First Signal is complete! What started as an idea in 2017 is now a completed feature film. The satisfaction of completing a film is like none other. When you consider the number of people and technical matters that go into the process, it’s project management bar none. While there are always difficult moments to overcome, as filmmakers we always come out on the other end wanting to do the process all over again. For when a film is complete, it truly is a piece of art. Not one that you hang on the wall, but one that you project on it.
The completion of First Signal arrives with additional film festivals that have accepted the trailer. I’m delighted to report that the trailer has won Best Trailer at the Crown Wood International Film Festival and Tagore International Film Festival. The trailer was also a finalist in the Prague International Monthly Film Festival. These early accolades create a wonderful foundation as I submit the feature film for festival consideration and implement the marketing and distribution plan.
This all comes of course as the entertainment industry is trying to right the ship in a sea of unprecedented uncertainty. Theaters are just now announcing plans to reopen at reduced capacity, production is slowly restarting and film markets have gone temporarily virtual. As for the latter, I’m registered for the Marche du Film that’s starting on Monday. I was looking forward to attending my first Cannes in person, but virtual will be fine for this year’s market. As Scarlett O’Hara said, “After all tomorrow is another day.”
I count myself lucky that we have been able to successfully navigate the post-production process of First Signal given the present situation. Although we had already planned to be in post-production during this time, one doesn’t plan for a worldwide upheaval that literally shuts down the world. Throughout this vortex, it was the dedicated post-production team of Daniel Groom, Daniel Elek-Diamanta, Adam Starr and Tim Haggerty that made the completion of First Signal possible. One member of our team went through a multi-country ordeal to get home and literally sent the final files the day before he was leaving. During the actual production of First Signal a couple of members were going through some very trying personal matters. It’s those types of efforts that give credence to, the show must go on!
The entertainment industry is resilient. We always find a way to overcome obstacles. Because if there is one thing the public wants, it’s entertainment. They want to escape into a story, experience new characters and visit their worlds. Since the dawn of theater neither war, famine, plagues or “out of this world” experiences have brought an end to this industry. If anything, it makes us work harder to do that one thing we all enjoy doing…
In the coming days I’ll be able to announce that post-production on First Signal is completed. With every inch closer to that accomplishment, I can’t help but think of the journey. It has been nearly three years from concept to competition. In hindsight I wouldn’t have changed a thing. Through all the fits and starts of locations, cast and crew, in the end everything worked out the way I hoped. As of this date the official trailer for First Signal has been selected by three film festivals!
However, another journey lies ahead. Fortunately, it’s a trip I’ve been on before – marketing and distribution. Yes, the plans include film festival submissions, distributor pitches, various screening opportunities and, I hope, some solid media interest in the “First World Universe.” With the world starting to reopen, the key will be to find partners that are interested in working with us. Like I did with Justice Is Mind, you want to work with those that want to work with you. I’ve always believed that distribution should be a partnership of cooperation, not just a take from any given side.
There’s no question that the entertainment industry has been financially decimated. I sadly know several people that have had to exit it permanently because of economic reasons (everyone needs to eat). While it’s encouraging to learn that production is starting to resume in certain parts of the world, some of the restrictions I see being proposed will only accomplish an increase in costs and time with nary a health benefit. Who is going to cover those increases when we are now in an economic depression? The economics of this whole situation is pretty simple. How is a distributor going to price a film when a sizable percentage of the global audience is on unemployment or reduced earnings? What it really comes down to is disposable income and what audiences are willing to spend to be entertained. I sincerely hope I’m wrong and that we see a vibrant return to some sort of market normalcy (I refuse to use the phrase ‘new normal’). As movies have always been a form of escapism, I believe audiences will return sooner rather than later to the theatrical experience.
The remainder of 2020 and a good part of 2021 will be devoted to the marketing and distribution of First Signal. I know the film will find its audience and a solid distributor will present itself. For me, I always try to look at a situation with a spirit of optimism and to avoid those situations that attempt to drag me into some sort of milieu. I’d rather navigate out of a small port with an overcast, than attempt to sail through a busy port in the center of a storm.
I can thankfully say that First Signal isn’t tied to debt covenants or other financial obligations. One of the benefits of being the sole executive producer is that I’m largely only answerable to myself on the financial front. But a film isn’t designed to be made and relegated to a shelf. A film is produced to be seen and enjoyed by an audience. One of the primary responsibilities as executive producer is to insure that my film gets released. If anything a producer has a responsibility to the actors and crew that shared the vision. Because that’s what film is all about – a vision.
While we all enjoy seeing our favorite films on VOD, there’s nothing like the theatrical experience. You enter a vast room with anticipation; that leads to the dimming of lights and the initial roll of the opening credits and the crescendo of a score.
Liftoff of the trailer for First Signal went off without a hitch. To put in in space terms, we are now in low Earth orbit. A special thank you to WMUR, Athol Daily News, Greenfield Recorder and Britflicks for reporting on the trailer. We’ll continue orbiting until First Signal is released and we venture into deep space. OK, enough with my outer space analogy on releasing a trailer!
Two weeks ago I had several browsers open with the trailer ready to be published. Did I spell the title of the trailer correctly? How does the formatting look for the email newsletter? Once I proofed everything for what seemed like a tenth time I finally entered the commands to go live. When the time came everything worked. But it wasn’t for a lack of planning. The organizing and release of the trailer took about three months. It wasn’t just about the actual video file of the trailer but all the marketing around it.
