Wednesday, December 01, 2010

Ubiquitous Carrion



As paid work slows down, the unpaid work ramps up. Time to put a lot more effort into FRAMELINES, our PBS show on filmmaking. I was changing directions on the short film show, as many of the films were not as PBS friendly, but they may really want this, so retooling the show means a lot more work. I still don’t know what is the best direction to take the show yet, so I am mulling it over. A more conservative, yet higher quality production, or something a bit more mainstream with a looser chain around the neck?



We shot a few more Rountables for FRAMELINES this week. I think the “Very Special Episode” for the 48 Hour Film Project Columbus may actually get bumped to either a double sized 60 minute episode, or possible edited into two separate 30 minute episodes. We have a lot of great material, and some killer soundbytes. Combine that with Mike Tavares working the crane with his virtual reality glasses to monitor, and we have a killer looking roundtable discussion.



Still, I’m dealing with technical issues that threaten to demolish one of the original studio shoots. I think I fixed it but I won’t know until editing. I love the multicam editing function, being able to “switch” live in post production, and then going in to tweak and adjust it after. It’s a strange and fun process for taking 4 cameras of the same event and creating an edit weeks (and months) later like it was a live event.



I’m gearing up to shoot more things like my 180 Degree Rule video and more short educational film tips. They are for the show, but they are also the most successful videos I have online. I like to teach. It’s something I enjoy. You can’t please everyone, but I never wanted to try.

Saturday, November 20, 2010

Passionately Preoccupied



These new video blogs are popular with people I know. Maybe it’s the slightly exaggerated “me” or maybe people like seeing cruel and unusual punishment towards an Intern, but they are growing in popularity as we go. Alex’s idea of doing this combined with our team writing coalesce into combination of promotion and humor.



I initially agreed to make 6 of these, but we only had outlined 3 of them, all of which are shot and edited and out there. When it came time to do the next few, I had no ideas. Alex pitched me several ideas, and life imitated art whereas I didn’t bite on any of them. It did lead to a healthy set of combo concepts. The idea of doing some kind of homage to famous movies struck a chord with me.

To be honest, I wasn’t that keen on doing any more, even though we’ve had some really good feedback. The new ideas got me reinvigorated. I cannot wait to shoot these and release them over the next few weeks. The video blogs are simple and not complex, so no need for a lot of flash to them. There are several subtle touches that we’re doing to the insiders; things like my lower 3rd having a ton of titles whereas Alex only has “intern” and the like.

My deal with Alex is this, if we get an average of 1,000 views for each video by January, we’ll make more of them. I’d have to be really really compelled to keep doing these. I have other projects in need of attention, but as long as we can keep the quality up, we’ll keep at it.

Tuesday, November 16, 2010

top 5 MAKING OF sites

MAKING OF
http://makingof.com/

Natalie Portman is one of the founders of this site with tons of great EPK videos of behind the scenes kind of things.

ART OF THE TITLE SEQUENCE
http://www.artofthetitle.com/

Art of the Title Sequence has great info and in depth interviews and videos on the title sequences and effects for the coolest opening or closing sequences of film from the earliest days to the latest craze.

SOUNDWORKS COLLECTION
http://soundworkscollection.com/

For sound design, sound mixing, film scores, and all things audio - these videos are amazing and insightful for one of the most under-appreciated aspects of filmmaking - sound.

JOHN AUGUST BLOG
http://johnaugust.com/

John August, the screenwriter behind BIG FISH, GO, and others, shares opinions and ideas.

DREW'S SCRIPTORAMA
http://www.script-o-rama.com/table.shtml

An old classic that still has and adds screenplays, even separating the "transcripts" from the "screenplays", where one is a transcription of what was in the final edit, the other is the WRITER's intent. Great reads, especially if you read unproduced drafts or early drafts of film classics. I still recommend reading THE GREN MILE or SHAWSHANK REDEMPTION for the art of effeciency in screenwriting and description.

Monday, November 15, 2010

a confounded nuisance



Friday night I interviewed a childhood hero, actor Richard Hatch from Battlestar Galactica (both versions). He was doing an acting seminar in Cincinnati and we wanted to do a story for FRAMELINES. He was a really down to earth, nice guy. It turns out we know a few of the same people and that was a nice ice breaker.


