Producing a feature film, never mind writing and directing one, is a project. In this industry you often hear people say, “What projects are you working on?” The word “project” is code for “film”. Let’s be honest, it’s easier to use the word “project” than list out your films at a cocktail party. But here are my projects: Justice Is Mind, First World, titled, but not announced, political thriller and…that’s enough. Suffice to say, both Justice Is Mind and First World are in various stages of development and production. Justice has a short and feature, with notes on a sequel. First World has a short, a feature I hope to put into production with a sequel already written (it’s a trilogy). The political thriller is at the treatment stage with 12 pages of script already written.
There was an article in an industry blog about a filmmaker who was quoting all these projects. I mean, they went on and on and on. Sounds impressive on paper, but two clicks on IMDB and you realize it was just talk because honestly it’s impossible, unless you have a production staff, to be involved in so many projects strictly from a time point of view. For me, less is more. Anyone that has worked with me knows that I focus on the details. It’s easy in this industry to get distracted with someone’s new and exciting project, but if your own project isn’t finished it’s really doing a disservice to those that worked on it.
With Justice Is Mind edited and the score nearly complete, the one area of the project that’s front and center are the building of the special effects. When you see these before and after examples, the quality that our Special Effects Supervisor is putting into them is stunning. But to get to this point, as I mentioned in an earlier post, there are quite a few details that first start with original files being pulled by our Editor, sent to me for review and then processed over to special effects with my instructions for the building.
Special effects are an integral part of the world of filmmaking. Without them, films just don’t exist. The special effects we see in 21st century films are obviously very cool. On a contemporary note, visually Olympus Has Fallen was really excellent. But let’s take a step back in time to my favorite film Gone With the Wind. In those days it was the matte shot. When you consider what Jack Cosgrove achieved back in 1939, impressive doesn’t even begin to describe those visual effects that still hold up to this day. How the burning of Atlanta was accomplished was truly spectacular.
While the special effects are being built, one of the next areas of the project that I’ve been focusing on is our upcoming August 18 premiere, continuing to develop the list of film festivals to submit to and working towards an industry screening. There is also a list of independent theatres I’m working on to screen and test market the film. This is another area of the project that has to be carefully considered—distribution. The one thing about the world of filmmaking, and probably like any industry, is the abundance of “consultants” that want to tell you how to hone your craft. I have to tell you, wading through these “experts” is a project in and of itself. I’ll just say this, if you are going to consult for a fee in this business you best have accomplished what you are preaching before I part with 10 cents.
For my projects it’s pretty simple. 1) I want to produce, 2) I want my projects to be seen, and, 3) I want to make money. Obviously, a lot has changed in this industry since Gone With the Wind. Filmmaking is achievable today because of technological advances that allow us to create. And after all…
Tomorrow is another day.