When you are an independent filmmaker your team is small if not but one. There’s no marketing communications group to handle this effort. Oh sure, you ask people to read this or double check that, but at the end of the day the responsibility is yours. Like it always happens before I launch something, I think of the steps it took to get to that point. It all started as an idea at the Naval Justice School in Newport, RI in 2017.
Up until that point I honestly never thought I would be revisiting this First World Universe I created. First World, the script, came out in 2006 with the short film version following in 2007. With the global financial crisis in full swing, it was next to impossible to get a film financed. At one point, just before the collapse, the financing and production teams were in place. But then, seemingly overnight, financing fell out of the markets and that was the end.
Slow but sure the markets recovered. A filmmaker friend of mine knew about my frustration with getting First World made and challenged me to write something that I could film on a true indie budget. A moment that involved mind reading in the sequel I wrote for First World turned into Justice Is Mind. The rest, as they say, is history.
Shortly after the trailer was released, I started to receive interest from sales agents and distributors I didn’t meet at AFM. I have to say that was very encouraging. The whole goal of a trailer is to “sell” the feature. As I can well appreciate how inundated these representatives are, the fact that they are even interested at this point bodes well for the project. What kind of deal will ultimately emerge? That’s really impossible to tell as there are numerous factors involved.
While post-production continues with an end of April (early May) completion date, marketing of the trailer continues, while I plan for the release of the feature and presentation to sales agents and distributors.
On a closing note, I’m aiming to have a draft of the sequel to First Signal completed before the film is released. To turn a military phrase, it’s about preparedness.
With the trailer edited and scored, we are in the rollout phase as the color grading commences. As each day passes we are rolling closer and closer to the day when the trailer for First Signal is released. I don’t think I’ve prepared nearly as much for the release of any of my film projects. Yes, Justice Is Mind was obviously important to me, but with First Signal being my first feature film in the “First World Universe,” I want to make sure I reach who I need to reach.
When I was talking to an acting friend this past week, we started to talk about certain sci-fi series and movies and what we do and don’t like. For me, I’m not so much into spectacle but story. I’d rather watch a solid story than things getting blown up. Yes, sometimes you need to blow something up, but I feel it should be done within the context of the story, not just for show and tell.
Last weekend we had First Signal’s ADR session. Watching these talented actors bring their characters back was nice to see. It was also an opportunity to show them the trailer and opening credits. Aside from some stills, they haven’t had the chance to see anything since we wrapped last July. I know when I’m part of a project as an actor I anxiously await to see what the product will look like.
With audio complete, the provisional score nearly done, VFX being built and the film close to a lock, I can almost see the light at the end of the post-production tunnel. But this is where all the details come up. From polishing the edit and score, finishing the VFX, sound mixing and color grading, creating a film is an arduous task and all about project management.
One of my favorite “TV” series these past few years has been The Man in the High Castle on Amazon. The entire production on both sides of the camera was first rate. When I started to write the sequel to First Signal it dawned on me the character of Major Sampson could parallel Juliana Crain. In High Castle, Crain was instrumental in the resistance movement and played all sides to achieve her goals. In the sequel to First Signal, Sampson finds herself torn between three worlds – the President of the United States, the Vice Chairman of the Joint Chiefs of Staff and Cedric Yonah the Premier of the Synedrion Council. As of this morning I just hit the sixty-page mark and I think I know how I want it to end. I think!
As for films that have a military storyline, I saw 1917 last weekend. I can’t say enough great things about this film. From filming the entire story in one continuous shot, to the production values and acting, 1917 was truly a delight. The cinematography alone is reason enough to see this film. I can only imagine the pre-production planning!
I was reading an email newsletter this morning and the author talked about having to love the journey not only as a writer but as it pertained to sales. As a screenwriter, there is that moment when you feel these characters talking back to you as you type their dialogue and action their elements. When you’re filming your screenplay, you see these characters come to life. When you’re watching your story on the silver screen or your TV, you know you’ve made a sale. There is something immensely satisfying being in the lobby of a theatre when someone asks to buy a ticket to your film. Equally when you get notice that your film has been streamed.
The journey is a long one, with many highways and exits ahead. But it’s a journey that I have loved since I wrote my first screenplay in grade school.
Stay the course.
Since I returned from AFM last month, in addition to post-production work, I’ve been building out the marketing and release strategy for First Signal. For marketing, it’s about verifying media contacts, researching new outlets, creating talking points and a million other details. The goal is to create awareness and reach First Signal’s intended audience. I don’t shirk those responsibilities. In fact, it’s part of my job as a filmmaker.
The one thing that was painfully apparent at AFM, albeit not surprising, was the limited marketing/pr resources that a sales agent/distributor was going to bring to any single title. This is not necessarily the fault of the agent/distributor, it simply comes down to resources. If they have a couple of hundred films in their respective catalog, there is only so much time they can allocate. But at the end of the day, they must have some sort of plan—especially if they want to charge for it.
I recently turned down a contract from a sales agent. While the contract was littered with tens of thousands of dollars in fees, there was no marketing and release strategy for me to review. It was simply, send us your film (at considerable expense), we’ll see if we sell it, but we’ll still charge the film along the way. Um..no thanks. It shocks me that these one-sided contracts still exist. To turn a phrase “Send it and forget it” does not apply to film distribution.
