I remember how badly I wanted to learn magic. Something, anything. I remember how all those magicians would snub me and wave me away everytime I begged them for knowledge. I remember how "The Code" was shoved in my face over and over.
I understand the code. I understand and respect how certain things should never be revealed to hold on to that entertaining illusion. And I'm not one to just spill my guts about every trick in the book. But what about those kids that wanna know something to get them started. Like that one kid that one day that I just wouldn't give it up. Nowadays it's little easier. There are a number of magic sites you can go to to purchase the secret of any trick you wanna start practicing. But I still feel a little bad about that kid.
So this ones for you kid. And for all you others out there who are broke and need a place to start working on your craft. Here's a little gem for ya. Here's a video that reveals the secret of turning one bill into another. No sound, black and white, pure and simple demonstration. And it's the only trick I'll give up on video. And as for "The Code". I say with this one, hang the code and hang the rules. They're more like guidelines anyway.
Plus I'm cheating a little here since I know of two other different ways to do this, but hey, at least I'm giving something up.
Dollar Bill Trick Revealed - video powered by Metacafe
Friday, January 5, 2007
Just Keep Swimming
I didn't even really realize it, but I had been knocked on my ass. I knew we all suffered an emotional blow. After my mother in law passed away, I knew it knocked the wind out of everyone. I knew it would affect me, but I didn't realize how much it would affect me. I was trying to put my own feelings aside so I could be a rock for my wife and her family. And in doing that it only prolonged the pain. I felt close to her too after all. I was right there watching her slowly fade away day after day, right up until the cancer finally decided to take her completely. My heart broke watching my wife's agony in losing her mother. The helplessness of not being able to do anything, and then the punishing regret of feeling like you didn't do enough. Then the focus becomes in worrying about my wife. Knowing the best thing I could ever do for her was just be there. Trying to hide my own feelings to keep my strength in holding her up. It took some time for me to let out how I was feeling, to deal with it, and to really take a good look at it. I've never watched someone close to me die before.
That was a little over two months ago. And now it's a New Year.
Through the holidays there's been some rough road, but nothing that couldn't be handled. Some scares, some emotional turmoil, some doubts about the past, and worries about the future. But that's what comes with being married, dealing with a recent death, and trying to get back to aiming high at those goals. 5 Days in to the New Year and I've gotten so much done. Of course the over achiever in me isn't quite satisfied with that, but I've still got time before the first week of the year is done with. Just wanna be able to get a head start on what needs to be done, and a good start on everything else.
And now that I have clearer eyes, and a stronger focus I see that there is so much that needs to be done. So much I need to catch up on. And little tiny bit more I need to rethink.
What sucks about me having a blog is that often I subscribe to the idea that if I speak of something it won't happen. It's the birthday wish syndrome. Ya know, you blow out all the candles and make a wish, but if you tell anyone the wish it won't come true. And because of this I have to find a creative way to describe what's going on without really giving it away. So pardon me if I ever get cryptic and confusing, but these are things I need to make note of, even if it makes no sense to you.
Cryptic Note #1:
The Ultimate Origami. Perhaps it's because I'm just dying to take my fascination with paper art and engineering too far. In the coming months you will see me create something insanely huge and complex out of paper. Perhaps a giant pop-up book. Maybe even a giant paper crane the size of a car. Whatever it is, it's actually necessary for an upcoming production. And it may not all be paper, but the base of it, the heart, the structure will most definitely lie in paper engineering.
Cryptic Note #2:
The machine. Some of you know what the machine is. Some of you may even have been interviewed about the machine. Originally the machine was going to debut on Halloween, but now it seems it's going to be modified to be more of a year round machine, and will make it's debut online hopefully before March. Once again for another production for a very necessary and very curious experiment.
Cryptic Note #3:
Merchants in the Nineteenth Century would build grand sailing ships, hire a crew, secure provisions, and send these ships out to the East Indies and other foreign ports to trade for goods, jewels, gold, etc. There was no communication to these ships once they set out to sail, and often these ships would take months, even years to return with the Merchants' profit. So the return of one of these ships after a long journey was always call for excitement. This is where the expression "Your ship has come in" comes from. Someone would run to the Merchants yelling this as the ship actually did come in. The key to steady business and profit was to send out more than one ship. The more ships you send out, the more chance for profit you have as they return.
I've got more than one ship out. ;)
Ok, ok, enough of that. No more Cryptic Notes.
Sent some packages out today. More DVD screeners out to two fests and two reviewers. But as always, you send em out and then forget about them. Maybe check up on em in a few weeks, but for the most part, let the screener do the work for ya.
The possibility of a North Carolina screening is pending, but I'm not really worried about that right now.
Some people will soon be getting a the official bootleg copy of THE MIDINIGHT SPECIAL, which includes a whole other disc of extras, including the gag reel.
Found the basic location for the ZOMBIE Episode of Monster Cops. Of course what I was aiming for was 5 minutes, but it may be more like 10. Just depends. I've been going back and forth on working on the Untitled Detective Short and the Monster Cops Episode, and now it looks like Monster Cops may be it for the next few months.
Ok, time for some sleep, so I can attempt to be up the same time the sun is. Ignore the following. It's only a test.
That was a little over two months ago. And now it's a New Year.
Through the holidays there's been some rough road, but nothing that couldn't be handled. Some scares, some emotional turmoil, some doubts about the past, and worries about the future. But that's what comes with being married, dealing with a recent death, and trying to get back to aiming high at those goals. 5 Days in to the New Year and I've gotten so much done. Of course the over achiever in me isn't quite satisfied with that, but I've still got time before the first week of the year is done with. Just wanna be able to get a head start on what needs to be done, and a good start on everything else.
And now that I have clearer eyes, and a stronger focus I see that there is so much that needs to be done. So much I need to catch up on. And little tiny bit more I need to rethink.
What sucks about me having a blog is that often I subscribe to the idea that if I speak of something it won't happen. It's the birthday wish syndrome. Ya know, you blow out all the candles and make a wish, but if you tell anyone the wish it won't come true. And because of this I have to find a creative way to describe what's going on without really giving it away. So pardon me if I ever get cryptic and confusing, but these are things I need to make note of, even if it makes no sense to you.
Cryptic Note #1:
The Ultimate Origami. Perhaps it's because I'm just dying to take my fascination with paper art and engineering too far. In the coming months you will see me create something insanely huge and complex out of paper. Perhaps a giant pop-up book. Maybe even a giant paper crane the size of a car. Whatever it is, it's actually necessary for an upcoming production. And it may not all be paper, but the base of it, the heart, the structure will most definitely lie in paper engineering.
Cryptic Note #2:
The machine. Some of you know what the machine is. Some of you may even have been interviewed about the machine. Originally the machine was going to debut on Halloween, but now it seems it's going to be modified to be more of a year round machine, and will make it's debut online hopefully before March. Once again for another production for a very necessary and very curious experiment.
Cryptic Note #3:
Merchants in the Nineteenth Century would build grand sailing ships, hire a crew, secure provisions, and send these ships out to the East Indies and other foreign ports to trade for goods, jewels, gold, etc. There was no communication to these ships once they set out to sail, and often these ships would take months, even years to return with the Merchants' profit. So the return of one of these ships after a long journey was always call for excitement. This is where the expression "Your ship has come in" comes from. Someone would run to the Merchants yelling this as the ship actually did come in. The key to steady business and profit was to send out more than one ship. The more ships you send out, the more chance for profit you have as they return.
I've got more than one ship out. ;)
Ok, ok, enough of that. No more Cryptic Notes.
Sent some packages out today. More DVD screeners out to two fests and two reviewers. But as always, you send em out and then forget about them. Maybe check up on em in a few weeks, but for the most part, let the screener do the work for ya.
The possibility of a North Carolina screening is pending, but I'm not really worried about that right now.
Some people will soon be getting a the official bootleg copy of THE MIDINIGHT SPECIAL, which includes a whole other disc of extras, including the gag reel.
Found the basic location for the ZOMBIE Episode of Monster Cops. Of course what I was aiming for was 5 minutes, but it may be more like 10. Just depends. I've been going back and forth on working on the Untitled Detective Short and the Monster Cops Episode, and now it looks like Monster Cops may be it for the next few months.
Ok, time for some sleep, so I can attempt to be up the same time the sun is. Ignore the following. It's only a test.
Tuesday, January 2, 2007
The Paper
I don't really believe in resolutions, but I guess the closest thing to a resolution for me for this year you would be to learn to make more things out of paper.
I've always loved Origami and paper crafts. I like the idea of making something out of next to nothing. Ya think paper and you think about how weak and easy to tear it is. So taking something like paper and making something substantial out of it really intrigues me. Everything from paper cranes to pop up books, I've always had a fascination with paper art and paper engineering.
Here are a few videos I made on how to create the 3 main things I usually end up making when I have napkins or a sheet of paper.
The Paper Rose / Napkin Rose
Paper Rose - video powered by Metacafe
Paper Stairs Part 1
Make Paper Stairs Part 1 - video powered by Metacafe
Paper Stairs Part 2
Paper Stairs Part 2 - video powered by Metacafe
I've got a Video Blog coming up on the creation of my pop up press kit for THE MIDNIGHT SPECIAL.
I've always loved Origami and paper crafts. I like the idea of making something out of next to nothing. Ya think paper and you think about how weak and easy to tear it is. So taking something like paper and making something substantial out of it really intrigues me. Everything from paper cranes to pop up books, I've always had a fascination with paper art and paper engineering.
Here are a few videos I made on how to create the 3 main things I usually end up making when I have napkins or a sheet of paper.
The Paper Rose / Napkin Rose
Paper Rose - video powered by Metacafe
Paper Stairs Part 1
Make Paper Stairs Part 1 - video powered by Metacafe
Paper Stairs Part 2
Paper Stairs Part 2 - video powered by Metacafe
I've got a Video Blog coming up on the creation of my pop up press kit for THE MIDNIGHT SPECIAL.
Sunday, December 31, 2006
If you do what you've always done, you'll get what you've always gotten
New Years once again. I know I've changed alot over the past few years, but I'd have to say that I've probably changed the most this past year, and definitely in the past 6 months, and in ways I didn't know I could change. I've grown up alot, and that's saying alot, because I felt grown up before. My views on things that have always been static, are now turned around. Nothing too major. I don't believe much in Bigfoot anymore, I don't think the Lochness Monster exists, and I'm pretty sure Oswald acted alone. Shocking news to my fellow Conspiracy Theorists, I apologize. I still love the conspiracies, but I hold them in a different regard and are now mainly for my amusement.
The feelings I thought would never change have changed completely. The feelings I feared would change have only been strengthened. And with all that myself and this family have had to go through, with all the pain, and anguish, I find myself in awe of the power of Love and family. Ok, enough of that. That's really for another post and one I'm certainly not ready for just yet. What I'm really trying to get at is the idea that now more than ever, I'm ready to get back to work at making this new year even more productive then the last. So let's get to it.