As fate would have it, I wrote a part with Richard Hatch specifically in mind for ACCIDENTAL ART, but we’ll see if he’s interested at all or if schedules work out when it comes time to shoot the movie. So many variables can conspire to make these things not work out. I have in mind several genre actors for this very non-genre movie. I love the idea of casting against type. Taking a science fiction or fantasy icon actor and putting them in a dark comedy has the appeal to their acting skills and because most people would only want them to play a variation of their past characters. I know I don’t want to be pigeon-holed into any one genre or style of film, so I can relate to an actor not wanting to only explore one type of character.

The new intern Blog videos seem to be doing well. A lot of people are positively commenting on the various sites. We’re shooting with the Canon T2i DSLR still cameras in 24P. They take about 30 minutes to shoot and a little over an hour to edit, do FX work, and finalize. I have in mind about 5-6 of these total, but we’ll see if there’s continued interest. There would have to be about 1,000 views each for this initial run before I’d consider doing more. Right now, they are purely promotional for the movie and the simple fundraising, as something to do and create that doesn’t take a lot of effort, but has some entertainment value. I am learning something, as in I am doing some very complex compositing work with 3D motion tracking on multiple planes of focus, etc. I am putting the focus on YouTube over Vimeo as an experiment with these.

I re-edited FRAMELINES pilot episode. My original running time was 29:00 minutes and PBS needs 26:46 which meant some serious trims. From feedback at screenings I wanted to add more clips from the films we are discussing, which meant even more interviews being trimmed. I finished and delivered Friday at 4:00PM what I believe is a vastly improved pilot episode. I’m considering some kind of screening or debut of an episode and then highlights in February, which is when we’re now set to premiere the show. It’s been over a year since I did any kind of screening.

Monday, November 08, 2010

Bedevilment and Predation



So we put out the first video blog for ACCIDENTAL ART. I think the idea of taking a few potshots at myself and my reputation will make for a humorous thing. People have a certain perception of me and what working with me is like. I don’t mind make a slightly exaggerated parody of this.



I started making silly pictures of myself and opening this up on Facebook for people to make fun of me a bit. Why not? Apparently people want to take me down a peg or two, so now they can.

We’re going to do 5-6 more of these. We sketched out the plan, and now that I showed how easily it is to do the FX work, the ambition rises. Alex had this idea that we expanded on and have made into something that is already getting some really good feedback.

I’ve been in something of a social coma of late. I have strong antisocial feelings towards most of the people I normally have hung out with. I’m in this creative head space and I don’t want to be distracted by unimportant drama. Word still reaches my ears about this, that, and the other in terms of who is making what movies and the opinions of such. I’m out of it and I don’t care.



Some people can spend years making movies and not improve. So what? I honestly don’t care what other people do or don’t do. It’s none of my business and they have every right to make movies and suck or not suck.

I just want to work on my own projects and create things that I like. Come January 2011, when FRAMELINES hits PBS, we’ll see how much I can stay out of everyone else’s business…since the premise of the show is to go onset and talk to as many people as we can about their projects.

Bedevilment and Predation

Thursday, November 04, 2010

Gesticulating the Syndicate



I am going to speak at Ohio State to some students about film soon. I used to let things like this get to my head, but doing a little homework, some of the students I’m speaking to have been on bigger sets than I have. One girl worked on THOR and met Natalie Portman, whom I am supposed to stay at least 50 yards from. I was a PA on Traffic over 10 years ago, but that’s not a big deal. I’m not some huge success, at least not by any definition I have set for myself.



I’m headed to Indianapolis for a film festival soon, but it’s for RELATIONSHIP CARD playing. I got the nicest phone call from the festival organizers saying it was a great movie and that they watched it frame by frame to see my inside jokes in all the graphics. I’m glad someone did because I took a lot of time to write out a lot of little inside bits for that.



Framelines is coming along. I have to re-edit the original pilot down from 28:59 to 26:46 running time. I got a great suggestion from Tiffany Arnold when we screened this at IndieClub a few months ago. She said we should show more clips from the movies we’re profiling, and she was right. So I need to trim out even more material to make room for more example clips. Looks like January will be the premiere and that will lead to a lot more exposure for everyone.