Post-production is well on its way for an April completion. I wrote the trailer up just over a week ago. The VFX areas of the film are on their way to our visual effects supervisor. Every Sunday for the last few weeks I receive a section of score to review. Although I believe it’s important to maintain a schedule with an end date, it’s equally important not to be rushed. On the marketing side, I have a general idea of where and when I see our first screening. Will it be a “world premiere” or just a private screening? That I’m not sure yet, but plans are moving forward.
My notes for the sequel to First Signal are starting to turn into some actual writing. I generally have the concept for the beginning and end. The sequel will be a continuation of events in First Signal while incorporating a good part of the storyline from my ebook First World: Covenant. I can always tell when the motivation to start writing again hits me—an idea for a scene or line comes to me and I stop what I’m doing and note it.
EXT. THE PLANET SHINAR – 8282 BC
Satellite images of the Earth like planet Gliese 581 d come into view.
Good afternoon my fellow citizens. This government, as promised, has maintained the closest surveillance of the military buildup on the Channel Islands in the Southern Provinces.
As post-production continues on First Signal (we are on target for an April completion), I’ve been developing the marketing plan for the film. With the majority of independent films there’s no studio marketing department, no retained agency or staff. Marketing is another skillset that filmmakers need to develop. Thankfully during my years of publishing magazines, and my own consulting business, marketing is something I’ve been doing for years. I had some excellent mentors in my early years.
I firmly believe that an independent film needs a central online destination. Building a website used to be a task that required a special set of design skills. Thankfully that is no longer the case. Wix is my preferred platform. If you know how to click a mouse, type copy and upload a video, you can have a website in no time. I no longer use their templates, but rather build my sites from scratch. Case in point my own personal website and First Signal’s.
While I was marketing First Signal through AFM’s platform, I came across one filmmaker who was promoting their project to attendees. This was not an inexpensive film. It had some known actors from the 80s and 90s. When they posted to check out the website, all the visitor found was the dreaded “under construction” notification. It was never fixed throughout the entire market. You spend all that time and money making a film, talk about a lost opportunity to introduce it. I can’t begin to tell you the thousands of films that are marketed through AFM—all looking for a home. As time is literally money at these film markets, you only really get one chance at a first impression. One critical component of first impressions is the trailer.
This past week I started to write the trailer. A trailer is perhaps the most important calling card of a film. Yes, a poster introduces the film, but a trailer brings it to life. As First Signal is what I hope to be a series of films in the “First World Universe,” getting it right is vital. In two minutes the goal is to condense the story, without giving it all away and to convince your audience to see more. There’s certainly no pressure to deliver!
While writing a trailer is challenging, it’s one that I do enjoy. It challenges me to look past the linear script and film and see how it can be presented to (hopefully) thrill audiences.
As screenwriters we all start with an idea. We look blankly at a white page on our monitors hoping it speaks to us. Our hands at the ready on the keyboard. Our notes, if any, to the side for glance. Then suddenly, the following happens:
Intro Logo/Intro Score: The Ashton Times
“This satellite intercepted a signal that originated from Lagrange Point Two.” VO General Reager over Milstar satellite.
Now that First Signal is well into post-production it’s about the marketing plan. Part of that plan is the launch of an “official” website. Unlike social media that gets your news out quickly, I view a website as the central source for a brand or in this case a film. For those of you that followed Justice Is Mind, you saw how the website started and then built out during the post-production and distribution phases. When you consider the number of films looking for attention during any given year, you really need all the tools you can to make yours known. I am therefore pleased to announce the launch of First Signal’s official website https://www.firstsignalmovie.com/ Enjoy!
As I was telling a fellow filmmaker yesterday, when it comes to marketing your film you need to be relatively relentless. Unless your distributor is going to launch an aggressive marketing communications campaign to support your vision that responsibility is on the filmmaker—as it should be. Sadly, I see so many projects get released only to fizzle on the launchpad.
The job of a filmmaker is an all-encompassing one. It generally involves writing the script in relative solitude, to directing the project with cast and crew, back to solitude for post-production, then managing the release, distribution and marketing. I firmly believe that when you put the word “filmmaker” on your resume you can list your responsibilities in one word – everything. Frankly, that’s why I love this process. It gives me the opportunity to wear many hats.
One of those hats will be pitchman when I travel to AFM in November to represent First Signal and my other projects. With the edit at the 30 minute mark, the opening credits sequence nearing the completion stage and scoring well underway, so far everything is proceeding on schedule. Unlike last year when I waited to book my trip three weeks before the market and almost had to pay a premium, I booked my trip last week to get a good rate. In the next two weeks I start presenting First Signal to a list of sales agents and distributors I curated from AFM.
As for agents, I informed my talent agent yesterday that I was leaving their representation. While there are numerous reasons why I left, I was first reminded that my contract passed the one year mark. In addition, I took a look at my full page resume, and with the exception of one gig, I secured the rest on my own. With my on camera work largely reflective of domestic and international TV, I need representation that aligns with my experience or do what I’ve generally always done – represent myself.
The one thing I have learned over the past twenty plus years, is you need to market yourself—continuously. If you don’t market yourself, never mind your films, you will either be forgotten or passed by. There is simply too much talent out there competing for the same thing. The chance of you being discovered on a roster of talent or your film in a catalog is slim to none. I’m not saying you have to hire a personal publicist, but social media marketing (without looking like a narcissist), a press release targeted to the media and a quality email newsletter, go a long way in recognition.