As of right now I'm working on:
1) Zombie Episode of Monster Cops. 5 minutes.
2) Untitled Detective Short Film. 5 Minutes.
Which will supplement ...
3) Untitled Detective Screenplay.
4) Misc Vids and Shorts:
- Dinosaur Killers Episodes
- Video Blogs
- Metacafe Vids
- The Super Secret Project 1*
- The Super Secret Project 2
5) Vampire Episode of Monster Cops.
6) Continued Marketing of The Midnight Special.
7) M&(&#$ C@&%#*$ (which is still questionable)*
The zombie episode won't be a problem. I've got a quarter of the footage I need. The rest won't really be a problem to shoot as long as I can secure some minor casting. FX tests pending. One location down, but I may need another one. Also it would be helpful if someone from the cast (or more than one) of TMS came down. I know Terry expressed interest. That would be a huge help in keeping in many of the same characters from the movie.
For the detective short, there is a problem with lighting in the location I have. It takes place in one room, during the day, with plenty of sunlight. My location has no windows. So I'll be rewriting that bit. Plus there are a few items in this location that I cannot move, and the room has to be completely empty. So some improvising is in order. The minor FX in this one are covered as well.
But as for other upcoming projects, I'm going to need assitance from a professional FX company. Been talking to a couple of em. One in L.A. and another in Canada. A little bit too pricey for what I have, but definitely folks I'd like to keep in contact with once we have a real budget to work with.
As for where the funding is coming from for this, well for the most part, these are all no budget productions, as always. But I'm in the midst of working out a deal with a company for a small bit of funding for the other projects. This is not to mention what may be brewing with our little indie film THE MIDNIGHT SPECIAL. It's going to be an interesting next few months. Until then we work no budget, as usual, and keep hittin that day job. And of course I'll be posting the little behind the scenes tricks on all these productions and more.
Also some interesting developments at the day job. Digital technology is really picking up within the movie theatre industry. This past year UltraStar Theatres in Southern Cali went 100 percent digital. Carmike Theatres are in the process of going the same route. I've been working as a projection tech for several years now and I'm blown away each day I work with the digital equipment. I find it odd how often I actually have to use a computer to fix a problem in the projection booth. In the past it was always a splicer and tape. Now if you don't have a familiarity with computers to go along with projection experience, you're pretty much useless. Thank god I've been doing both for a while now.
We're only a few years away from having a complete digital system replacing these old 35mm projectors in almost every theatre across the country. It's scary this equipment I get to work with. The things that these computers and digital projectors are capable of are mind blowing. I swear to God the other day the main server booted up, took a deep Darth Vader breath, and in this deep Dr. Claw voice, told me to Fuck off. Seriously. The system is filled with glitches, of course, but the speed at which they are being fixed is phenomenal.
I have to say though, as much as I love 35mm film projectors, this new digital technology will really help out indie moviemakers even more so then it previously has. No need to bust out 3 to 4 grand to transfer your movie to film. Now you can keep your movie digital, film look it if you want to, have it loaded into a portable hard drive and ingested in to the main LMS, or just simply burn a high quality DVD, or even hook up your laptop or camera. Screening DVDs through a digital projector is how we've done screenings in the past, but now the ease at how this can be done and then projected at such great quality, it really is mind blowing.
It's an interesting time to be a movie maker and a projectionist. I'm having a blast being both.
Happy New Year! God I miss being in Texas with a house full of Filipinos singing bad karaoke on New Years Eve. Wherever you are, I hope this will be an amazing new year for all of us.
The feelings I thought would never change have changed completely. The feelings I feared would change have only been strengthened. And with all that myself and this family have had to go through, with all the pain, and anguish, I find myself in awe of the power of Love and family. Ok, enough of that. That's really for another post and one I'm certainly not ready for just yet. What I'm really trying to get at is the idea that now more than ever, I'm ready to get back to work at making this new year even more productive then the last. So let's get to it.
As of right now I'm working on:
1) Zombie Episode of Monster Cops. 5 minutes.
2) Untitled Detective Short Film. 5 Minutes.
Which will supplement ...
3) Untitled Detective Screenplay.
4) Misc Vids and Shorts:
- Dinosaur Killers Episodes
- Video Blogs
- Metacafe Vids
- The Super Secret Project 1*
- The Super Secret Project 2
5) Vampire Episode of Monster Cops.
6) Continued Marketing of The Midnight Special.
7) M&(&#$ C@&%#*$ (which is still questionable)*
The zombie episode won't be a problem. I've got a quarter of the footage I need. The rest won't really be a problem to shoot as long as I can secure some minor casting. FX tests pending. One location down, but I may need another one. Also it would be helpful if someone from the cast (or more than one) of TMS came down. I know Terry expressed interest. That would be a huge help in keeping in many of the same characters from the movie.
For the detective short, there is a problem with lighting in the location I have. It takes place in one room, during the day, with plenty of sunlight. My location has no windows. So I'll be rewriting that bit. Plus there are a few items in this location that I cannot move, and the room has to be completely empty. So some improvising is in order. The minor FX in this one are covered as well.
But as for other upcoming projects, I'm going to need assitance from a professional FX company. Been talking to a couple of em. One in L.A. and another in Canada. A little bit too pricey for what I have, but definitely folks I'd like to keep in contact with once we have a real budget to work with.
As for where the funding is coming from for this, well for the most part, these are all no budget productions, as always. But I'm in the midst of working out a deal with a company for a small bit of funding for the other projects. This is not to mention what may be brewing with our little indie film THE MIDNIGHT SPECIAL. It's going to be an interesting next few months. Until then we work no budget, as usual, and keep hittin that day job. And of course I'll be posting the little behind the scenes tricks on all these productions and more.
Also some interesting developments at the day job. Digital technology is really picking up within the movie theatre industry. This past year UltraStar Theatres in Southern Cali went 100 percent digital. Carmike Theatres are in the process of going the same route. I've been working as a projection tech for several years now and I'm blown away each day I work with the digital equipment. I find it odd how often I actually have to use a computer to fix a problem in the projection booth. In the past it was always a splicer and tape. Now if you don't have a familiarity with computers to go along with projection experience, you're pretty much useless. Thank god I've been doing both for a while now.
We're only a few years away from having a complete digital system replacing these old 35mm projectors in almost every theatre across the country. It's scary this equipment I get to work with. The things that these computers and digital projectors are capable of are mind blowing. I swear to God the other day the main server booted up, took a deep Darth Vader breath, and in this deep Dr. Claw voice, told me to Fuck off. Seriously. The system is filled with glitches, of course, but the speed at which they are being fixed is phenomenal.
I have to say though, as much as I love 35mm film projectors, this new digital technology will really help out indie moviemakers even more so then it previously has. No need to bust out 3 to 4 grand to transfer your movie to film. Now you can keep your movie digital, film look it if you want to, have it loaded into a portable hard drive and ingested in to the main LMS, or just simply burn a high quality DVD, or even hook up your laptop or camera. Screening DVDs through a digital projector is how we've done screenings in the past, but now the ease at how this can be done and then projected at such great quality, it really is mind blowing.
It's an interesting time to be a movie maker and a projectionist. I'm having a blast being both.
Happy New Year! God I miss being in Texas with a house full of Filipinos singing bad karaoke on New Years Eve. Wherever you are, I hope this will be an amazing new year for all of us.
Friday, December 29, 2006
Contest Round Up
I was wrong about being able to work on FX Friday. That'll most likely be pushed back to Monday or Tuesday, as it seems this script for this untitled detective short has decided to take presidence (sp?). Also it seems I have to work. Seems appropriate somehow that I would be spending the first of the year killing zombies.
In doing research for this particular short, I find myself looking up subjects on google along the lines of, handcuffs, binary explosives, and firearms, and I begin to wonder if the government can somehow secretly see what I'm searching for and if they think that I'm some sort of rogue terrorist that has a bondage fetish. I assure you all these subjects will most likely be featured in this newest short (except for the bondage). Although the topic of big brother spying on you does make one paranoid about the topics of porn one searches for.
Anyhoo, I've decided to compile some of the current contests for you digital video enthusiasts. Most of these I will most likely not be partaking in due to time constraints, but it's fun to contemplate what kind of commercial one could shoot for JVC, and Dove, and the Coke contest does seem intruiging.
IFC MEDIA LAB Independent Spirit Awards Short Film Contest 2007
Make a short film (90 seconds or less) with the theme:
What does independence mean to you?
May give this one a shot. We've already got The Midnight Special Trailer uploaded on the regular IFC Media Lab, why not throw them one more.
Deadline: January 19th, 2007
Carson Daily's It's Your Show.
It's like a Ghetto version of triggerstreet.
Deadline: On going.
And speaking of triggerstreet
Kevin Spacey's TriggerStreet 3rd Season Contest Begins Soon.
Still my favorite, granted I've only been on the site a few times this year. I still catch some really great shorts on this one and I like the contest structure.
Deadline: On going.
JVC Create Our Commercial
Oops, my bad. This one ends in two days. Well good luck. :)
COCA-COLA Poetry In Motion Video Contest
That whole Mentos and Coke fiasco really started something.
Deadline: Not a clue.
DOVE Cream Oil Video Contest
Sorry fellas, this ones for the ladies only. Make a TV spot for Dove.
Deadline: January 15th, 2007.
Make Your Mark
Short film contest offering huge money.
Deadline: January 3rd, 2007. Hurry.
The First Annual Francis Coppola Presents Rosso Bianco Theater Movie Contest
The winning short gets to have images from the movie put on a bottle of wine. Something all aspiring filmmakers really want. Thanks Francis.
Deadline: April 30th, 2007
SHIFTING BASELINES
Enter your 60 second short about Shifting Baselines. Find out for yourself what that means. Prizes include: Final Cut Studio and $2500 cash. Celebrity Judges include Zooey Deschanel and Michael Rapaport.
Deadline: March 1st, 2007
Convenient Truth aka TreeHugger Contest
An Inconvenient Truth presented a problem. They want you to show them how to solve this problem. Create an actionable, inspiring follow-up to the movie. But you've got 2 minutes to do it in.
Deadline: February 28th, 2007
VBOXX Video Contest
Honestly, this one doesn't look all that appealing, and actually looks like a big hassle.
Zannel Fest
Submit a kick ass short film under 10 minutes and you could win cash and a rubber chicken. No really.
Deadline: April 1st, 2007
Panasonic Undeniable Power Video Contest
Create a live-action or animated video that demonstrates the Undeniable Power of something. Win panasonic products. Enter your 5 minute short. And checkout Jamie Kennedy's video intro on youtube. Pretty funny.
Deadline: January 11th, 2007
I'll post more as they come up.
In doing research for this particular short, I find myself looking up subjects on google along the lines of, handcuffs, binary explosives, and firearms, and I begin to wonder if the government can somehow secretly see what I'm searching for and if they think that I'm some sort of rogue terrorist that has a bondage fetish. I assure you all these subjects will most likely be featured in this newest short (except for the bondage). Although the topic of big brother spying on you does make one paranoid about the topics of porn one searches for.