It’s official; I have avoided a lot of drama in the local film community. There is a big ado about some people’s work and how they are presenting it etc. and I have no part of it, nor really that much of an opinion. I’m so buried in my own work right now I wouldn’t know what anyone’s doing. I don’t have time to care about he said/she said.

Because of the fundraising, Alex and I came up with a quick bunch of shoots to do as promotion. I think these might be funny and they will be really really short. People will like getting a peek at what working with me is like.


Wednesday, October 27, 2010

Director's Reel



After working on the site and resume, I realized my reel hadn't been updated in over 4 years. This is something I want to do for potential investors as we gear up for fundraising hard core. If they want to see some snippets of my other work in a shorter period of time, this is it. I'd probably also include the entire short RELATIONSHIP CARD as a follow up.

A director's reel is a tool to demonstrate a larger body of work in a short amount of time. You want to put your best foot forward. It's my opinion only, but I like to show some versatility too. I like a broad range of styles and looks, but I wanted to shed the look of my movies from 10 years ago as much as possible. I got rid of most of the work from over 5 years ago.

In the case of this particular reel, I still wanted to show 2 whole scenes to demonstrate storytelling abilities. The two best things I've got are a clip from HORRORS OF WAR, one of the very few things in the movie that I am entirely proud of and now from ACCIDENTAL ART, the short. There are snippets and samplings from various other projects, including my new web series, but that's for another time...

Friday, October 22, 2010

Revamped Revised and Renewed



So I have put a little bit of time into the Sonnyboo.com site again. It’s been a while since I did more than just change a picture or add a screening. In the hopes of putting good will into the world and seeing how much gets returned, I doubled the amount of music for the royalty free music, added some public domain videos, images, and contracts. I have the strictly voluntary donation button for Accidental Art on these pages. Money donated (not invested) from these sites will go towards simple things like the wrap party or screener DVD’s.




I put some real time into updating things like the images to HD (1920x1080) and adding new videos that will be useful. Fonts bundled together for filmmakers along with new storyboard templates et al will help a lot of people out. I found in the past that tossing this good will into the universe tended to see it come back, so I want to get back to doing more things like this.

In preparing for this marketing push, I realized many aspects of the Sonnyboo.com site have not been touched in years. My resume didn’t even include directing HORRORS OF WAR in 2005 or anything at all after that. I’ve consolidated a list of all the awards I’ve accumulated over the years and it sits at 16 total, excluding the award for special FX or acting, which are not awards for me specifically. All this resume stuff lead me to look at my Director’s Reel, which has not been updated in 2006, so that’s sadly missing my better work. I’ve tried to work on that for 2 days in a row but there is no time and I do not edit at home anymore.



In the last few years, I have not marketed myself or the work as much as I used to. Partly, because I have a life and enjoy spending time with my girlfriend and cats, but also because work and other projects take a lot more of my time away from those kinds of endeavors. In looking at the stats, the Sonnyboo.com site had dwindled in popularity. Of course, I had not been making as many movies, but in the intervening years, sites like YouTubeand Vimeo are dominating the way people see videos online, but I didn’t miss that boat, as my views on YouTube continue to skyrocket into the tens of thousands on some of them (not merely dozens on the others).

I also noticed I had not updated the pages for the older short films. They still link to outdated sites that don’t exist, but also they haven’t been touched in years so they do not have the embedded videos from the other sites. I’m still only halfway through updating these pages for individual movies. It’s going to save me a ton of bandwidth by deleting the video files on my pages and having the movie sites take the hit on downloads. Vimeo is my preferred site, but YouTube is not to be underestimated.


So I added VIDEOS, CONTRACTS, PRODUCTION PAPERWORK, STORYBOARD TEMPLATES, IMAGES, DVD/BLU RAY INSERTS, FONTS, doubled the FREE MUSIC , and a bit more, all in the name of shameless self promotion that helps other people a lot more than it does me. If it helps Accidental Art get a little extra, then it’s all worth it.

Friday, October 15, 2010

Genus Festuca



Yesterday we went to the Cincinnati Oxford International Film Festival, both to do a story on the festival for FRAMELINE and also because ACCIDENTAL ART the short was playing. We arrived a little late and I thought we missed my little 5 minute movie. Instead it played much later in the set of short films.



