And now a scene eerily reminiscent of my first wedding night…
So Acolytes of Boo, when your faithful narrator last wrote here, we had just made an all new cut of the film Horrors of War. A presentation was made to our executive producer, who was neither impressed nor moved by this new cut in the slightest. It was not better according to him, so we will not have the opportunity to present the new cut, contrary to my previous post, IS being referred to as the “Director’s Cut” with approval of co-director John Whitney (so would it be more proper to say “Directors’ Cut”?).
I wrote a mini-version of the infamous Orsen Welles letter to Universal for TOUCH OF EVIL to our Executive Producer, detailing in the various ways why I feel this cut is superior. It was rejected, but that’s okay. It’s business and I understand his perspective. It would be incredible awkward to send or re-send a new cut of the film to prospective buyers that already have a cut. To be honest, the foreign markets really don’t care about character or story, they do just want guns, explosions, and monsters. It’s the domestic North American & other English speaking territories that I think this will hurt us to not present this new Director’s Cut.
Just so everyone knows all is not lost, I think we’re within a few short weeks from announcing our North American DVD release. What people need to realize is that there isn’t instant money, it takes time for delivery & contracts to finalize, and even then checks aren’t immediately cut to us. Patience peeps. As much as Brandy rags me, I have had the patience of a saint because this is zooming into my 3-year anniversary of brining Horrors of War to life. You can’t be a feature filmmaker with ADD, kids. It won’t and can’t work. Unless you’re already established, no one will stick with your project longer than you. Never.
Now, without rancor or malice, I intend to get the Director’s Cut seen as much as possible. My main option left is to start doing public screenings, also called “four walling”. This is where we rent a theatre and screen it our damn selves. I’ve already started with booking in Columbus (last night), Cincinnati, and Youngstown to cover our home state.
This past Friday, seven from the cast & crew from Horrors of War went to Cincinnati to tape a show called “VIEWFINDER”. This is a 30 minute show on PBS there and they focus on “tri-state filmmakers”. I was on the show with Bret & Linda in 2004 for the 48 Hour Film Project and Always Late. The host Alphonzo kicks ass. He should be national because he’s relaxed, enthused, and charismatic.
I road down with Greg Sabo, and we all had a great time doing the show. What I love best is that it was well represented by everyone. John & I did our bit first, then Phil & Greg showing another side of production, then Jason, Joe, and Jason represented the acting side. It showed that our movie was not “a film by” with the usual director(s) taking all the credit. We demonstrated a unity and group mentality, which is my core faith in filmmaking as a collaborative process.
We were treated with great respect and applauded for the accomplishment that is Horrors of War. These people all seemed to grasp how hard it was to make the movie we made. The mountains we had to climb and the realities that what we did was recognized these people in the media.
Of course that’s in Cincinnati, not Columbus… I seem to have a lot less problems getting national & international press than I do local press. I sent out DVD press kits along with printed press kits to all the local media, especially the arts papers. We made a movie where virtually everyone in the central Ohio film scene participated to make it a higher quality film, and we used exclusively Ohio talent, and yet it’s not really worthy of print.
Now, the main paper, the Columbus Dispatch gave us a solid mention (no pictures, but I won’t complain), the “Other Paper” also gave us a small mention. The Columbus Alive, the entertainment/arts paper completely snubbed us. Nada, nothing. Of the TV news, Johnny DiLoretto gave us an amazing mention on the news. After snubbing Spike Lee’s INSIDE MAN, he recommended people see our movie instead. Now THAT was freakin’ classy and sweet. I am a little disappointed we didn’t get more press support, but I think we did very well with getting public awareness going. It’s nothing to feel bad about.
Last night was the first ever public screening of HORRORS OF WAR. I had no idea what to expect. I knew we’d have at least 100 people, thus doubling the money for the theatre rental, but beyond that, there is no guarantees. I knew we’d have some support from cast & crew, but they had their free screening. There’s no accurate way to predict attendance. It’s been my experience that at least 50-60% of the people who tell you they will attend never do. Robert Towne once wrote something in a script that I’ve found to be a universal truth – “People are unreliable, but at least that makes them predictable”. ((A free Best of Sonnyboo DVD to first person name this film))
We sold out last night. Much to my surprise, there was a line out the door, we had to start 15 minutes late because people were still buying tickets. At 7:20 the box office declared the film sold out and starting turning people away. The theatre was packed, even more so than Look At My Shorts or the cast & crew screening. ((FYI, as a former theatre manager “sold out” means when you get within 10% of the maximum, its declared sold out.)) It was a 400+ seat theatre.
It was elating to have a good crowd. Screening the “Director’s Cut” to a paying audience had a satisfaction in that it played much better to an audience. It is a grimmer story with more drama than the apparently more comedic original cut. My proudest moment? During the scene with Sgt. Gary (Dan Kiely) and Claire (Megan Pillar), you could hear a pin drop. No one twitched, no one moved, no one whispered. It was a meaningful, deep moment and I had the audience. No special effects, no gun, no monsters, no explosions, not even music to sell the scene. Just actors, and all natural light, and I was able to have an audience feel exactly what I set out to do.
We’re doing screenings of Horrors of War in Cincinnati and Youngstown. Even after last night, I am skeptical about attendance since I am not as known around the film communities in those areas, but I can rely on that fueling my marketing pushes to try to get similar attendance. The aforementioned episode of VIEWFINDER will help us immensely in raising awareness in Cincinnati.
I have decided to push my next feature. I was originally going to shoot in JUNE, but I’ve decided to dedicate myself to proper & full promotional efforts for HORRORS OF WAR. To me, the biggest mistake in the independent film world is thinking that finishing the film is the end. It’s not. It’s not even the halfway mark. This is a marathon, and we’re just getting started. I feel a moral obligation to the investors, the cast & crew, and myself to take Horrors of War all the way. Beyond a DVD deal, I need to see this movie sell some copies too.
I don’t just want to cash a check, and go “Whew! SUCKERS! Moving on…” and it’s surprisingly tempting to be lulled into that. I’m sick of this movie. I’ve worked on it for nearly 3 years. I want to move on desperately, but I gave my word. I said I would see it through and I will. I made a promise and I intend to deliver. I’m not like a lot of yahoos who make a million promises and deliver on 1 out of 7 & then expect credit for it. Never make a promise you can’t keep.
I have a dark comedy with only one location and a limited cast as my next project. I think I’m doing things a little backwards. I was supposed to do that first, then try the ambitious period war film with locations, tanks, extras and explosions…
That’s all I got in my now. I’m off to see a showcase with the lovely Brandy as she acts. I know it’s acting because she’s wearing a dress. She doesn’t own one, so I know it’s “acting” and a “character”….I love this chick.
Later Dayz Acoloytes,
Piotr Johann Rosputin
Oh, and watch this is raw B-Roll footage shot by Zac Sabo whilst shooting in Logan Ohio on Horrors of War
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