Anyhoo, I've decided to compile some of the current contests for you digital video enthusiasts. Most of these I will most likely not be partaking in due to time constraints, but it's fun to contemplate what kind of commercial one could shoot for JVC, and Dove, and the Coke contest does seem intruiging.
IFC MEDIA LAB Independent Spirit Awards Short Film Contest 2007
Make a short film (90 seconds or less) with the theme:
What does independence mean to you?
May give this one a shot. We've already got The Midnight Special Trailer uploaded on the regular IFC Media Lab, why not throw them one more.
Deadline: January 19th, 2007
Carson Daily's It's Your Show.
It's like a Ghetto version of triggerstreet.
Deadline: On going.
And speaking of triggerstreet
Kevin Spacey's TriggerStreet 3rd Season Contest Begins Soon.
Still my favorite, granted I've only been on the site a few times this year. I still catch some really great shorts on this one and I like the contest structure.
Deadline: On going.
JVC Create Our Commercial
Oops, my bad. This one ends in two days. Well good luck. :)
COCA-COLA Poetry In Motion Video Contest
That whole Mentos and Coke fiasco really started something.
Deadline: Not a clue.
DOVE Cream Oil Video Contest
Sorry fellas, this ones for the ladies only. Make a TV spot for Dove.
Deadline: January 15th, 2007.
Make Your Mark
Short film contest offering huge money.
Deadline: January 3rd, 2007. Hurry.
The First Annual Francis Coppola Presents Rosso Bianco Theater Movie Contest
The winning short gets to have images from the movie put on a bottle of wine. Something all aspiring filmmakers really want. Thanks Francis.
Deadline: April 30th, 2007
SHIFTING BASELINES
Enter your 60 second short about Shifting Baselines. Find out for yourself what that means. Prizes include: Final Cut Studio and $2500 cash. Celebrity Judges include Zooey Deschanel and Michael Rapaport.
Deadline: March 1st, 2007
Convenient Truth aka TreeHugger Contest
An Inconvenient Truth presented a problem. They want you to show them how to solve this problem. Create an actionable, inspiring follow-up to the movie. But you've got 2 minutes to do it in.
Deadline: February 28th, 2007
VBOXX Video Contest
Honestly, this one doesn't look all that appealing, and actually looks like a big hassle.
Zannel Fest
Submit a kick ass short film under 10 minutes and you could win cash and a rubber chicken. No really.
Deadline: April 1st, 2007
Panasonic Undeniable Power Video Contest
Create a live-action or animated video that demonstrates the Undeniable Power of something. Win panasonic products. Enter your 5 minute short. And checkout Jamie Kennedy's video intro on youtube. Pretty funny.
Deadline: January 11th, 2007
I'll post more as they come up.
Thursday, December 28, 2006
And The Hits Just Keep On Coming.
After a few delays today and some minor setbacks, I finally got to sort out the actual production schedule and production list in order of importance. Let's just say I'll have puh-lenty to keep me occupied with over the next 3 months. But first priority is this Monster Cops Episode. It's 5 minutes to start, and will most likely showcase more of the horror and comedy, and less of the dramatic empathy I'm so dying to display in an episode. This one is definitely going to be bloody. So at least it'll be fun.
Friday is all about FX work. I'll be documenting the creation of a no budget squib and blood splatter. And quite possibly how I'll be testing out a zombie chest explosion without making it look too over the top, Kung Fu movie, cheesy. Also the subtle art of shooting a zombie in the brain. Defintely have to look into pond liners and plenty of tarp, because the only place around here that I can get bloody, I can't actually get bloody.
There may also be a video blog or two on the horizon, it really just depends on how everything else goes. Aside from the MC Episode, there is at least one short after that, possibly overlapping, and all the while I've got some screenwriting to do. I've also got to upgrade the memory on the computer and figure out why it won't let me burn DVD's, which sucks cause I got people waiting for some copies of a GAG REEL as well as more screeners to send out.
Hope everyone had a good Christmas. It's been a bit on the rough side here, but nothing that we couldn't handle. Some unexpected help in places, and definitely some very amusing times have been had, especially after last night. Special thanks to 5 very funny women for that.
There is a post coming about the roller coaster ride of emotion and the current tragedy, but I'm not quite ready to spill it just yet. So bare with me. In the meantime, I go back to editing for another hour, and then sleep it is. Afterwhich I jump back on the editing horse.
I'll be back in a bit.
- P
Friday is all about FX work. I'll be documenting the creation of a no budget squib and blood splatter. And quite possibly how I'll be testing out a zombie chest explosion without making it look too over the top, Kung Fu movie, cheesy. Also the subtle art of shooting a zombie in the brain. Defintely have to look into pond liners and plenty of tarp, because the only place around here that I can get bloody, I can't actually get bloody.
There may also be a video blog or two on the horizon, it really just depends on how everything else goes. Aside from the MC Episode, there is at least one short after that, possibly overlapping, and all the while I've got some screenwriting to do. I've also got to upgrade the memory on the computer and figure out why it won't let me burn DVD's, which sucks cause I got people waiting for some copies of a GAG REEL as well as more screeners to send out.
Hope everyone had a good Christmas. It's been a bit on the rough side here, but nothing that we couldn't handle. Some unexpected help in places, and definitely some very amusing times have been had, especially after last night. Special thanks to 5 very funny women for that.
There is a post coming about the roller coaster ride of emotion and the current tragedy, but I'm not quite ready to spill it just yet. So bare with me. In the meantime, I go back to editing for another hour, and then sleep it is. Afterwhich I jump back on the editing horse.
I'll be back in a bit.
- P
Wednesday, December 27, 2006
Gerald Ford
Former President Gerald Ford, history's longest-living President, is dead Tuesday night at the age of 93.
Rest in peace Mr. President.
Rest in peace Mr. President.
Tuesday, December 26, 2006
James Brown, Godfather Of Soul
Thank you for the music, for the entertainment, and most certainly for the funk. You always gave one hell of a performance.
Rest in peace dear sir.
And now in honor of his passing, and of the new and last Rocky movie ...
Rest in peace dear sir.
And now in honor of his passing, and of the new and last Rocky movie ...
Sunday, December 24, 2006
The Writing Demon
I think we all secretly want to be magicians.
A blank piece of paper is God's way of telling us how hard it is to be God.
- Sidney Sheldon
It's true. Essentially you are playing God when you write. And many people often whine to God about life and wish he would just fix it already. Many people often wish they were God or at least had her powers. Well you wanna know what it's like to be God, pull up your chair to a blank piece of paper or to that blank word document on your computer. Sidney Sheldon may very well have said it right. Writing is like playing God. And from my personal experience, it's painful, it's agonizing, it's frustrating, it's hellish, it's a burden on your heart and a black mark on your soul. And there is no truer bliss. Which reminds me of another quote.
It's tougher than Himalayan yak jerky on january. But, as any creative person will tell you, there are days when there's absolutely nothing sweeter than creating something from nothing.
- Richard Krzemien
Ain't that the truth. There is absolutely nothing sweeter than creating something from nothing. Something from nothing. Hmm.
I bring this up because that's where I'm at right now. Yeah, yeah, production on shorts are pending, still working on Monster Cops episodes, and marketing The Midnight Special. I'll never stop being a movie maker, but along with that I'll never stop being a writer. And I'm at that point right now. Staring down the blank page. Finding that road that'll lead me straight to that fucking Demon. The Writing Demon that wrestles me to the ground right when I think I've got my pace going. What sucks is that he also likes to kick me in groin, point and laugh at me as I'm in pain, and then he always says the same thing and it never makes any sense, "How do ya like that Francis?!" Then he gives me a wet willy, does some sort of strange Xena Warrior Princess combat yell, and then runs off into the darkness. So weird. He's got fucked up teeth to. I mean like evil Vampire teeth, but also like red neck hasn't seen a toothbrush in ages teeth. He's missing a fang or two. And who the fuck is Francis?
I don't really know any other way to do it. I do start the same way. First the brainstorming section. I buy a brand new slim, 3 ring, black folder. I three hole punch 50 sheets of white paper, stick em in the rings, close the folder, set out a Pentel RSVP black 91 writing pen. And then I sit and stare at the closed folder. If you ever happen upon me as this is happening, you'd probably think I was praying. I always contemplate with my hands together as if in prayer, right before I open the folder. I guess all great quests must start with some form of ceremony or ritual. After that I fling the folder open and stare down the page. I start writing. Not with the capped pen still sitting on the desk, mind you. I'm writing in my head.
It is of course a screenplay I'm working on once again. So what I'm really doing is seeing the movie in my head. And you'd think after all this time, I'd have it down. All the little tricks and gimmicks to writing a movie. Writing isn't about tricks and gimmicks. Certainly not when it's a comedy/mystery you're trying to write. But the biggest hurdle is the fact that you have to write low budget. Meaning I'm trying to piece together scenes that I can shoot with what little resources I have here. And I'm not home in Texas, where I know where everything is. I know how to get whatever I need there. I'm in North Carolina, in an area that I'm not completely familiar with. Mainly surrounded by much forest. Hey, forest is good. I can write comedic mysteries in forests.
So I have a picture in my head. I actually pick up the pen. I write a few things down, knowing full well that I'm going to be scribbling it out just minutes from now. Oh, here comes the first scribble. What? I wrote down a scene involving 3 characters. Who the hell are going to be playing these three characters when I know good and well I'll most likely only be able to get 2. I even went into detail with the dialogue being about how cold the rain is. This may not necessarily be shot in winter, and even if it is, there is no garuntee that it will be cold or raining that day. So let's stick to things we can control. I am afterall only God on paper.
The limitations are endless when it comes to finding that creative niche. Over and over things go in and out of your brain. The writer in me says, "I have this great scene idea that takes place in a warehouse, surely we can find a warehouse somewhere." Then the director in me kicks in going, "don't tie the scene to a warehouse if it's not on the list of places that are garunteed." The come the random thoughts. "Ooh! A scene that involves flying pigs in a Russian Orthodox Cathedral! Dammit! If only we had a delorean and a time flux capacitor!" "I've got it! Talking Animals!" It's easy and sometimes necessary to go on tangents. Which reminds me of a scene from The West Wing.
Sam and Toby are working on the President's Thanksgiving Proclamation Speech.
SAM [cont.]
A small band of pilgrims sought out a
place in the New World where they could
worship according to their own beliefs...
and solve crimes.
TOBY
Sam...
SAM
It'd be good.
TOBY
Read the thing.
SAM
By day, they churn butter and worship
according to their own beliefs and by
night, they solve crimes.
TOBY
Read the thing.
SAM
Pilgrim detectives.
TOBY
Do you see me laughing?
SAM
I think you're laughing
on the inside.
TOBY
Okay.
SAM
With the big hats.