All of the movies I saw were of a surpassing quality of camera work. The prevalence of 35mm film adapters, DSLR, and the Red One camera are all raising the bar on indie film in a huge way. Digital Cinema is no longer hampered by the deep focus of DV and regular camcorders. Shallow Depth of Field and using that cinematic tool is now completely in play for under $1,000 cameras. It shows, people with no money are making incredible looking movies. The artistry and craft of cinematography has never been this energized.




ACCIDENTAL ART played pretty well. It hits where I wanted it to. The lines I thought were funny get a laugh and the tense moments make the room get thick. It’s working. I like being in a room with no lights and the sound booming from beyond the screen as we, as engage in the communal experience of watching a story unfold. I’m getting better at it, but I don’t think I’ll ever master this entirely. It’s a lifelong endeavor and I enjoy the pursuit.



We got an interview with one of the original creators of the festival. It started out at Miami University in Oxford Ohio 4 years ago and has since expanded into Cincinnati. There used to be a Cincinnati International Film Festival, and I attended the last one in 2003 where I had 11 movies play. These two festivals combining is a great chance for the good buzz to keep on percolating.



I did the Q&A after the block of short films. I love doing the Q&A with an audience. It’s the same pattern every time. You ask if anyone has any questions, no one EVER does. So you have to start talking about what you did and if you can find something interesting about your project or the making of it; inevitably someone will ask a question. I got about 8-9 good questions be rambling on about changing from the exterior location to the interior house which were 2 miles apart.

We’re trucking along on FRAMELINES. Doing more shooting than editing right now. I’ll get some more footage this weekend for the show. We’re snagging stories here and there throughout the state. I can’t wait for this thing to start airing. It’s gonna turn some heads and I’ll make some noise.

Peace out homies.

Friday, October 08, 2010

How Ohio Filmmakers Got Screwed by Politicians

I think all politicians suck. They are out for themselves and never for us, the people. I lean a little to the left, but who on Earth would want to be associated with the Democratic Party? That's like wanting to get beat up and have your lunch money stolen on a daily basis. Similarly, who would want to be affiliated with the GOP or Tea Party? Good God, it seems like your choices are either radical this or pathetic that. No thank you.

In Ohio, we have an ugly race for Governor. Two guys, Strickland versus Kasich. Neither choice is very good. As is evident, neither can articulate any good ideas, so they both sling mud. Unfortunately, it has decided to use Columbus Film as it's slime.

For one of Kasich's smear ads, he hired a local actor to portray a steelworker attacking Strickland's policies. Hiring an actor is hardly a new thing, bad, or controversial. Well, someone decided it should be. Someone from Strickland's campaign decided THIS should be the issue. Not jobs, not the economy, not gay rights, not terrorism... not anything REMOTELY IMPORTANT TO ANYONE. So they made this web-commercial (that may be airing on TV, but I don't know)...

Are you kidding me? from Jeremy Froughlin on Vimeo.



Thanks to the blogosphere, someone went so far as to research the actor and found out he had some kind of record. They made some blog entries about "Kasich hiring a felon" or something like that. This crosses a line for me. He's an ACTOR and he ACTED a part. Who on Earth thinks it's a good idea to crucify HIM in the name of politics? Which one of these two sides thinks causing this actor to NOT get hired because his alleged criminal record is now all over the web? Who thinks trying to paint some innocent actor who probably didn't even get union wages as a sex addict by using pictures from his MySpace page with a stripper at a birthday party? Who's looking out for the little guy? Who's looking out for privacy? What does this really achieve?

Now in the commercial above, they used footage from two short films from Columbus Filmmakers WITHOUT PERMISSION. The politicians and the campaign are claiming "Fair Use" laws to defend their decision to steal movie clips. I guess they figure "Hey, they're from Columbus and it would cost them more money to fight us than Hollywood, so screw them! USE THEIR CLIPS!".

Well, THANKS politicians. I don't care which party did what. That's not the issue. The issue is intellectual property and the rights we have over our WORK. We can't let fat cat politicians step all over us and use our clips in whatever way they want.

