This past week served to be an interesting one not only working with a variety of actors on the set of a movie filming in Boston, but in the selection process for the third outing at the Naval Justice School in September.
When the inquiry came in from the casting company about background work, I was interested because they also wanted to use my car in the film. My first Pontiac Solstice appeared in Justice Is Mind. My second, if it makes the cut, will appear in I Feel Pretty. I particularly liked how they “dressed” my car with New York State tags.
But like the first time I did background work, it’s an opportunity for me to meet new actors and crew. I also wanted to see how they staged and used cars in a large scale production. With the camera setup, it didn’t take long to figure out why the cars were parked across the street.
As a director of course I take this all in on numerous levels. For me it’s like a vacation. I don’t have to worry about anything except showing up and doing what I’m told. Sure I felt a bit like Captain Kirk in Star Trek: Generations, but this wasn’t my ship I was just part of the crew. I will say this, the catering was excellent. Yes, I will judge your production, film or whatever by the type of food you serve. And if it ends with a great cup of coffee, that’s another star in my book.
But booking is where things turned for the next class at the Naval Justice School. As Site Supervisor, sort of like director, I don’t make the final casting decision but I do recommend. As I mentioned to an actor earlier this week, “Those decisions are made in Washington.” It wasn’t gravitas on my end, the agencies that book the actors are based in the D.C. area.
I am always happy to recommend talent for other productions. If I’ve worked with you and the relationship was a positive one, those recommendations come easy. But if someone I know recommends an actor I haven’t worked with, I’ll forward the information if I like what I see with the caveat that I’ve never worked with this person before. This entire industry is a network. You never know who knows who and it is a terribly small world. It is that small world of industry contacts that had me sign with a new talent agency in New York this week.
While I have representation in the Boston market, I’ve been looking for a national reach for a few months. Let’s just say that some of the conversations and meetings have been beyond interesting and make for great cocktail conversation. But in the case of this new agency, we knew the same talent from a show I worked on over ten years ago, FOX’s Skating with Celebrities.
My point is this. It’s important to be nice whenever you can. Yes, there are sometimes difficult if not impossible people in this industry, but no gig lasts forever. This is an industry of moments and you only get one chance to make a first impression.
There is that moment in a theater when the words “Feature Presentation” come up just before the picture starts. Certainly as a theatregoer we’re excited to see the film, but as a filmmaker it’s a rush—particularly when it’s your movie. That rush happened for me when Justice Is Mind and Serpentine: The Short Program screened together at The Strand Theatre in March. Ask any filmmaker and they’ll tell you, there’s nothing like seeing your film on the silver screen.
But for all the accolades that come with making a feature film, there are significant challenges that theatregoers don’t necessarily concern themselves with. The recent articles on Broad Green and Open Road chronicle the times ahead for some. While the capital to produce is there, it’s the net return that’s the issue. Thus consolidation or, in the case of Broad Green, production shut down. In my view it comes down to a reasonable budget with a solid marketing plan tied to distribution. To turn a phrase from Ron Popeil you can’t “Make it and forget it”.
I met with a colleague a few weeks ago who wants to make his first feature film. He’s a talented filmmaker who has made some award winning short films. A short film is one thing, a feature is an entirely other animal. His concerns were numerous—completing the script, managing a crew, finance and distribution. Basically it comes down to taking that leap of faith. You have to believe in yourself and your own capabilities. Yes, you rely on others, but as Luc Besson said you have to be the General of the Army. Look at any film in production from the low budget independent to the major studio release, the entire project revolves around the director. This isn’t to say that the director acts unilaterally, they too have to report to someone or at least adhere to a structure.
As for structure and directing, I’m looking forward to returning as site supervisor for the Naval Justice School’s mock trial program in Newport, RI. Yes, it’s directing of a sort, but it’s just as much as adhering to the structure of their program. What I enjoy about this program is that it’s neither film nor stage, it gives me the opportunity to roleplay a character over multiple days without a set script rather a set of circumstances and situation. As director it’s generally to make sure that the actors have an understanding of this process as it’s not stage or film. There’s no call to action and cut, rather you are in character when in the school. My supervisory role is essentially making sure everyone shows up on time, answer related questions and to follow the rules of the base and the agency that has hired us.
One thing about this industry that I enjoy is the variety of opportunity it affords. Whether directing a film, writing a screenplay or working on a military base, it’s about being well-rounded. The one thing that has helped enormously with my work in Newport was the years I spent doing TV interviews (many live). While there was no script, there was a subject matter and certain facts I had to adhere to. My point is that whatever the work is, it’s about the accumulation of experience because who knows what that next part will be.