The West Wing Season 2. Episode 30 'SHIBBOLETH'
TELEPLAY BY: AARON SORKIN
STORY BY: PATRICK H. CADDELL
Ok, gotta buckle down. What am I working on? Am I working on the script for that feature that I may or may not shoot, or am I working on that 5 minute short that I know that I will shoot? Believe it or not I pick the hardest of the two to work on. The 5 minute short. Heck I need to get more shorts out there on the internet and in fests and stuff, lets' get to work on that. With the feature I can go hog wild and then go back and correct all the impossible things I cannot possibly shoot. With 5 pages/minutes, we're talking about trying to nail it as close to the mark as possible. I mean if I go hog wild now and write in impossible scenes, I'd only be wasting time, because in 10 minutes I gotta go back and look at reality. So I go through the routine of talking outloud as I pace. This cannot be avoided with me. I have to talk outloud, I have to move around. And in the midst of trying to write in my head, I have to do other things within the time I'm walking and talking. I have to do origami, I have to practice card tricks, I have to scream, jog in place, throw things, do a little dance, make a little love, get down tonight. All these things are necessary. I don't know why, they just are.
It's agonizing. I mean it's a real physical hurt to just get to that creative point, trying to come up with that idea. And it's not one that I can get help with. I have to be alone. I have to have my privacy. All by my lonesome, feeling that pain, trying to give birth to something. Some sort of strange immaculate conception of which the labor has no definite end. Could take hours, could take months. But in 5 pages and 5 minutes a story can be told with the resources at hand. And it's right there. It's staring right at me and I can't see it fully, but I know it's right there. That moment of brilliance is right there. THERE! Over by the trash can, next to the fridge, it's right there. Then it's gone. Stolen, taken, yanked away by guess who.
INT. ROOM - NIGHT
PATRICK stares blankly at "It" as THE WRITING DEMON grabs hold of it and begins to run.
PATRICK
Hey!
DEMON
What?
PATRICK
For just like, once, could you just hand
that to me. Or at the very least leave it in
one place so I can grab hold of it?
The Demon is about to turn away as an evil smirk grows on his face.
PATRICK
I'll give you 5 bucks.
The Demon laughs at this.
DEMON
20.
PATRICK
10 bucks. Ooh...
Patrick searches his pockets.
PATRICK (con't)
and a deck or cards. And a stick of gum.
DEMON
Is it sugarless?
PATRICK
Yes.
DEMON
It has to be sugarless.
PATRICK
Like it matters with your teeth.
The Demon turns around upset. Patrick panics.
PATRICK
I've got CD's in the car.
DEMON
Like what?
PATRICK
Cold Play.
DEMON
No thank you.
PATRICK
AC/DC, Gnarls Barkley.
Ooh, I've got Public Enemy.
DEMON
Apocalypse 91?
PATRICK
No it's Fear Of A Black Planet.
DEMON
You'd give up Fear Of A Black Planet?
Patrick thinks about this.
PATRICK
I can burn you a copy.
DEMON
Or you can keep the copy and
I can have the CD.
PATRICK
What's wrong with the copy?
DEMON
I like liner notes. Makes me feel like
I really have the whole package, like
I've really got something, ya know.
PATRICK
Yeah like Vinyl. Album cover and all.
It's all about the music, sure, but you feel
like you've got something substantial and
not just something you burned or downloaded.
DEMON
Exactly.
Patrick smiles. They're really getting along.
PATRICK
(Smiling)
Alright then. We have a deal.
The Demon smiles. But the smile slowly turns to a pout.
DEMON
(Angry)
Screw you Francis!
The Demon runs off with "It". Patrick is confused.
PATRICK
Wait! No wait! I have ABBA!
He pauses to see if there is a response.
PATRICK (con't)
Fleetwood Mac?
Another pause.
PATRICK (con't)
Starland Vocal Band?!
Patrick gives up and heads back to the desk. He stops suddenly
and turns back to the Demon's direction.
PATRICK (con't)
Who the fuck is Francis?
CUT TO BLACK
And so it is that the agony continues until you can get back to "It". That idea, that moment of wonder. That little spark to get things going. And once you're going it's not an easy path your on. There is no such thing as writing, only rewriting. The labor pains can last you a while. But once it's all said and done and your baby is born. It is a sight to be hold. And all the agony, frustration, and pain was worth it.
Then you do it all over again.
Let's face it, that's the most addicting part of playing God on paper. Creating. Creating is an addiction. Especially when we're trying to create something out of what is seemingly nothing. And I think it's true for most things, whether your painting a picture, knitting a sock, constructing a building, or writing a movie. We all like the feeling of starting with what seems like nothing and creating something out of it.
Like pulling cards out of the air. Ya know, like a magician.
Follow the path of your aroused thought, and you will soon meet this infernal inscription: There is nothing so beautiful as that which does not exist.
- Paul Valery
A blank piece of paper is God's way of telling us how hard it is to be God.
- Sidney Sheldon
It's true. Essentially you are playing God when you write. And many people often whine to God about life and wish he would just fix it already. Many people often wish they were God or at least had her powers. Well you wanna know what it's like to be God, pull up your chair to a blank piece of paper or to that blank word document on your computer. Sidney Sheldon may very well have said it right. Writing is like playing God. And from my personal experience, it's painful, it's agonizing, it's frustrating, it's hellish, it's a burden on your heart and a black mark on your soul. And there is no truer bliss. Which reminds me of another quote.
It's tougher than Himalayan yak jerky on january. But, as any creative person will tell you, there are days when there's absolutely nothing sweeter than creating something from nothing.
- Richard Krzemien
Ain't that the truth. There is absolutely nothing sweeter than creating something from nothing. Something from nothing. Hmm.
I bring this up because that's where I'm at right now. Yeah, yeah, production on shorts are pending, still working on Monster Cops episodes, and marketing The Midnight Special. I'll never stop being a movie maker, but along with that I'll never stop being a writer. And I'm at that point right now. Staring down the blank page. Finding that road that'll lead me straight to that fucking Demon. The Writing Demon that wrestles me to the ground right when I think I've got my pace going. What sucks is that he also likes to kick me in groin, point and laugh at me as I'm in pain, and then he always says the same thing and it never makes any sense, "How do ya like that Francis?!" Then he gives me a wet willy, does some sort of strange Xena Warrior Princess combat yell, and then runs off into the darkness. So weird. He's got fucked up teeth to. I mean like evil Vampire teeth, but also like red neck hasn't seen a toothbrush in ages teeth. He's missing a fang or two. And who the fuck is Francis?
I don't really know any other way to do it. I do start the same way. First the brainstorming section. I buy a brand new slim, 3 ring, black folder. I three hole punch 50 sheets of white paper, stick em in the rings, close the folder, set out a Pentel RSVP black 91 writing pen. And then I sit and stare at the closed folder. If you ever happen upon me as this is happening, you'd probably think I was praying. I always contemplate with my hands together as if in prayer, right before I open the folder. I guess all great quests must start with some form of ceremony or ritual. After that I fling the folder open and stare down the page. I start writing. Not with the capped pen still sitting on the desk, mind you. I'm writing in my head.
It is of course a screenplay I'm working on once again. So what I'm really doing is seeing the movie in my head. And you'd think after all this time, I'd have it down. All the little tricks and gimmicks to writing a movie. Writing isn't about tricks and gimmicks. Certainly not when it's a comedy/mystery you're trying to write. But the biggest hurdle is the fact that you have to write low budget. Meaning I'm trying to piece together scenes that I can shoot with what little resources I have here. And I'm not home in Texas, where I know where everything is. I know how to get whatever I need there. I'm in North Carolina, in an area that I'm not completely familiar with. Mainly surrounded by much forest. Hey, forest is good. I can write comedic mysteries in forests.
So I have a picture in my head. I actually pick up the pen. I write a few things down, knowing full well that I'm going to be scribbling it out just minutes from now. Oh, here comes the first scribble. What? I wrote down a scene involving 3 characters. Who the hell are going to be playing these three characters when I know good and well I'll most likely only be able to get 2. I even went into detail with the dialogue being about how cold the rain is. This may not necessarily be shot in winter, and even if it is, there is no garuntee that it will be cold or raining that day. So let's stick to things we can control. I am afterall only God on paper.
The limitations are endless when it comes to finding that creative niche. Over and over things go in and out of your brain. The writer in me says, "I have this great scene idea that takes place in a warehouse, surely we can find a warehouse somewhere." Then the director in me kicks in going, "don't tie the scene to a warehouse if it's not on the list of places that are garunteed." The come the random thoughts. "Ooh! A scene that involves flying pigs in a Russian Orthodox Cathedral! Dammit! If only we had a delorean and a time flux capacitor!" "I've got it! Talking Animals!" It's easy and sometimes necessary to go on tangents. Which reminds me of a scene from The West Wing.
Sam and Toby are working on the President's Thanksgiving Proclamation Speech.
SAM [cont.]
A small band of pilgrims sought out a
place in the New World where they could
worship according to their own beliefs...
and solve crimes.
TOBY
Sam...
SAM
It'd be good.
TOBY
Read the thing.
SAM
By day, they churn butter and worship
according to their own beliefs and by
night, they solve crimes.
TOBY
Read the thing.
SAM
Pilgrim detectives.
TOBY
Do you see me laughing?
SAM
I think you're laughing
on the inside.
TOBY
Okay.
SAM
With the big hats.
The West Wing Season 2. Episode 30 'SHIBBOLETH'
TELEPLAY BY: AARON SORKIN
STORY BY: PATRICK H. CADDELL
Ok, gotta buckle down. What am I working on? Am I working on the script for that feature that I may or may not shoot, or am I working on that 5 minute short that I know that I will shoot? Believe it or not I pick the hardest of the two to work on. The 5 minute short. Heck I need to get more shorts out there on the internet and in fests and stuff, lets' get to work on that. With the feature I can go hog wild and then go back and correct all the impossible things I cannot possibly shoot. With 5 pages/minutes, we're talking about trying to nail it as close to the mark as possible. I mean if I go hog wild now and write in impossible scenes, I'd only be wasting time, because in 10 minutes I gotta go back and look at reality. So I go through the routine of talking outloud as I pace. This cannot be avoided with me. I have to talk outloud, I have to move around. And in the midst of trying to write in my head, I have to do other things within the time I'm walking and talking. I have to do origami, I have to practice card tricks, I have to scream, jog in place, throw things, do a little dance, make a little love, get down tonight. All these things are necessary. I don't know why, they just are.
It's agonizing. I mean it's a real physical hurt to just get to that creative point, trying to come up with that idea. And it's not one that I can get help with. I have to be alone. I have to have my privacy. All by my lonesome, feeling that pain, trying to give birth to something. Some sort of strange immaculate conception of which the labor has no definite end. Could take hours, could take months. But in 5 pages and 5 minutes a story can be told with the resources at hand. And it's right there. It's staring right at me and I can't see it fully, but I know it's right there. That moment of brilliance is right there. THERE! Over by the trash can, next to the fridge, it's right there. Then it's gone. Stolen, taken, yanked away by guess who.