This is MY video to all the politicians. Get off your lazy asses and do something for the PEOPLE, not yourselves, you worthless sycophants.



I guess if they can claim "Fair Use", then so can I, right? Is there anything wrong with my artistic decision to show both candidates with random word phrases like "PEDOPHILE" and "TERRORIST"? I'm not saying they are these things, nor do I intend to imply such outrageous claims. I guess if they want to sling mud, I prefer to bring a gun to their little knife fight.

Why not go out and make your own videos with their commercials and FAIR USE it all up and go for the throat? If our once and future governor(s) can steal clips, then so can we!

These two idiots running for Governor are spending MILLIONS in TV advertising, and they want to claim "Fair Use" on using a poor independent filmmaker's clips? Yeah, even if by some miracle it's legal via a loophole, that doesn't make it right.

Monday, October 04, 2010

Arithmetic & Budgeting For Film



As the script revisions finish, the business plan and budgeting has begun for the next feature film. Since I was a broker, I have some idea how to write for the people with money. It’s never easy and it’s never fun, but I have a knack for knowing numbers. What’s odd is that most filmmakers are terrible with numbers. I’ve seen people throw out numbers and budgets as if they had a clue where that money goes or what it’s for when they clearly do not. Anyone who randomly says, “I could make 5 feature films for $100,000.00” clearly doesn’t know how to budget a movie.

A lot of people hear about El Mariachi for $7,000 or Clerks for $27,000 (rounded up from the actual $26965.00). Or the generic budgets of $1 Million for an indie film and they just turn into parrots repeating numbers they heard vaguely somewhere or they just pick a budget amount from a random group of numbers without doing any kind of break down.

For people who intend to make a feature film for under $10,000 some harsh realities have to kick in. It’s possible to make “a” movie for that, but its profitability is limited to similarly low amounts. The price you pay is a crew that is all volunteer and mostly inexperienced. There’s nothing wrong with this model and business plan, but it’s not for me and most people are deluding themselves into thinking they have the next indie feature hit film like PARANORMAL ACTIVITY.

The problem is when people have such a low amount of money to play with, like $10K and think that everyone will get paid at least something. This is unrealistic.

Here's a line item on MEALS alone....

$6 per meal x 20 cast/crew x 3 meals a day x 15 DAYS shooting schedule = $5,400

That's a combined cast and crew of 20. Add some extras and your costs start to go up a lot. Add more shooting days, price goes up. This does not include craft services either, as having food and drinks available all day is the least you can do for a free or cheaply paid crew. That $6 per meal includes beverages. Making that stretch and not buying pizza for every single meal is the art of a good caterer and there are some that specialize in film and video shoots.

Let's look at a basement low pay rate for crew. Let's say you are going to have 8 crew people.

$50 a day x 8 crew people x 15 days = $6,000

I don't even want to know how much experience your grip has if they can afford to work for $50 a day. I randomly chose 8 positions, some will cost more and in some cases, you might need more people, or less people at a higher rate. Most professionals start at about $200-$300 a day, and a good D.P. or sound person will be higher, especially if they are bringing their own gear to the production.

Right now, you are already over budget by $1,400 of your $10,000 budget and this is paying peanuts to the crew and nothing to the cast and feeding everyone for meals during the shoot. This amount does not include any money for tape stock, editing, on set special effects, stunts, props, sets, location fees, transportation, hotels, equipment rental, post production, editing, sound, deliverables, E&O insurance, Production insurance, contingency, batteries, walkie talkies, printing of scripts, printing of call sheets, production reports, taxes, and the few hundred other expenses that come with making a movie.

My advice to anyone starting out making movies or moving from short films to a feature film is to get out a calculator and work out some very basic numbers with arithmetic before spouting any potential budget ranges. Everyone wants to focus on the “art” and not worry about the costs. If you want someone’s money, you will start having to worry about the costs, or you will have to get money and hire a PRODUCER to worry about the costs for you. If you only have $10,000 – congratulations Mr. Director, you are also your own Producer.

That leads to another topic for another time….