On those notes, I plan to release First Signal’s second still next week.
Capturing the essence of a movie usually starts with the one sheet (poster), followed by stills and then the trailer. It’s about developing the film’s brand and the PR campaign around it. For First Signal, the first official one sheet was designed by Daniel Elek-Diamanta (who is also our composer). The poster represents the famed “Earthrise” photo from Apollo 8 along with some sort of alien satellite or ship between the Moon and Earth. As the First Signal story is rooted in the Apollo space program, I thought the blend of science fact with fiction would make for a compelling picture.
With editing well underway, the next step in the branding process is to tell First Signal’s story through carefully chosen stills. Quoting Arthur Brisbane from an article in 1911, “Use a picture. It’s worth a thousand words.”
Our first “picture” tells part of the First Signal story with Air Force One arriving in Brussels, Belgium. To the casual observer they just see Air Force One over a newscast. But for those that are following First Signal, they will see much more. Not only does the still lend to the logline, an emergency meeting with the President, it represents the arrival of Earth’s most well-known plane. I say Earth’s because something else arrives later in the story. The rotating planet Earth in the chyron graphic is later identified as another world. But it’s the crisis in Ukraine that leads to a government conspiracy to thwart an insurgent military action that’s at the heart of the First Signal story.
Over the weeks and months ahead, the idea is to create a campaign to bring awareness to First Signal for its release in 2020. When you consider the tens of thousands of films made in any given year, the marketing and communications efforts need to be just as well thought out and planned as principal photography was. For First Signal it’s about building off our early press.
As for building, next week I start the research process for AFM. But prior to AFM, I’ll be presenting First Signal next week to some interested parties that are traveling to Toronto.
Finally, I’m re-presenting First Signal’s one sheet now with credits. As you will see, it truly does take a village to make a motion picture. While a director has a vision and acts as conductor, they are only as good as their orchestra.
As a filmmaker there’s nothing quite like seeing that first rough cut in post-production. You wonder what it will look like. You wonder if the years you’ve spent pulling it all together was worth it. A film is not a play where things can generally be adjusted because you change your mind about something. As Bill Sampson said in All About Eve, “There’s nothing you can do, you’re trapped, you’re in a tin can.” If the 18 minutes of the first rough cut are any indication, First Signal isn’t trapped!
Building a film in post-production is akin to the prefabrication we see today in the construction world. Have you ever seen how a ship is built? Sections are built elsewhere, shipped and then assembled in one location. That’s pretty much how a film is born. Shots are created offsite and assembled in one location according to the script (the blueprint). I have one cardinal rule in post-production, we don’t deviate from the script. The shots are created for the script, not the other way around.
When Justice Is Mind was in post-production, I remember receiving emails from some of the actors wondering if their scenes were being cut. My response was generally always the same, why would I cut something that I wrote in the first place? In the end, nothing was cut. The result was a complete story.
Some years ago I was cast in an independent film. The script was solid and all of us associated with it were looking forward to the end result. Well, the end result was an over-edited product that didn’t resemble the script we were handed a year earlier. A completed film is just that a product—one that must be promoted and marketed.
With the 6th anniversary of Justice Is Mind tomorrow, I can’t help but think of the promoting and marketing I did for that film. I still, whenever an opportunity presents itself, market that film wherever I can – why wouldn’t I? I see so many projects being hyped during the production process just to wither away in post-production. For me post is the most exciting. Not only are you building a product but you are laying the groundwork for its release.
For First Signal that groundwork includes the completion of the first 11 minutes of the film in the next few weeks. Why so quickly? Just over a month prior to AFM is when I start my pitch process for meetings. Although AFM is in November, time moves quickly in post-production and meetings are set about a month in advance. The idea with this footage is to show prospective buyers what the film will look like.
Although First Signal is in post-production, I still had some casting to do – a voice over artist for a newscast. There are so many services for voice over artists, but I found Fiverr to be the best. Although there is just one newscast in First Signal, it opens the film. I needed a voice that “broadcast” as a newscaster and sounded believable. Needless to say, we found that voice.
Last Sunday First Signal wrapped principal photography. The final shot seemed particularly appropriate. It was a POV from Major Sampson (Patience McStravick). With Daniel Groom on camera, Patience guiding his shoulders to mirror her character and myself directing, it was that moment when I remembered the day all three of us met at a Starbucks in January 2018 to discuss First Signal. None of us could have foreseen the journey that was to lie ahead. While pre-production was fraught with fits and starts, the train of principal photography not only ran on time, but finished five production days ahead of schedule.
Shooting First Signal these last few months has been nothing less than thrilling for me. Oh sure, as director you worry about countless things, but when you see the progress and quality being produced from one day to the next, those worries quickly evaporate. Those pre-production matters that sought to derail the train are nothing more than a distant memory. Of course no vision comes to life without a dedicated cast, crew and location partners. Without their tireless efforts First Signal would still be just that—a vision.
The vision for First Signal was nicely magnified by some wonderful press over the last several weeks. WMUR-TV, The Concord Monitor, The Athol Daily News and the Greenfield Recorder all visited set (The Hippo did a great piece that you can find in my previous post). I couldn’t be more thankful for their coverage. It isn’t just about producing a film, it’s about getting it noticed. When you consider the tens of thousands of films that are made a year, having media support, particularly at this stage, is paramount.