INT. ROOM - NIGHT
PATRICK stares blankly at "It" as THE WRITING DEMON grabs hold of it and begins to run.
PATRICK
Hey!
DEMON
What?
PATRICK
For just like, once, could you just hand
that to me. Or at the very least leave it in
one place so I can grab hold of it?
The Demon is about to turn away as an evil smirk grows on his face.
PATRICK
I'll give you 5 bucks.
The Demon laughs at this.
DEMON
20.
PATRICK
10 bucks. Ooh...
Patrick searches his pockets.
PATRICK (con't)
and a deck or cards. And a stick of gum.
DEMON
Is it sugarless?
PATRICK
Yes.
DEMON
It has to be sugarless.
PATRICK
Like it matters with your teeth.
The Demon turns around upset. Patrick panics.
PATRICK
I've got CD's in the car.
DEMON
Like what?
PATRICK
Cold Play.
DEMON
No thank you.
PATRICK
AC/DC, Gnarls Barkley.
Ooh, I've got Public Enemy.
DEMON
Apocalypse 91?
PATRICK
No it's Fear Of A Black Planet.
DEMON
You'd give up Fear Of A Black Planet?
Patrick thinks about this.
PATRICK
I can burn you a copy.
DEMON
Or you can keep the copy and
I can have the CD.
PATRICK
What's wrong with the copy?
DEMON
I like liner notes. Makes me feel like
I really have the whole package, like
I've really got something, ya know.
PATRICK
Yeah like Vinyl. Album cover and all.
It's all about the music, sure, but you feel
like you've got something substantial and
not just something you burned or downloaded.
DEMON
Exactly.
Patrick smiles. They're really getting along.
PATRICK
(Smiling)
Alright then. We have a deal.
The Demon smiles. But the smile slowly turns to a pout.
DEMON
(Angry)
Screw you Francis!
The Demon runs off with "It". Patrick is confused.
PATRICK
Wait! No wait! I have ABBA!
He pauses to see if there is a response.
PATRICK (con't)
Fleetwood Mac?
Another pause.
PATRICK (con't)
Starland Vocal Band?!
Patrick gives up and heads back to the desk. He stops suddenly
and turns back to the Demon's direction.
PATRICK (con't)
Who the fuck is Francis?
CUT TO BLACK
And so it is that the agony continues until you can get back to "It". That idea, that moment of wonder. That little spark to get things going. And once you're going it's not an easy path your on. There is no such thing as writing, only rewriting. The labor pains can last you a while. But once it's all said and done and your baby is born. It is a sight to be hold. And all the agony, frustration, and pain was worth it.
Then you do it all over again.
Let's face it, that's the most addicting part of playing God on paper. Creating. Creating is an addiction. Especially when we're trying to create something out of what is seemingly nothing. And I think it's true for most things, whether your painting a picture, knitting a sock, constructing a building, or writing a movie. We all like the feeling of starting with what seems like nothing and creating something out of it.
Like pulling cards out of the air. Ya know, like a magician.
Follow the path of your aroused thought, and you will soon meet this infernal inscription: There is nothing so beautiful as that which does not exist.
- Paul Valery
Let's Say Thanks
Thanks to Crystal for passing this on to me.
Say thanks to our troops overseas. Let em know we haven't forgotten them.
www.letssaythanks.com
Say thanks to our troops overseas. Let em know we haven't forgotten them.
www.letssaythanks.com
Saturday, December 23, 2006
Video Round Up
Here are a few vids I find very creative and, dare I say, brilliant. Some really creative stuff here. The last one I can't seem to get out of my head.
Animator Vs. Animation
Animator Vs. Animation Part 2
HellHoles Episode 1
Batman: Dead End
Before Batman Begins, this was the most impressive rendition of Batman since the original Burton 1 and 2. Great idea and excellent execution.
405
405 was the first composite fx short to really get some attention. It was a wake up call to most indies that it was possible to achieve big budget fx on the independent level.
The last few vids are from SNL. But I have to point out that they were made possible by Andy Samberg and the original crew he rolled with called The Lonely Island. In my opinion The Lonely Island is one of the best things to ever happen to SNL. They've been responsible for much of the Video Recuts and Digital Shorts. They were always good at making great comedy/parody music videos, but now on SNL they can use big celebs in them. Genius. I never thought I'd ever see Tom Hanks or Natalie Portman like this. Some great beats too.
Natalie Portman and Andy Samberg "Gangsta Rap"
Tom Hanks and Andy Samberg "Please Don't Cut My Testicles"
Tom Hanks - My Testicles - video powered by Metacafe
Justin Timberlake and Andy Samberg "Dick In A Box"
Be sure to check out Jorma, Akiva, and Andy aka THE LONELY ISLAND. Watch their rejected Pilot for their Fox Comedy Show "Awesome Town" and check out "The Bu".
Animator Vs. Animation
Animator Vs. Animation Part 2
HellHoles Episode 1
Batman: Dead End
Before Batman Begins, this was the most impressive rendition of Batman since the original Burton 1 and 2. Great idea and excellent execution.
405
405 was the first composite fx short to really get some attention. It was a wake up call to most indies that it was possible to achieve big budget fx on the independent level.
The last few vids are from SNL. But I have to point out that they were made possible by Andy Samberg and the original crew he rolled with called The Lonely Island. In my opinion The Lonely Island is one of the best things to ever happen to SNL. They've been responsible for much of the Video Recuts and Digital Shorts. They were always good at making great comedy/parody music videos, but now on SNL they can use big celebs in them. Genius. I never thought I'd ever see Tom Hanks or Natalie Portman like this. Some great beats too.
Natalie Portman and Andy Samberg "Gangsta Rap"
Tom Hanks and Andy Samberg "Please Don't Cut My Testicles"
Tom Hanks - My Testicles - video powered by Metacafe
Justin Timberlake and Andy Samberg "Dick In A Box"
Be sure to check out Jorma, Akiva, and Andy aka THE LONELY ISLAND. Watch their rejected Pilot for their Fox Comedy Show "Awesome Town" and check out "The Bu".
Friday, December 22, 2006
The Midnight Special Update 12/06
For those that have been asking, The Midnight Special isn't available on DVD yet. We're working out details for distribution right now. We may still pop up with a few more fests and screenings, but all that will be posted about in January.
We'll be working on the short series of The Midnight Special entitled Monster Cops. more details about that in January, but expect to see a webisode or two around that time as well. Sorry no hints right now as to who may be picking up the series or the movie. In due time.
I'll be posting about all the details of all of our upcoming productions and distribution news in the near future on both the WTW blog and in more detail on my blog, One Spartan.
Happy Holidays folks.
- Patrick A. Prejusa
We'll be working on the short series of The Midnight Special entitled Monster Cops. more details about that in January, but expect to see a webisode or two around that time as well. Sorry no hints right now as to who may be picking up the series or the movie. In due time.
I'll be posting about all the details of all of our upcoming productions and distribution news in the near future on both the WTW blog and in more detail on my blog, One Spartan.
Happy Holidays folks.
- Patrick A. Prejusa
Wednesday, December 20, 2006
Make The Best With Less
It's something I find myself talking to more and more filmmakers about. Less is more. Also something that was hammered into my head back in my early days of Theatre. It's a concept that seems to be ignored by too many indies. Too many people focusing on what they can't get instead of (here comes that phrase Patrick likes so damn much) "doing the best with what they have."
I went on about it a few posts back, and for many of you who have kept up with my previous blogs and journals, you know I say this quite a bit. Now more than ever you can afford the very basic things you need to make a movie. Cameras are more affordable, computers, yadda, yadda, yadda. But still too many people focus on, "Geez, if we only had a better camera!" or "Just another grand to match the grand we already have to make this movie..."
If you have access to a camera, shut up and shoot something. If you have a grand set aside to make a movie and you're still hesitating, I'm comin over right now to slap you in the frickin face. Do you know what I could do with a grand? How about this? What if Steven Spielberg had no money, no studio backing, no connections? What if all he had was his talent? What do you think he could do with a grand? I mean lets say all he could get with that grand was a camera, a computer, some tape stock, some cheap lights, and maybe a few more odds and ends that he could only get with one grand. What kind of movie do you think he would come up with?
This particular subject has been conceptualized and documented in a kick ass site called, you guessed it, $1000 Spielberg. Check out the site. These guys have got it down. Much of the rules and concepts I've set for myself, these guys have got listed on their site. They talk about it too. The idea of using what you've got, as well as knowing how to use what you've got. If you have a lower end MiniDV camera that has decent resolution but isn't quite up to par with HD or 35mm, then why are you going to set out to make a 35mm film? I'm going to shoot this 357 using paintballs.
I've known too many of these guys. I've seen their shorts. Too many people trying to imitate the latest Hollywood trends. Hey, practice is great. Go out and practice some of your Matrix style moves and fx, lord knows we have, but as far as conceptualizing a feature film, too many people wanna go out and make a million dollar movie with only a grand in their pocket. Sometimes less. Hey I get it, we think big, we want to make big impressive movies. But I repeat what Clive and James over at $1000 Spielberg have said. "Make your format your advantage."
If you're going to make your guerilla movie, than adhere to some of the rules of guerilla tactics. One of those rules is this: Make your weaknesses your strengths. If you can only afford a low end MiniDV camera, start thinking about what you can make in that format. What is something that would look feasible in this particular format? Obviously you can't shoot widescreen panavision style epics. You could try, and many have, but it doesn't seem to work well. So how do you make it work? How could lower resolution video look "good"?
For me, doing The Midnight Special was an easy concept. It just clicked with me one day. It has to be reality TV. A huge inspiration was Cops. When Cops first came on the air (seems like ages ago) I was a little angry I didn't do it first. I thought, well here's a genuis idea. Low production costs, hight end concept. One camera, video tape Cops at work. Cut it together, get some minor graphics, got enough money left over to get a theme song, get it on the air, and boom. Instant TV show. No actors, no fx. Cops became a staple along with many other shows on TV we all now know as "reality TV". Along comes The Real World and America's Funniest Home Videos and the increase in the voyeuristic, cinema verite, type programming, and now everyone's use to seeing this look. This rough, spy cam, realistic, home movieish look. So why not come up with a storyline around that particular kind of look, heck we've got the cameras for it. That's what they did with Blair Witch and The Last Broadcast.
So that was our niche. A reality TV look into the "training video" of a Secret Government Agency that fights monsters. Basically it's Reno 911 except with monsters. Of course there's more to it than that, a little bit of added pathos and drama along with the comedy. But that was the basic idea. A training video. Would definitely fit the format. Features interviews, camera tag alongs on cases, monster sighting type footage, etc. No need to spend money making it look real, because most of it was real, well, except for the monsters, but we'll cover that later.
So instead of looking at what you can't make with what you don't have, start looking at what you can make with what you do have. Blair Witch is an example, except I would advise you actually write a script. The Last Broadcast is a really great example, and it's well written. And there it is, it's in the writing. A great story can be told with a movie, and you should be creative enough to come up with something amazing with what you've already got. Make the best with less.