Friday, October 01, 2010

The Pudency of the Pariah



I am attempting something. I’ve taken quite a bit of time off from promoting myself, the Sonnyboo.com site, and the free things I have for filmmakers. As we gear up for fundraising for ACCIDENTAL ART as a feature, it seems like a good time to spread some love, put out the good karma and hope it comes back.

I doubled the number of songs from 20 to 40. I think 8-9 years ago when I first put some songs out there, I held back a few things for sentimental reasons. Even though several of the songs out there were personal favorites, most of the songs were throwaways. I have become so disinterested in anything I did in music that nothing is sacred or worth keeping to myself, so I uploaded 20 more songs that either had quality (a relative term when referring to anything I did in music), or just might be in a genre of music useful to people no matter how much the sound or composition sucked.

I’ve added some new images, now adding HD sized (1920x1080) FBI warnings, film festival laurel leaves, etc. For video, I only had a countdown leader, because AVID users didn’t get one with their software and everyone else did. It’s still standard definition. Now I’ve thrown together 4-5 new HD videos of things too.

I think helping people is essential. I have to do it in the broad strokes because my time is not my own anymore. It’s important to pay back to the world for what help and good has come to you. I want to help others and I will need help in the future. Helping others first, and knowing full well that it’s a 1,000 to 1 help back ratio (if I’m lucky). The most I’m doing is putting the links for donations for INDIE GOGO and KICKSTARTER. Anyone can download for free and some want to give something back.

I’ve barely started letting anyone know about the site re-vamp and we’ve already gotten in $50 in donations. It’s a “soft opening” and pseudo beta testing. I’m finding more new things to add, re-arrange, tinker, and poke at the site. I’ve done some new designs and looks, and even this blog might get a little new look soon.

I felt like making a silly action movie style promo and here it is.


Tuesday, September 21, 2010

Draconian Disturbances



Oh how time dogs my every move. I have so much to do and not enough time. Re-writes are my highest priority. Learning my lesson from the past, I am not going to shoot a frame until the script is at 100%. The table read proved we were at 90%, but still not all the way there. My newly adopted method is to solicit more opinions, get more feedback.





I think it’s a great thing when out of all the harshest criticisms, there is absolutely NO CHANGE to the structure; the scenes are all solid. Just some character and dialogue tweaks. When the only major revisions are on your second and third string characters to make them as well rounded as your leads, then you know you’re working with a decent script.





In my mind, I know there are a 2-3 tent pole moments missing from this script and I need to adapt scenes that are there and make them better. I want the screenplay to be the strongest it can possibly be before I shoot. I did not do that on my first feature film, so I paid the price for that. This is my blueprint that the rest builds on. I will not proceed until I am convinced there is nothing more I can see done to the words on the page. Lesson learned.





Money has started to trickle in for ACCIDENTAL ART. I’m trying out the whole INDIE GO GO and KICKSTARTER sites. We’ll see if those yield any results, so far INDIE GOGO is more active. I don’t think we’ll see a lot on those sites, though. It’s all about private investment for indie films with a larger budget over $10,000. We want to book at least 2-3 name stars, so our costs will be higher.





Once we get enough money and we start to book talent, then the world will come down on us. The sycophants and haters will converge. I don’t care anymore. People will do what they are going to do. Don’t mistake my notating and predicting as actually caring. At this stage people are so predictable. One of my favorite lines from a movie rings even more true now than ever before…. “People are unreliable, but at least that makes them predictable”.

Maybe I’m too cynical right now, but that’s only in some of the people I know, not about myself or my projects.

Friday, September 10, 2010

Petulant Interjections



A rough cut of a new short is done, but needs some work. It needs a new style that I’m not capable of delivering, so I’ll be looking for another editor on that. Someone with the newer cutting style. Luckily, I saw some work from the latest Columbus 48 Hour Film Project from editors that would be perfect. Here’s where an event like that benefits people. The display of style creates a forum for people to work together.




I’m also knee deep on the feature length script. We did the table read. This is the 2nd table read of the script, and I recorded audio both times. I think the script is much stronger now. It’s not 100% there, but we’re in the 90 percentile. Listening to the words out loud changes everything. No matter how it’s being performed, hearing dialogue spoken gives you an entirely different perspective to just reading it silently to yourself on a page.