Throughout the production process and this past week, I have kept the contacts I made at AFM last year informed about our progress. While one during production was keenly interested in First Signal, another got back to me last night and wants to see some footage as soon as possible for TIFF (Toronto International Film Festival). In addition to the festival itself, Toronto is one of the major film markets.
This is what producing a film is all about – distribution. Putting aside getting an actual deal for your film, there are simply so many platforms to distribute and market you really need a distributor to navigate this labyrinth.
Putting together the puzzle that was created during production, is now the purview of our editor and the rest of the post production team. This is where the tone and style of the film come to life. We’ve already decided on a color scheme and I’m pretty close on what I’d like to see for a score. While I’m overseeing post-production, I’ll be working on branding and other marketing aspects. Yes, making a film is thrilling, but seeing it come to life in the consumer market is where it matters.
In closing, thank you to all those that have supported this project. Your support over these months have made First Signal possible.
It’s hard to believe that First Signal is nearly at the halfway mark in principal photography. The dedication of the actors, crew and staff at the McAuliffe-Shepard Discovery Center has been unprecedented. Producing a feature film is no easy task but when you work with a dedicated group of professionals, the process doesn’t actually seem like work. Of course the one thing I won’t do is get complacent. There’s still several weekends left of filming with half of them being outdoors.
Along with principal photography, our public relations efforts are also well underway with our first press release announcing First Signal (click this link). I’m also delighted to report that The Hippo published a great article this week about our filming at the McAuliffe-Shepard Discovery Center. The Hippo does a wonderful job with their Q&A formats.
Now that we’ve had some press, I’ll be reaching out to the distributors and sales agents that I met at the American Film Market (AFM) this past November, particularly those that expressed an interest in First Signal. As AFM is all about planning, it’s never too early to start conversations about projects in production.
One of the next steps in the process is how the film will look from a color point of view. It’s something I need to start thinking about as we will soon be releasing stills. While it’s a process that shouldn’t be rushed, it shouldn’t be delayed either. Like the building up towards the release of the first trailer, I believe the releasing of stills should be given equal weight. As they say, a picture is worth a thousand words.
With principal photography resuming next weekend, Daniel Groom (Director of Photography) and I will be doing some test photography tomorrow in a field. This location encompasses the last scenes of the film. While the scenes we are shooting indoors are obviously important, the outdoor scenes will be involving a substantial amount of special effect work in post-production.
Although the making of a feature film takes quite a bit of work while you’re on set, that doesn’t mean that we don’t have moments of frivolity. From Patience McStravick (Major Sampson) and Conor Timmis (Cedric Yonah) in a Space Shuttle simulator to a birthday celebration for Daniel Groom. One of the highlights from last weekend was when Sarah Beattie, who works at the Discovery Center as an educator, treated us to a wonderful planetarium show about the constellations. I never knew there were so many! But what was very touching to me, was this lovely blog post that she wrote last week.
For me there is truly no more rewarding of a process than seeing a film come together. It is a form of art like no other. Long after I call the last “cut” this film will live on forever. A film is a testament to the dedication of so many to realize a vision. When you watch a film and see the credits role know that every person, company and location played a vital part in its creation. While the adage for actors is “there are no small parts” that also holds true to those that sit behind the camera. As I conclude this blog post, I want to say a special thank you to Patience, Dan, Sarah and Linds for believing in First Signal.
The train has left the station. I’ve often used that phrase to describe what happens on the first day of principal photography. There is nothing quite like that first day. You wonder if you’ve missed anything in the planning process because film production is all about details. Every day of principal photography is an event unto itself. But after months of pre-production, the First Signal train left on schedule.
I always arrive early to any set, but particularly so when it’s my own project. I view it as my job to have everything at the ready for the cast and crew. Last Monday our call time wasn’t until 9 AM, but I arrived at 7:30. One thing I had to do was to turn my “United States” car into a “Foreign” one. That meant changing my Massachusetts license plates into Belgian (First Signal takes place in Belgium).
After one of the staff at the McAuliffe-Shepard Discovery Center arrived early, I was able to load in my stuff and wait for the crew and actors to arrive. It didn’t take long for 9 AM to approach and then one by one they started to arrive. Before I knew it, we were ready to go with our first shot.
By the end of the day we largely accomplished what we wanted to. All the necessary indoor scenes, promotional photos and some key outside drone footage were shot. Although we still have a couple of drone shots to complete, the day by all measures, was a success. I can’t thank the crew, cast and staff at the Discovery Center enough for making First Signal’s first day a positive one.
Of course there are still many days to go until principal photography is over. Today, I’m putting the final touches on our shoot for next weekend that involves Senator Hadrian and General Reager. Weather permitting we will also be shooting a scene in their Observatory. Then there is the pre-planning for the primary conference room scenes with the majority of the actors the following weekend.
The one thing I want to reference from our shoot last Monday were the actors that played Secret Service agents. I’ve worked with two of them before on my own projects and as an actor. The other three I met through our casting notices. For one, this was his first film. For another, he was in the army. For another, he had a great eye for costuming. It was through their collective experience and efforts that brought an authenticity to their scenes.