And speaking of that, here's a movie that won the Fangoria Chainsaw Award for the BEST WITH LESS Category. It's a movie called Zombie Honeymoon. Written and Directed by David Gebroe. I haven't seen it yet, but the trailer looks great. Good job David! I am really impressed.
Zombie Honeymoon Trailer
Add to My Profile | More Videos
Check out the official site for Zombie Honeymoon.
I went on about it a few posts back, and for many of you who have kept up with my previous blogs and journals, you know I say this quite a bit. Now more than ever you can afford the very basic things you need to make a movie. Cameras are more affordable, computers, yadda, yadda, yadda. But still too many people focus on, "Geez, if we only had a better camera!" or "Just another grand to match the grand we already have to make this movie..."
If you have access to a camera, shut up and shoot something. If you have a grand set aside to make a movie and you're still hesitating, I'm comin over right now to slap you in the frickin face. Do you know what I could do with a grand? How about this? What if Steven Spielberg had no money, no studio backing, no connections? What if all he had was his talent? What do you think he could do with a grand? I mean lets say all he could get with that grand was a camera, a computer, some tape stock, some cheap lights, and maybe a few more odds and ends that he could only get with one grand. What kind of movie do you think he would come up with?
This particular subject has been conceptualized and documented in a kick ass site called, you guessed it, $1000 Spielberg. Check out the site. These guys have got it down. Much of the rules and concepts I've set for myself, these guys have got listed on their site. They talk about it too. The idea of using what you've got, as well as knowing how to use what you've got. If you have a lower end MiniDV camera that has decent resolution but isn't quite up to par with HD or 35mm, then why are you going to set out to make a 35mm film? I'm going to shoot this 357 using paintballs.
I've known too many of these guys. I've seen their shorts. Too many people trying to imitate the latest Hollywood trends. Hey, practice is great. Go out and practice some of your Matrix style moves and fx, lord knows we have, but as far as conceptualizing a feature film, too many people wanna go out and make a million dollar movie with only a grand in their pocket. Sometimes less. Hey I get it, we think big, we want to make big impressive movies. But I repeat what Clive and James over at $1000 Spielberg have said. "Make your format your advantage."
If you're going to make your guerilla movie, than adhere to some of the rules of guerilla tactics. One of those rules is this: Make your weaknesses your strengths. If you can only afford a low end MiniDV camera, start thinking about what you can make in that format. What is something that would look feasible in this particular format? Obviously you can't shoot widescreen panavision style epics. You could try, and many have, but it doesn't seem to work well. So how do you make it work? How could lower resolution video look "good"?
For me, doing The Midnight Special was an easy concept. It just clicked with me one day. It has to be reality TV. A huge inspiration was Cops. When Cops first came on the air (seems like ages ago) I was a little angry I didn't do it first. I thought, well here's a genuis idea. Low production costs, hight end concept. One camera, video tape Cops at work. Cut it together, get some minor graphics, got enough money left over to get a theme song, get it on the air, and boom. Instant TV show. No actors, no fx. Cops became a staple along with many other shows on TV we all now know as "reality TV". Along comes The Real World and America's Funniest Home Videos and the increase in the voyeuristic, cinema verite, type programming, and now everyone's use to seeing this look. This rough, spy cam, realistic, home movieish look. So why not come up with a storyline around that particular kind of look, heck we've got the cameras for it. That's what they did with Blair Witch and The Last Broadcast.
So that was our niche. A reality TV look into the "training video" of a Secret Government Agency that fights monsters. Basically it's Reno 911 except with monsters. Of course there's more to it than that, a little bit of added pathos and drama along with the comedy. But that was the basic idea. A training video. Would definitely fit the format. Features interviews, camera tag alongs on cases, monster sighting type footage, etc. No need to spend money making it look real, because most of it was real, well, except for the monsters, but we'll cover that later.
So instead of looking at what you can't make with what you don't have, start looking at what you can make with what you do have. Blair Witch is an example, except I would advise you actually write a script. The Last Broadcast is a really great example, and it's well written. And there it is, it's in the writing. A great story can be told with a movie, and you should be creative enough to come up with something amazing with what you've already got. Make the best with less.
And speaking of that, here's a movie that won the Fangoria Chainsaw Award for the BEST WITH LESS Category. It's a movie called Zombie Honeymoon. Written and Directed by David Gebroe. I haven't seen it yet, but the trailer looks great. Good job David! I am really impressed.
Zombie Honeymoon Trailer
Add to My Profile | More Videos
Check out the official site for Zombie Honeymoon.
Tuesday, December 19, 2006
Monster Cops
Been doing alot of prepping for the upcoming productions. Here's a little taste of one of them. I apologize for the low quality, I haven't had a chance to upload to our Brightcove player yet.
Get video codes at Bolt.
What started with The Midnight Special, is now evolving into it's intended form. A series.
That's a very rough cut of the opening intro to each episode. I'm going to get to work on 3 episodes the first of this year. 2 for online debut and 1 for ... well ... we'll talk about that later. Let's just say things are looking up.
That is the theme song. Busted my ass recording that this past week and a half, but I finally nailed the sound I was looking for. I needed something dark but with a bluesy feel. I don't know if that's what you guys can hear out of that, but that there is the sound I've been aiming for. Synthesized pads over a beat designed with Fruity Loops, threw in some very light orchestration in the background, and topped it off with my harmonica, key of C to be exact. Ran the final mix through Acid and it was good to go.
However I would like to make the orchestration a bit heavier and a little more echo to the harmonica. I'll tweak it later. Also need more shots of The Dallas Fort Worth Metroplex as well as more Monster Sighting Photos and art. Gonna have to make a few calls.
Ok, off to go see how much full S.W.A.T. gear costs and then it's bedtime.
- P
Get video codes at Bolt.
What started with The Midnight Special, is now evolving into it's intended form. A series.
That's a very rough cut of the opening intro to each episode. I'm going to get to work on 3 episodes the first of this year. 2 for online debut and 1 for ... well ... we'll talk about that later. Let's just say things are looking up.
That is the theme song. Busted my ass recording that this past week and a half, but I finally nailed the sound I was looking for. I needed something dark but with a bluesy feel. I don't know if that's what you guys can hear out of that, but that there is the sound I've been aiming for. Synthesized pads over a beat designed with Fruity Loops, threw in some very light orchestration in the background, and topped it off with my harmonica, key of C to be exact. Ran the final mix through Acid and it was good to go.
However I would like to make the orchestration a bit heavier and a little more echo to the harmonica. I'll tweak it later. Also need more shots of The Dallas Fort Worth Metroplex as well as more Monster Sighting Photos and art. Gonna have to make a few calls.
Ok, off to go see how much full S.W.A.T. gear costs and then it's bedtime.
- P
Harrison Leonardo
Just saw this on Rex Navarette's website, thought I'd help spread the word about this little boy here.
There's this two year old little boy named Harrison Leonardo, who has been fighting Acute Myelogenous Leukemia (AML). He's been in remission since last August, but the condition returned just right before Thanksgiving. I know that he's a tough little guy, having gotten that strength from his daddy OJ...who I've been friends with for almost twenty years. Harrison's daddy, mommy and little brother Lucas are spending all the time they can right now with Harrison so he can recover. If you have the time to read these online links about Harrison and his need for a bone marrow donor, you'd at least be fullfilling the spirit of the season.
Please check out the following websites:
www.helpharrison.com and www.caringbridge.com/visit/harrisonleonardo
Finding a matching marrow donor for Filipinos and Asians has been a challenge for years. All the info for donor drives and how you might help are on these sites. Maybe one of you lucky souls out there might be able to give Harrison a little help and support. So visit the sites and say hello to the family and keep Harrison in your thoughts and prayers.
God Bless,
Tito Rex
There's this two year old little boy named Harrison Leonardo, who has been fighting Acute Myelogenous Leukemia (AML). He's been in remission since last August, but the condition returned just right before Thanksgiving. I know that he's a tough little guy, having gotten that strength from his daddy OJ...who I've been friends with for almost twenty years. Harrison's daddy, mommy and little brother Lucas are spending all the time they can right now with Harrison so he can recover. If you have the time to read these online links about Harrison and his need for a bone marrow donor, you'd at least be fullfilling the spirit of the season.
Please check out the following websites:
www.helpharrison.com and www.caringbridge.com/visit/harrisonleonardo
Finding a matching marrow donor for Filipinos and Asians has been a challenge for years. All the info for donor drives and how you might help are on these sites. Maybe one of you lucky souls out there might be able to give Harrison a little help and support. So visit the sites and say hello to the family and keep Harrison in your thoughts and prayers.
God Bless,
Tito Rex
More on The Wilhelm Scream
Thanks to Sound Editor and Historian Steve Lee of Hollywood Lost and Found, here is another video on The Wilhelm Scream, featuring Mr. Steve Lee.
Sunday, December 17, 2006
The Wilhelm Scream
For those of us hardcore movie nerds we know about a little thing called The Wilhelm Scream. If you watch movies in general, then you've heard it and never even knew. Someone uploaded a nice little video compilation on youtube. This is awesome, and I'm fairly upset that I didn't do it first.
Find out what The Wilhelm Scream is here.
Now watch the video.
I had to start laughing the other day because I watched 3 trailers in a row and they all had The Wilhelm Scream in it.
God bless you Ben Burtt for bringing it back through the Star Wars movies.
Find out what The Wilhelm Scream is here.
Now watch the video.
I had to start laughing the other day because I watched 3 trailers in a row and they all had The Wilhelm Scream in it.
God bless you Ben Burtt for bringing it back through the Star Wars movies.
Creativity First, Money Last
Okay, look, here's the deal. Man, you were gonna drive me around tonight, never be the wiser, but El Gordo got in front of a window, did his high dive, we're into Plan B. Still breathing? Now we gotta make the best of it, improvise, adapt to the environment, Darwin, shit happens, I Ching, whatever man, we gotta roll with it.
- Tom Cruise as Vincent in COLLATERAL
Not that I'm a huge authority on the matter, but I do get the occasional request on what tips I can offer those starting out in low low budget production. I always end up telling them the same thing.
1. Remember, you control the camera.
2. Creativity First, Money Last.
You Control The Camera.
The one mistake I do see often with ultra low budget and amateur videos is the lack of camera control. Somehow people just lose control of the camera. The shots are too shakey or just not steady enough, and not on purpose either. With my movie, The Midnight Special, it's shakey on purpose, because we were going for that reality TV type, COPS feel. All the shakes were intentional, in fact looking back at it now, I think we had too many steady shots.
It's always the signal of a first time camera guy when the camera shakes. And there are different kinds too. One of my favorites is one I like to call the, "We Didn't Buy A Tripod Shake". They hold the camera handheld and try there best to hold it steady. This hardly ever works. Unless you're intention is to get that handheld NYPD Blue, Paul Greengrass, effect. But most times you can tell they were trying to keep it steady, battling the fact that human's can't help but twitch every so often. Even worse when it's a small light weight camera. Even even worse when the shot is zoomed all the way in on something, in which case every centimeter you shift looks like a bad swish pan from one mile to the next.
