Tomorrow is a motion hearing in court. Not a real court. But the mock trial program I’m in at the Naval Justice School (NJS). While I can’t go into specifics for a variety of reasons, it involves my character as an NCIS Special Agent to be informed on matters pertaining to “my training” and certain actions I took. Sorry I can’t say more.
As an actor it gives me the opportunity to create a character. As this is a role playing part, as long as I know my background, there is a certain amount of leeway I can bring to the performance. The goal is to create a realistic environment for the students in the program. Because when this program is over, these students go out into the real world.
Creating worlds is what the fall is all about with the film markets. Toronto just finished with AFM coming up in early November. Some of the discussions that I’ve seen on filmmaking sites talk about the importance of having a teaser to represent a project. I couldn’t agree more. It honestly doesn’t take too much effort to create a sample of what a project could look like. Although I love reading a good script, being able to see some sort of visual does help bring it to life.
As for bringing a project to life, I firmly believe not going broke in the process. Yes, we all want to see our written word come to life, but it seriously isn’t worth emptying a bank account or maxing out credit cards. About a month ago I learned that an indie film that was in post-production hell finally climbed out of it when a producer mortgaged their house to finish it. Seriously.
But whether it’s a teaser, short or feature film, you want to work with actors and crew that do their part. Let me be clear, professionalism has nothing to do with union status and everything to do on how you comport yourself during a project. Are you prepared? Do you know your character? Do you show up on time? Are you contributing to the project or taking away from it?
There are people I’ve worked with on both sides of the “camera” over the last ten years that I wouldn’t hesitate to work with again. If you look at my projects you see many similar names. But sadly, there are those that I just won’t engage with on a future project. Nothing is harder on a production than an actor not being prepared or a crew member not doing their job. Simply, there are too many people looking for an opportunity and to prove themselves in the process.
The one thing that I enjoy about this industry is discovering new talent. And that truly is what this industry is all about—talent. Because there’s a “talent” in bringing a project to life.
Prior to writing First World back in 2006 I would follow the film industry like most of the free world. You would learn about an upcoming film from TV, print or radio and then you would go to the theater and watch the film. From what I can remember most films in the late 70s, 80s and 90s had pretty good attendance in their first few weeks of release. Of course, VHS and DVD added substantially to the coffers and was a welcome lifeline to films that underperformed at the box office.
As I did in publishing over two decades ago, it’s one thing reading a magazine, it’s another learning how that magazine arrived in your hands from an industry point of view. But like that industry’s transition from print to digital, the independent film industry is also going through this same painful process. This article in Variety pretty much summed up the latest Toronto International Film Festival.
It’s one thing when you work in publishing and you’re managing a downturn in paid circulation (thankfully I never had to experience that), it’s entirely another when someone or some company has advanced seven to eight figures to produce a movie and is waiting for a distribution deal to materialize. The magazine has revenue, albeit less, the film has zero. Because there is so much misconception about the independent film industry, let me be clear—just because a film gets into a major film market/festival is no guarantee of distribution. There’s also nothing wrong and everything to gain win self-distribution.
What I firmly believe this all comes down to is budget and marketing. Of course everyone needs to make a living, but there needs to be a reality check on what can seriously be recouped domestically and internationally. It’s no longer about just getting the film produced, it’s about making an effort with a marketing plan to reach a target audience. Marketing takes time. Believe me when I tell you it takes longer to market a film than make it.
I don’t know. Call me old fashion or just a consummate planner. There are some solid lessons to be learned from the magazine industry. I just couldn’t deliver my magazines to our distributor and wait for revenue to roll in, I had to market on a regular basis. I had to bring enough awareness to my magazines to either get a paid subscription or a single copy newsstand buy. This all has to sound familiar if you’re a filmmaker. How do you get people to watch your film or buy it?
Stacey Parks asked in one of her blogs “You Making Money on Amazon?” Every month I get paid from Amazon from my four films running on their platform. Yes, some do much better than others. But there are sales every month. I post three times a week to their respective Facebook pages that auto post to their Twitter accounts and other broadcast functions I have set up. Google Alerts notify me of an interesting article that may warrant a pitch to an editor or, yes, a film financing entity or producer.
This all being said, I strongly believe in the future of independent filmmaking. For me the glass is always half full not half empty. It’s about coming up with a solution to a problem and seeing it through. I always pity the naysayer that says to me, “You can’t do this or that because…” Those are the people you give a wide berth to as you have, a…