There is nothing more exciting as a writer than seeing your words come to life through the process of film. When you combine great talent on both sides of the camera, against the backdrop of an ideal set, that’s when magic is made.
On a closing note, I want to particularly thank Patience and Dan for your efforts, dedication and friendship. I remember that day at the Naval Justice School when Patience and I first talked about a story that would largely take place in one location. Then, on her introduction, our first meeting with Dan at a Starbucks to talk about the possibilities.
The days are long, the lists are endless, but in the end there is a product everyone involved in can be proud of—a feature film.
The final days leading up to principal photography are ones that give the word “multitasking” a whole new meaning. Throw in a last minute casting and that brings it to a new dimension. But as I look at my lists, what I’m crossing off and what we have left to do, things are moving along.
I’m also pleased to announce that Wendy Hartman will play President Helen Colton in First Signal. Although I’ve known of Wendy’s work for some time, we haven’t had the opportunity to work together. But the one thing I have admired is her dedication to any project she becomes a part of. Welcome Madam President!
It would have been too easy to throw the towel in when I received the news that someone was pulling out this close to the start of production, but I have never been one to throw a towel. When you reach a certain point in this process you just double down and pursue all avenues.
After the auditions in Nashua I drove up to the McAuliffe-Shepard Discovery Center for a last minute location check. Our first day of shooting will involve just two locations, but it’s those last minute looks that are important. While visiting I had the most fascinating conversations with a few of the staffers about all things science and science fiction. They showed me some of the new shows in the planetarium. Every time I visit the Center I “discover” something new.
One area art direction I did some work on this past week was having Belgian license plates created for the first scenes we are shooting. I believe in authenticity and making every effort to get it right. A special thanks to Adam Starr for creating the plates and to my friends at FedexOffice for bringing them to life.
With some final fittings this week and picking up the tailored Air Force Uniforms, First Signal will soon be filming.
From when I started writing the script in 2017 to where we are today, I think of the journey and dedication of so many to see this project through. I can’t help but be reminded of when I started to put this “First World” universe together back in 2006 with the screenplay First World, to the short film version in 2007 to a near greenlight of the feature film version in 2008 until the economy crashed. It was from my writings in First World that the genesis for Justice Is Mind was born. That project seemed a lifetime ago until I was driving home yesterday and actually drove by one of the restaurant locations in New Hampshire we used in that film.
I believe this quote from Theodore Roosevelt sums up what many of us feel in this industry when a project finally moves forward after years in development – “Nothing in the world is worth having or worth doing unless it means effort, pain, difficulty… I have never in my life envied a human being who led an easy life. I have envied a great many people who led difficult lives and led them well.”
The email came in on a Thursday afternoon. A producer from station KABC-AM 790 in Los Angeles wanted me to do a phone interview on Friday with Jillian Barberie and John Phillips for their popular morning drive talk show. The subject was figure skating. The topic was an incident between two skaters at the World Figure Skating Championships in Japan.
I co-starred with Jillian on FOX’s Skating with Celebrities. She was a skater and I was one of the judges. No sooner did we meet on set than we became fast friends off the ice. Needless to say I was very excited to do the interview. First, it was Jillian but second she’s a great interviewer. It was a reunion of sorts as we haven’t seen each other since I moved back east in 2008. The moment the interview started we picked right back up where we left off all those years ago. You can listen to the interview at this link. Those few moments on air with Jillian brought back so many great memories from my time in LA.
As for the world of entertainment, last year I was cast in a documentary titled Reconstruction: America After the Civil War. As you see in this still, it was shot entirely in green screen. In the production these shots will be animated to recreate areas of the documentary for which no photos or film exist. From what I’ve seen, this looks like a brilliant documentary about an important part of American history after the Civil War. The documentary airs on PBS April 9 & 16. To learn more click here.
In just over a month principal photography begins on First Signal. Since I wrote the script in late 2017, it’s amazing how fast time has gone by. It was becoming real enough over the last month when certain props arrived, but when the Air Force Uniforms started to arrive last week it was then that we all could feel the day coming.
I decided to buy the uniforms rather than rent. Not only was it about the same price for the weeks we needed them, I look at the uniforms as a smart investment. First, we’re not constrained to a limited amount of time with them. What happens if we need to reschedule shoot dates past the rental period? What happens if after we wrap we want to do some pickup shots? With this acquisition, the budget is locked down.
With cast and crew complete, final props being created and actors going through fittings, it’s this moment in pre-production where things are fine-tuned and coordinated. One could say we’re rolling out of our Vehicle Assembly Building.
No sooner did we finish our first pre-production test on January 26 at the McAuliffe-Shepard Discovery Center did we plan our second one for March 4. This was going to be more than a handful of shots and walkthrough. Our second test would involve lighting, sound and set construction.
I believe pre-production is the most important aspect of planning a film. It is this phase where even the slightest detail gets ironed out. How does the set look? Is the audio clear? What lens will work best for this shot? Because before you know it, the first day of production has arrived and you can only hope you covered all your bases.
When we first arrived, the main room we were going to shoot in was empty like a clean slate. One by one we brought the tables in and configured them to the set I had envisioned. There is that surreal experience as a screenwriter when you see a set coming to life that until that moment has only existed as words on a page.