The solution of course is to buy a tripod. Which brings us to the, "I Have A Tripod But I Keep Touching The Camera Shakes." This may be even worse than the first. Because on a tripod the shot is static. But then all of a sudden the shot twitches because you got all itchy about the shot and felt the need to mess with it. Solution, set your shot on the tripod, and then leave it alone. There is no need for you to have your hands on the camera and tripod at all times, espescially when it's not a particularily heavy camera. If it's windy, or the shot is supposed to pan or tilt, fine grab hold, but if you're trying to get a steady shot, DON'T TOUCH THE CAMERA.
The point is you have to realize you control the camera. If the shot shakes it has to be because you wanted it to and you felt it would be good for telling the story at hand. If the shot needs to be steady, then keep the camera steady, either on a tripod or not. Which brings me to the next piece of advice.
Creativity First, Money Last.
You've gotta learn that creativity will solve a problem much faster than money. What if you can't afford a tripod? Then get a stool and some duct tape. What if I can't afford duct tape? Then set your camera on a table, a nearby chair, how about the ground. I don't know how many great shots I got just by setting the damn camera on the ground, and then propping the lens up with my wallet. Hey look at that, a nice steady shot with no money.
Now I'm not saying you don't ever need money. Eventually the bigger movies you make you're going to need some funding. Movies do indeed cost money. Cameras and computers to edit on cost money, of course. But nowadays those things are much easier to come by if you're working that day job, which you should be. After that, if you can shoot it, and cut it, then you've got all the power in the world. No need for you to spend thousands on a fancy crane, special fx, or expensive locations. Use what you've got. Shoot in your apartment, use your car, a park, a parking lot. I mean, come on. It's a lesson taught over and over again, haven't we heard about this a billion times. Clerks, Evil Dead, Night Of The Living Dead, the frickin Blair Witch. And get on youtube and triggerstreet, you'll see some real gems for no money.
No money is the motto of the world and the backbone of civilization. Some truely creative and powerful things have arisen from the poor, the penniless, and the desperate. It's the very roots of rock, country, blues, and hip hop. It's learning to make music with a washboard and a jug. It's figuring out how to make big sounds with two turntables and some old records. It's the days of the early street performers all the way to Vaudeville, when the most creative acts came from the slums, the ghettos, and the poor houses. It's the very soul of Martial Arts. Using your limbs as weapons, or making weapons out of those thing around you, all in the name of defending yourself because you had to. You needed to.
True talent has always come out of desperation. True creativity has always risen out of the very rock bottom of down and out. If they can figure out how to build pyramids without machines, if they can make music with nothing but their hands and mouths, if they can make hit performances out of sticks and brooms, then you should be able to come up with a creative masterpiece with out fancy FX or an expensive tripod. You've got the camera, you've got the editing software, shut up and make a movie.
It's the very essence of the true guerilla filmmaker. Do the very best with what you've got. Adapt, improvise. If you really look at it you have the opportunity to create something the big Hollywood machine cannot. A movie from your specific point of view. Think about it, they would have to spend 3 hundred grand if they needed to put together an authentic set that looked like someone's apartment or house. And you don't have to. Use your supposed weaknesses as your strengths. Do the very best with what you've got, and often you'll find it's exactly what you needed in the first place. I believe there's a life lesson in there somewhere.
Here's an example. Out of the millions of dollars some people spend on putting together music videos, the fancy filters, the hot dancers, the expensive sets, cars, etc. Here's one of the coolest, most popular, most creative music videos EVER!
The band is OK GO. And if you haven't seen the awesomeness of their videos, check em out now, and tell me if you couldn't have come up with that yourself for no money.
You know in guerilla warfare, you try to use your weaknesses as strengths. If they're big and you're small, you're mobile and they're slow. You're hidden and they're exposed. Only fight battles you know you can win. You capture their weapons and you use them against them the next time. That way they're supplying you. You grow stronger as they grow weaker.
- Gene Hackman as Brill in ENEMY OF THE STATE
- Tom Cruise as Vincent in COLLATERAL
Not that I'm a huge authority on the matter, but I do get the occasional request on what tips I can offer those starting out in low low budget production. I always end up telling them the same thing.
1. Remember, you control the camera.
2. Creativity First, Money Last.
You Control The Camera.
The one mistake I do see often with ultra low budget and amateur videos is the lack of camera control. Somehow people just lose control of the camera. The shots are too shakey or just not steady enough, and not on purpose either. With my movie, The Midnight Special, it's shakey on purpose, because we were going for that reality TV type, COPS feel. All the shakes were intentional, in fact looking back at it now, I think we had too many steady shots.
It's always the signal of a first time camera guy when the camera shakes. And there are different kinds too. One of my favorites is one I like to call the, "We Didn't Buy A Tripod Shake". They hold the camera handheld and try there best to hold it steady. This hardly ever works. Unless you're intention is to get that handheld NYPD Blue, Paul Greengrass, effect. But most times you can tell they were trying to keep it steady, battling the fact that human's can't help but twitch every so often. Even worse when it's a small light weight camera. Even even worse when the shot is zoomed all the way in on something, in which case every centimeter you shift looks like a bad swish pan from one mile to the next.
The solution of course is to buy a tripod. Which brings us to the, "I Have A Tripod But I Keep Touching The Camera Shakes." This may be even worse than the first. Because on a tripod the shot is static. But then all of a sudden the shot twitches because you got all itchy about the shot and felt the need to mess with it. Solution, set your shot on the tripod, and then leave it alone. There is no need for you to have your hands on the camera and tripod at all times, espescially when it's not a particularily heavy camera. If it's windy, or the shot is supposed to pan or tilt, fine grab hold, but if you're trying to get a steady shot, DON'T TOUCH THE CAMERA.
The point is you have to realize you control the camera. If the shot shakes it has to be because you wanted it to and you felt it would be good for telling the story at hand. If the shot needs to be steady, then keep the camera steady, either on a tripod or not. Which brings me to the next piece of advice.
Creativity First, Money Last.
You've gotta learn that creativity will solve a problem much faster than money. What if you can't afford a tripod? Then get a stool and some duct tape. What if I can't afford duct tape? Then set your camera on a table, a nearby chair, how about the ground. I don't know how many great shots I got just by setting the damn camera on the ground, and then propping the lens up with my wallet. Hey look at that, a nice steady shot with no money.
Now I'm not saying you don't ever need money. Eventually the bigger movies you make you're going to need some funding. Movies do indeed cost money. Cameras and computers to edit on cost money, of course. But nowadays those things are much easier to come by if you're working that day job, which you should be. After that, if you can shoot it, and cut it, then you've got all the power in the world. No need for you to spend thousands on a fancy crane, special fx, or expensive locations. Use what you've got. Shoot in your apartment, use your car, a park, a parking lot. I mean, come on. It's a lesson taught over and over again, haven't we heard about this a billion times. Clerks, Evil Dead, Night Of The Living Dead, the frickin Blair Witch. And get on youtube and triggerstreet, you'll see some real gems for no money.
No money is the motto of the world and the backbone of civilization. Some truely creative and powerful things have arisen from the poor, the penniless, and the desperate. It's the very roots of rock, country, blues, and hip hop. It's learning to make music with a washboard and a jug. It's figuring out how to make big sounds with two turntables and some old records. It's the days of the early street performers all the way to Vaudeville, when the most creative acts came from the slums, the ghettos, and the poor houses. It's the very soul of Martial Arts. Using your limbs as weapons, or making weapons out of those thing around you, all in the name of defending yourself because you had to. You needed to.
True talent has always come out of desperation. True creativity has always risen out of the very rock bottom of down and out. If they can figure out how to build pyramids without machines, if they can make music with nothing but their hands and mouths, if they can make hit performances out of sticks and brooms, then you should be able to come up with a creative masterpiece with out fancy FX or an expensive tripod. You've got the camera, you've got the editing software, shut up and make a movie.
It's the very essence of the true guerilla filmmaker. Do the very best with what you've got. Adapt, improvise. If you really look at it you have the opportunity to create something the big Hollywood machine cannot. A movie from your specific point of view. Think about it, they would have to spend 3 hundred grand if they needed to put together an authentic set that looked like someone's apartment or house. And you don't have to. Use your supposed weaknesses as your strengths. Do the very best with what you've got, and often you'll find it's exactly what you needed in the first place. I believe there's a life lesson in there somewhere.
Here's an example. Out of the millions of dollars some people spend on putting together music videos, the fancy filters, the hot dancers, the expensive sets, cars, etc. Here's one of the coolest, most popular, most creative music videos EVER!
The band is OK GO. And if you haven't seen the awesomeness of their videos, check em out now, and tell me if you couldn't have come up with that yourself for no money.
You know in guerilla warfare, you try to use your weaknesses as strengths. If they're big and you're small, you're mobile and they're slow. You're hidden and they're exposed. Only fight battles you know you can win. You capture their weapons and you use them against them the next time. That way they're supplying you. You grow stronger as they grow weaker.
- Gene Hackman as Brill in ENEMY OF THE STATE
Napoleon's Battle Plan
This was originally posted on Live Journal on June 19th, 2005. I'm posting it here now, because I wanted to include it in this blog and because it's still relevant for me today. Enjoy.
Sometimes you don't have to do anything.
Sometimes you just have to let it go. Let it do it's thing. Let the flow, flow. Let the groove, groove. Let the bears bare and the bees be.
I wrote a script for the movie we are doing now. But the problem with making movies in general is that most times things may go wrong. Things may not turn out the way they are supposed to in accordance with the script. Lord knows that this is oh so true for low budget films, and more specifically and most definitely for NO budget films. After tonights shoot, I thought of the scene in State And Main where Walt the director(William H. Macy) and Joe the writer (Phillip Seymour Hoffman) are sorting out how to shoot a movie called The Old Mill after learning that the old mill has burned down.
Walt: Don't run off. We need you. You know why? You're why we are here. You're script is why we are here. Big deal, we fight a little bit. Show me a family that doesn't. But we got something good here. You know what it is? We're here to make a movie. We can't use the old mill. That happens. What you gotta do, you've got to figure out the essence. What is it that brought us all here? It wasn't a building, Joe. It was an idea. What is the essence of your story Joe?
Joe: It's about a man who gets a second chance.
Walt: Then you write that. And then this is our second chance. That's why we're all here.
Joe: I want to make a good film.
Walt: I know you do.
Joe: Maybe it will be a better film without the old mill.
Walt: Hey, it's with the gods. We don't have the money. We got to write it out, the best or not. And that's a lesson.
RIGHT THERE. "We don't have the money. We got to write it out, the best or not." And that is most certainly is a lesson. This is a realization that I learned over the 7 years it took to make my first movie. And a lesson I knew all about going into this movie. We don't have the money. So, you do what you can with what you have and try to tell the essence of the story. Too many people bail out when there is no money. When everything that the script calls for isn't there or isn't available at all. And I can bitch all the live long day about not having enough money to finish the movie. But all of that is window dressing compared to the real deal.