Getting opinions on a script is always a sensitive area, but I’ve tried to be more calloused. Since I’ve been working on this with many other writers, like George Caleodis, Chris Gavaler, and now Alex Newman, I can be less personal about criticism. Even though the beat for beat story arc is 100% mine, somehow it’s still less personal when it comes to critiques and suggestions.

I want this script to be 100% with no compromise. What I learned most from HORRORS OF WAR was to make sure the script is as close to perfection as you can get BEFORE shooting the movie. Having the freedom of time without a lot of pressure to make the movie on a schedule means I can wait to try to shoot until the script is the absolute BEST it can be.



Apparently, via the private messages and emails my last blog inspired, people are unhappy that I am viewing this as my “last chance”. I guess I can clarify, although I don’t usually feel compelled to explain myself as often as I used to. I am giving up the idea of being a feature film director as a career. I won’t stop making movies, I may not even stop making feature films; the only change is that I won’t delude myself into thinking THAT will be my career or key to job security.

With that, people are trying to tell me it’s bad that I am applying allegedly undue pressure on myself by thinking this is my last chance, (sorry KC, you’re finally getting mentioned in one of my blogs!), but I respectfully disagree. I think constantly being on guard and adding stress to myself to make this the best movie possible can only result in making a BETTER movie. I want to be constantly striving to make this the best, to always be pushing myself and everyone else to make not just a good movie, but a GREAT film. I cite the behind the scenes footage of the great Francis Ford Coppola while working on THE GODFATHER. He was the most passionate and motivating director I’ve ever seen on a set, in rehearsals, in the edit, and even talking on the phone to whoever was listening. If I’m not pouring every ounce of my soul into the movie, I’m not doing it right.

I’m not quitting film. I’m just going to shift some priorities to getting a nice house, health insurance, being able to afford vacations, and even retirement at some point in my life. Ironically, these are things that most filmmakers I know is already have those as higher priorities.

It’s not as dramatic as it reads in a blog.

Peace out homies.

Thursday, September 02, 2010

Lamenting the Lascivious and Lucidity of Certain Ladies



Ah my droogies, your faithful narrator has been more than a bit busy. Between fundraising for the next feature film (which has already gotten us some decent cash on INDIE GO GO.COM, and shooting a new short in series of shorts, and plus shooting for the PBS shows things are non-stop. Combine the day job work and me is tired.



So I got to work with the Canon 5D Mark II with Greg Sabo. It was a really gorgeous look with this DSLR. It has some minor limitations, but for shorts and quick things, it can be staggeringly impressive. Low light, shallow depth of field and portability… the DLSR craze is very much justified. I immediately converted the footage to a low compression, high quality codec for editing. It will maintain quality better in color correction and effects this way.



Alex the Intern has already done an edit pass on the latest short opus, but it needs some magic, as in the Twitch type magic to make this one shine. I can’t even think about getting to it until next week some time because our annual big editing project came in and I’m ensconced in the trenches of my edit bay toiling away for longer stretches of the day. It’s something basic, but will be pretty cool when it’s done; Might take a while if I get some good sound design, sound mix.



I feel really really good about the ACCIDENTAL ART feature script. It’s in the prime shape to get made. There are going to be some tweaks, etc. when it comes time to shoot it, but I’ve gotten some feedback, etc. and this looks to be the one. If… scratch that… WHEN I get to make this, the movie will be the one I was meant to make. It’s got more of my personal tastes in it that something like HORRORS OF WAR. I’ve been honing the skills to make this movie for the last 10 years. This will be the best movie I can make at this point in my life and career.



I’ve made a momentous decision in regards to this. If this movie does not do for me and my career that I intend it to, then I will no longer pursue being a feature film director. I’ll still make movies, shorts, TV shows, etc. but if ACCIDENTAL ART doesn’t do it, then I’m going to change directions in my career path and my life. I want to focus on things with a certain amount of stability and raise my responsibility. I have made many sacrifices to live the life I’ve lived and to do what I have been doing. I’ve reached the end of this rope, and if this movie doesn’t take me to the next plateau, then I don’t think I have the movie in me to ever be made that will.

That’s it for now. There are people reading this blog that talk smack about me and this is all I feel like divulging for now. More is happening on all fronts, but actual friends know how to get in touch with me.