One other critical component to our test was in camera special effects. So often in our modern world of filmmaking when we see a screen or monitor in a movie it’s shot with the actors without an image. The image, or special effect, is then put in during the post-production process. That was largely the case with Justice Is Mind when all 170 special effects were put in during post-production. In camera special effects for Justice wouldn’t have been practical as the majority had to be custom designed. For First Signal, the presentation that takes place during the primary scene is largely a slide presentation of still images. Thankfully that portion of the test was successful.
When we go into production I want the actors to actually look at something real. Not only does it help them get into the moment of their character, but it greatly assists with eyeline and saves an enormous amount of time in post-production. There is also something authentic about the lighting from a projector that can be used to enhance a particular character or moment.
The idea for doing in-camera special effects for this scene came from the movie Fail Safe. In the scenes at the Pentagon the image we see is rear projection. But in the command center it’s actually front projection. I can only imagine what the pre-production process was like on that film never mind the timing the actors and crew had to accomplish on set as that effect was film not a still image.
With our interior work completed we moved outside for a combination of drone and ground based photography. This is the scene where one of the major characters arrives at a “military base.” I’ve previously taken drone footage of the Discovery Center, but this was my first time tracking a vehicle. It’s all about practice!
Suffice to say First Signal’s second test went great. None of this would have been possible without the expertise and dedication of Daniel Groom, the Director of Photography; Patience McStravick, one of the producers who stars as Major Sampson and Paul Noonan who stars as General Reager. And a special thanks to the McAuliffe-Shepard Discovery Center. To turn their phrase, thank you for having us in your “universe.”
As we plan for an end of April start date with one dress rehearsal prior, some critical components of the production started to arrive this week…
With our next testing date for First Signal coming up in a week, my attention has started to turn to production design. Last year I went through the script page by page to see what we needed for props along with thoughts on the overall look of the film from a production design point of view. Fortunately, our primarily location at the McAuliffe-Shepard Discover Center provides the perfect backdrop.
One item I just ordered was a reproduction of the Apollo 11 plaque. Unlike what has been seen in some films, the plaques weren’t placed on the surface of the Moon, they were attached to the ladders of the descent stages. Although it’s just a reproduction, I can’t wait until it arrives. To know that the actual plaque is on the Moon is a testament to the achievements and dedication to the men and women that worked at NASA during those years.
The sad part of our present reality are the growing voices that believe manned missions to the Moon were a hoax. Let’s be clear on this; a civilian agency formed in 1958 that employs tens of thousands of scientists and engineers, has launched over 200 crewed missions, countless unmanned missions and has built facilities around the world or partners with other space agencies to facilitate these launches. When I posted this past week that I found it necessary to block someone on Facebook owing to their ignorance on this matter, thankfully there was resounding support for my action. Claiming manned missions to the Moon was a hoax, is akin to claiming that humans don’t live on Earth.
Although First Signal is science fiction, one of my goals is to spotlight science fact. From satellite technology to the Apollo 11 missions, to the museums that educate the public, the aim is to present First Signal’s story alongside the history of the space program and related technologies.
But it won’t be all about space, it’s also about coming up with ideas to enhance the story. By example, I thought of a particular pose a former President has in a portrait that will find its way into the story. Then there is the Doomsday Clock that will appear in one of the scenes. The Doomsday Clock has been featured in many movies. Look for it in Fail Safe (1964) in the scene with the President (Henry Fonda) and his translator (Larry Hagman).
What’s exciting about producing a film, is creating the world in which it lives. From costuming, to props to sets, it’s about bringing a story to life through the magic of filmmaking.
The shot list is complete and a preliminary schedule was worked out yesterday. It now goes to the actors, crew and the location partners for review. From what starts as a one person exercise writing a screenplay (I use Final Draft) now turns into project management. I can at least add another checkmark on my task list. But make no mistake, just because I checked off an item doesn’t mean that it’s completed.
One thing I realized years ago when I was publishing magazines was the importance of organization. In those early days being late meant paying heavy fees. In this industry it means that something doesn’t or can’t be filmed. Case in point the Air Force uniforms that we need. Do I buy them or rent them? While I have pricing for a purchase, I’m waiting to hear from the costume company. One thing I learned from producing Justice Is Mind is advanced planning when it comes to costumes.
In Justice Is Mind one of the actors had to be outfitted as an SS officer. I ordered the uniform from a Chinese company and it was shipped well in advance of our shoot dates. Although tracking showed that it arrived in the United States I still hadn’t received it yet. Finally, I talked to customs and got the “opinionated” custom agent on the phone who asked why I needed such an outfit. After I directed some choice words to him and cited certain regulations, the uniform arrived in time for our shoot.
While I look back at the scheduling for the number of events and films I’ve produced over the years, I realized I’m starting to develop an interesting inventory of wardrobe and props. I still have the original Nehru styled jackets worn in First World along with the briefing file the Prime Minster shows the President. It might not be bad to add Air Force uniforms to the collection.
In closing, NASA announced this week that the Mars rover Opportunity ended after a 15 year mission. When we consider the science this rover discovered over its decade plus mission, it truly paved the way for new “opportunities” as plans for an eventual manned mission to Mars come to fruition. For an original mission that wasn’t supposed to last more than 90 days, it is a testament in time, patience, research and excellence to all those in NASA that worked on this project.
Its stories like Opportunity that remind me of the day I first looked through a telescope and saw our neighbors in the solar system.
