As I approach the final pages of the sequel to Justice Is Mind (I’m at 116), I’m entering what is probably the most involved plot aspects of the story; providing closure to one of the greatest mysteries of World War II, the resurrection of Henri Miller and a landmark Supreme Court case. All of this takes research and, what I call, “fictional plausibility”. For me I take known facts and provide a fictional twist. This is nothing new in screenwriting, but I do believe that if factual history is attached it should be honored before fiction is applied.
Speaking of screenwriting, I was reading Peter Bart’s latest column in Variety titled “Hollywood No Longer Shows It Has the Write Stuff”. He goes on to say, sadly, that studios and some filmmakers are omitting thanks to that one person that needs to be thanked—the screenwriter. How many times do we hear the word “collaborative” in this industry? Well, the screenwriter is the reason why everyone in on set. Simply put, you can’t build a house without a foundation.
Bart quoted from one of my favorite directors, Billy Wilder, “I like to believe that narrative movement can be achieved eloquently and elegantly without shooting from a hole in the ground, without hanging the camera from a chandelier and without the camera dolly dancing a polka.” This isn’t to take away from great cinematography, and I do love my “Hitchcock” wide shots, but without a quality screenplay it just doesn’t matter what you shoot. This is why I’m such a fan of classic films. And give me a political thriller from the 1960s any day!
Speaking of industry trades, there was a great interview with Voltage Pictures president Nicolas Chartier in The Hollywood Reporter where he talked about piracy and the state of the industry. The one thing he said that struck me was, “the DVD business is dead.” I agree. I was in a Dollar Store yesterday and saw a bin of DVDs for sale for only $1. Yes, some were films I never heard of, but plenty had star power behind them. Sure DVDs are still sold, but you have to wonder what’s left for the filmmaker after all the expenses.
For years I have been a supporter of Video on Demand. VOD is simply one of the most dynamic and exciting distribution opportunities for filmmakers. With a responsible budget, it is a way to make money on a consistent basis. I could not be more pleased with Justice Is Mind’s placement on Amazon Prime and VHX (among others). Traffic continues to build on a daily basis.
But that traffic just didn’t materialize overnight. We aren’t The Interview with the world media behind us. No, what has largely been responsible was our theatrical run along with the numerous special event screenings including our international premiere on Cunard’s Queen Elizabeth. Along the way we developed an audience, press and significant online entries. While a screenplay is the foundation to a solid film, a theatrical run is the foundation for VOD. It’s an equation that works.
So as I write the last pages of the sequel, I am hoping to soon announce our participation in a theatrical program that could bring Justice Is Mind to a theatre near you.
This weekend I hit page 110 of the sequel to Justice Is Mind. For the last several pages the characters and related plot points have been converging to an end point. It’s moments like this in my writing that I find myself going back to the beginning of the script to make sure I haven’t left anything out. But this is the first draft, and like any first draft, there will be edits.
As some may know, one of my favorite authors is Barbara Taylor Bradford who wrote A Woman of Substance. I came across an interview she did in Gotham last year on what some of her writing secrets are. She makes an outline that doesn’t go more than 10 pages. That’s generally about the same practice I employ. For me, I want to have an idea where the characters are going, but to give them flexibility if some new idea or plot twist comes up. In fact, I already adjusted the ending a bit for the sequel.
The one thing I don’t do is over edit. I really believe you can edit too much and water down what may have been OK in the first place. But this is all personal preference. Of course, if a project has been green lit there are those adjustments that sometimes you just need to make for a variety of reasons. I was looking at my first draft for Justice Is Mind back in 2010. I’ll just say this, thank God I changed the last ten pages!
But like Emma Harte in A Woman of Substance had her “Plan with a capital P”, I have the same thing with the “Justice Is Mind” project. It may take some time to implement, and I certainly won’t divulge it all here, but with a short and feature film completed, a sequel in development and notes for the fourth leg of this project, it’s moving. With each leg the goal is to continue to increase the profile of the project. Ambitious? Sure. But so was the feature film.
Speaking of the feature film, I’m pleased to report that Justice Is Mind can now be streamed on Roku through the new VHX channel. VHX just announced it last week. It’s certainly a great development and it just gives audiences more viewing options. I’m hoping to announce some additional distribution options for Justice Is Mind shortly.
On the political front I was more than delighted to read last week that relations between the United States and Cuba continue to thaw. In my political thriller SOS United States, it’s Cuba that comes to the aide of the United States. When I think of the number of times I have travelled in the Caribbean (mostly by cruise ship) only to see Cuba just over the horizon. It’s time this failed embargo is lifted.
And just as I was finishing up this blog post one of our supporters said, “You know when folks see a movie I don’t think they really get the work, the really hard work the writer has thinking up every word and making it come out sounding natural.” Suffice to say I appreciate those words!
From the writing of the screenplay, raising the money, producing, directing and marketing, audiences really have no idea what goes into the production of a film. And as Emily Best of Seed & Spark said in an article this week, “Every film is a business.” Because in today’s day and age of independent filmmaking, there is one thing you need to have.