What is the essence of this story? When I came up with the idea for The Midnight Special I knew what the gimmick was. I knew it was going to have some solid scares in it to be a watchable horror flick. I knew it was going to have laughs for it to be an entertaining comedy. I knew that I was going to have to go for the "Cops" look in order to properly use the medium that was available to us. I knew what I could do and what I couldn't do. I knew what was possible and what was even more possible even if everyone said it wasn't possible. I knew what I wanted. I knew what we could get. I knew what we couldn't get but I wanted anyways.
But I also knew about the essence. I knew that I had to hold on to the true essence of this movie in order to be able to truely finish it. I knew that anything and everything can and will go wrong and that when it did I had to be prepared. And I must say some moments were real whoppers. Some things occured that I expected, but it still threw me back. And there were a few moments here and there where I wanted to throw in the towel and head on back to the world of the 9 to 5 working class dreamer. But I held on to the essence of the script. I had to pay attention to the fact that although we couldn't get the costumes we wanted, or always get the location that was called for in the script, or always get that specific shot, or always get every bit of the cast to be together all in one place and on time. Although things did go wrong, and sometimes horribly, as long as I held on to the essence of the story, then anything was possible.
I knew that everytime I had to shoot to keep in mind of what part of the story needed to be told and what the audience needed to feel. Not necessarily see, but what did I want them to feel. You try to shoot the script, but if it doesn't workout, do you give up? Pack it up and go home? No. You figure out exactly what is it that needs to be conveyed here and you try your best to convey that. You try your best to tell the essence of your story. So you soldier on using whatever you can. Maybe it wasn't the original prop, shot, set, you wanted, but are you still able to convey the same message that is in the story of this particular screen?
So now when we go to shoot some scenes. I aim for what I want and how I want to tell it. But if I can't do it my way then you have to do it the story's way. You have to figure out how to do it creatively without that particular thing you thought you needed. And most often then not you may come up with something better than what was originally written. This has happened many times within this movie, and each time it turned out better than what was written, but still in accordance to the essence of the story. And this is the lesson.
Bruce Lee said, "The great mistake is to anticipate the outcome of the engagement; you ought not to be thinking of whether it ends in victory or defeat. Let nature take it's course, and your tools will strike at the right moment."
As a story teller sometimes you can't tell it the way you want to. As long as you tell the story. When things got rough I tried to apply this philosophy to the obstacle, and many times that obstacle turned into a productive tool. Now don't get me wrong. I'm not saying you should always abandon form and not aim for a specific goal. Just realize that sometimes formlessness can be your form and within the realm of no buget filmmaking, you should let your story be your goal.
Tonight specifically was one of those nights. I knew what I wanted, but I knew that maybe we couldn't pull off what I wanted. But instead I just let it flow. I let nature take it's course. After awhile it all came to me. We let the tape roll and we just did the scene. No form. No rules. And it all fell into place. We got some great shots. We shot a very necessary scene for the movie. We kept the idea of the movie and the story in mind and we went for it. Low and behold all of our tools struck at the right moment. And looking over the footage just now I realize we got the scene I wanted to get. The scene I needed to get tonight. We achieved the goal of the story. And we are that much closer to getting it all done.
Hopefully soon you'll be able to see what it is we've all been working so hard for. Hopefully soon everyone will be able to finally see and hear and feel the essence of this story. Hopefully soon you'll be able to be witness to our goal. Our story that is.
Yeah I wrote a script. But going in I had to realize that the script isn't always the story. The story is something truer than that. And as long as I can tell that truth, then I'll reach my goal. We will have made a good movie. The script is just a script. For most people they turn it into something more. Like a code or a set of rules that MUST be followed.
I say hang the code and hang the rules.
They're more like guidelines anyway.
"The first lesson in my film school was that it's not your wallet that makes the movie. Any monkey can tap himself out financially. The idea is to tap yourself out creatively first."
- Robert Rodriguez
Casey: Technically, I have a plan.
Dan: What's the plan?
Casey: It's Napoleon's plan.
Dan: Who's Napoleon?
Casey: A 19th century French emperor.
Dan: You're cracking wise with me now?
Casey: Yes.
Dan: Thanks.
Casey: He had a two-part plan.
Dan: What was it?
Casey: First we show up, then we see what happens.
Dan: That was his plan?
Casey: Yeah.
Dan: Against the Russian army?
Casey: Yeah.
Dan: First we show up, then we see what happens.
Casey: Yeah.
Dan: Almost hard to believe he lost.
Casey: Yeah.
- Sports Night, Episode 22, "Napoleon's Battle Plan"
Sometimes you don't have to do anything.
Sometimes you just have to let it go. Let it do it's thing. Let the flow, flow. Let the groove, groove. Let the bears bare and the bees be.
I wrote a script for the movie we are doing now. But the problem with making movies in general is that most times things may go wrong. Things may not turn out the way they are supposed to in accordance with the script. Lord knows that this is oh so true for low budget films, and more specifically and most definitely for NO budget films. After tonights shoot, I thought of the scene in State And Main where Walt the director(William H. Macy) and Joe the writer (Phillip Seymour Hoffman) are sorting out how to shoot a movie called The Old Mill after learning that the old mill has burned down.
Walt: Don't run off. We need you. You know why? You're why we are here. You're script is why we are here. Big deal, we fight a little bit. Show me a family that doesn't. But we got something good here. You know what it is? We're here to make a movie. We can't use the old mill. That happens. What you gotta do, you've got to figure out the essence. What is it that brought us all here? It wasn't a building, Joe. It was an idea. What is the essence of your story Joe?
Joe: It's about a man who gets a second chance.
Walt: Then you write that. And then this is our second chance. That's why we're all here.
Joe: I want to make a good film.
Walt: I know you do.
Joe: Maybe it will be a better film without the old mill.
Walt: Hey, it's with the gods. We don't have the money. We got to write it out, the best or not. And that's a lesson.
RIGHT THERE. "We don't have the money. We got to write it out, the best or not." And that is most certainly is a lesson. This is a realization that I learned over the 7 years it took to make my first movie. And a lesson I knew all about going into this movie. We don't have the money. So, you do what you can with what you have and try to tell the essence of the story. Too many people bail out when there is no money. When everything that the script calls for isn't there or isn't available at all. And I can bitch all the live long day about not having enough money to finish the movie. But all of that is window dressing compared to the real deal.
What is the essence of this story? When I came up with the idea for The Midnight Special I knew what the gimmick was. I knew it was going to have some solid scares in it to be a watchable horror flick. I knew it was going to have laughs for it to be an entertaining comedy. I knew that I was going to have to go for the "Cops" look in order to properly use the medium that was available to us. I knew what I could do and what I couldn't do. I knew what was possible and what was even more possible even if everyone said it wasn't possible. I knew what I wanted. I knew what we could get. I knew what we couldn't get but I wanted anyways.
But I also knew about the essence. I knew that I had to hold on to the true essence of this movie in order to be able to truely finish it. I knew that anything and everything can and will go wrong and that when it did I had to be prepared. And I must say some moments were real whoppers. Some things occured that I expected, but it still threw me back. And there were a few moments here and there where I wanted to throw in the towel and head on back to the world of the 9 to 5 working class dreamer. But I held on to the essence of the script. I had to pay attention to the fact that although we couldn't get the costumes we wanted, or always get the location that was called for in the script, or always get that specific shot, or always get every bit of the cast to be together all in one place and on time. Although things did go wrong, and sometimes horribly, as long as I held on to the essence of the story, then anything was possible.
I knew that everytime I had to shoot to keep in mind of what part of the story needed to be told and what the audience needed to feel. Not necessarily see, but what did I want them to feel. You try to shoot the script, but if it doesn't workout, do you give up? Pack it up and go home? No. You figure out exactly what is it that needs to be conveyed here and you try your best to convey that. You try your best to tell the essence of your story. So you soldier on using whatever you can. Maybe it wasn't the original prop, shot, set, you wanted, but are you still able to convey the same message that is in the story of this particular screen?
So now when we go to shoot some scenes. I aim for what I want and how I want to tell it. But if I can't do it my way then you have to do it the story's way. You have to figure out how to do it creatively without that particular thing you thought you needed. And most often then not you may come up with something better than what was originally written. This has happened many times within this movie, and each time it turned out better than what was written, but still in accordance to the essence of the story. And this is the lesson.
Bruce Lee said, "The great mistake is to anticipate the outcome of the engagement; you ought not to be thinking of whether it ends in victory or defeat. Let nature take it's course, and your tools will strike at the right moment."
As a story teller sometimes you can't tell it the way you want to. As long as you tell the story. When things got rough I tried to apply this philosophy to the obstacle, and many times that obstacle turned into a productive tool. Now don't get me wrong. I'm not saying you should always abandon form and not aim for a specific goal. Just realize that sometimes formlessness can be your form and within the realm of no buget filmmaking, you should let your story be your goal.
Tonight specifically was one of those nights. I knew what I wanted, but I knew that maybe we couldn't pull off what I wanted. But instead I just let it flow. I let nature take it's course. After awhile it all came to me. We let the tape roll and we just did the scene. No form. No rules. And it all fell into place. We got some great shots. We shot a very necessary scene for the movie. We kept the idea of the movie and the story in mind and we went for it. Low and behold all of our tools struck at the right moment. And looking over the footage just now I realize we got the scene I wanted to get. The scene I needed to get tonight. We achieved the goal of the story. And we are that much closer to getting it all done.
Hopefully soon you'll be able to see what it is we've all been working so hard for. Hopefully soon everyone will be able to finally see and hear and feel the essence of this story. Hopefully soon you'll be able to be witness to our goal. Our story that is.
Yeah I wrote a script. But going in I had to realize that the script isn't always the story. The story is something truer than that. And as long as I can tell that truth, then I'll reach my goal. We will have made a good movie. The script is just a script. For most people they turn it into something more. Like a code or a set of rules that MUST be followed.
I say hang the code and hang the rules.
They're more like guidelines anyway.
"The first lesson in my film school was that it's not your wallet that makes the movie. Any monkey can tap himself out financially. The idea is to tap yourself out creatively first."
- Robert Rodriguez
Casey: Technically, I have a plan.
Dan: What's the plan?
Casey: It's Napoleon's plan.
Dan: Who's Napoleon?
Casey: A 19th century French emperor.
Dan: You're cracking wise with me now?
Casey: Yes.
Dan: Thanks.
Casey: He had a two-part plan.
Dan: What was it?
Casey: First we show up, then we see what happens.
Dan: That was his plan?
Casey: Yeah.
Dan: Against the Russian army?
Casey: Yeah.
Dan: First we show up, then we see what happens.
Casey: Yeah.
Dan: Almost hard to believe he lost.
Casey: Yeah.
- Sports Night, Episode 22, "Napoleon's Battle Plan"
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