The date was set weeks ago – January 26. It was the day we were holding auditions for the final two characters in First Signal. From the moment I posted the auditions, I was encouraged by the quality of responses. When the day came the actors didn’t disappoint. I was uniquely impressed that many of them were off book. Impressed, because the sides I send aren’t just the standard two pages you usually receive for an audition (one of the sides even included a monologue). Frankly, I’ve never understood why so many auditions are based off the two page side. It’s even worse when those two pages only have like three or four lines for the part you’re auditioning for. Regardless of what side of the camera you’re on, I don’t believe you can properly ascertain a project based off a two page side.
I have some cardinal rules I follow when holding auditions. First, you send sides well in advance of the audition. Two, you include some background on the character with the sides. Three, and this is perhaps the most important, you don’t change the sides in the audition room (there is one local casting company that does that regularly and it infuriates me–I’ve stopped auditioning for them). For me, it’s about respecting the actor’s time and preparation. As a director, it’s about seeing a quality audition. To learn more about the cast (and some of the crew) of First Signal please visit our IMDb page.
The following day Daniel Groom (Director of Photography), Patience McStravick (Producer and Major Sampson) and I went to the McAuliffe-Shepard Discovery Center for our first day of testing. After a successful day of auditions, we were all in good spirits driving up to the Discovery Center as we knew we had the actors we wanted. We now could get down to the business of pre-production. For First Signal, we’re taking extra steps in pre-production to insure, to the best of our ability, a smooth production.
It’s one thing scouting a location, it’s another to film in it. From interesting angles, to lighting, to electrical, there are so many numerous things that go into the pre-production process. Since I knew we were going to film First Signal at the Discovery Center, I’ve had so many ideas come to mind to bring this project to life.
In First Signal the Discovery Center will act as a European air force base. When General Reager arrives we will see a full size replica of Mercury-Redstone rocket. Once inside he passes by an XF8U-2 Crusader Jet. Considering that the First Signal story is rooted in the space program of the 1960s and two of its main characters are in the air force, the Discovery Center is the perfect backdrop.
But it’s not just about what’s best for First Signal, it’s about promoting the Discovery Center itself. Long after the final “cut” is called, the Discovery Center will forever be featured in a film that will be seen for generations to come. Those that know me, know I’m a passionate believer in the space program and all those that make “space” possible. That, in so many ways, is what makes the Discovery Center so special – it’s about discovery.
As the pre-production process of First Signal continues towards a May launch, I always take the last weekend of any given year and reflect on what I was able to accomplish. The key as I’ve learned over the years is to not spread yourself too thin. I mentioned in my last post, it’s about quality rather than quantity.
One project that I will always be immensely proud of is my work with the Naval Justice School. Acting and directing that project was a true honor. I never viewed it as just another acting gig but rather my small way of giving back to those that serve in our great military. What I always conveyed to the actors was the importance of “staying on script” as the mock trial program was one of the last exercises these law students had before they were deployed.
The contractor for that program then retained me to write a training script for the military. I can’t go into too many details publicly, but it gave me an opportunity to broaden my screenwriting skills while again giving back. When I learned that my script is now part of the orientation program at one of the largest military bases in the country, well, that was another honor.
Outside of the military contracts, my acting work led me to some unique projects. At this stage of my career, a project has to be interesting. It’s not about the check, it’s about the scope. I also need to believe in those that are behind the project. Do they have a vision? Will they see it through to the end? I’m proud to say that the projects I have been part of in 2018 had both scope and vision. There’s nothing more exciting as an actor than working with passionate filmmakers.
Speaking of passion, one of the most exciting things I did this year was drone photography. As some of you may know, I purchased a drone for First Signal. From the beaches of Ogunquit to the mansions of Newport to museums in Concord and Quincy, more doors opened than I could have possibly imagined.
One of those doors of course was the McAuliffe-Shepard Discovery Center in Concord, NH. It’s no secret that I love museums, but museums that focus on space, science and aviation are my favorites. When I first walked through the door at the Discovery Center this gem of a museum offered a bit of everything to this enthusiast. But it’s when I asked permission to do some drone photography that more doors opened—the door to First Signal.
Of course the biggest project to come out of 2018 has been First Signal. Undertaking the production of a feature film is a task like none other, but I’ve been through it already with Justice Is Mind and other projects. After ten years in development from the First World story, and as the first in a series, it’s important to get as many things right as possible. Nothing is worse than when a project is rushed into production and you feel like something is off. But when things do come together as you envision, that’s when a project becomes exciting.
The one thing I strive for is enthusiasm and a positive outlook. But anyone that works in this industry knows it’s not easy. There’s always some sort of obstacle, setback or situation to overcome. But it’s also about perseverance, persistence and above all patience.
With 2018 coming to an end in just over a week, I always reflect this time of year on what was accomplished. For me it’s not about volume but the quality. On the talent side, I’m looking forward to the PBS reconstruction documentary I was part of this past summer. It’s scheduled to air in the 1st half of next year. There was also my work with the Naval Justice School and the National Guard exercises. But perhaps my most ambitious mission to date was putting First Signal into pre-production and attending the American Film Market.
A film requires countless elements to be successful. There’s finding the right actors, crew, props, etc. But perhaps one of the greatest challenges is finding the right location. We often hear the phrase, “Location, Location, Location” when it comes to real estate, it’s also true when it comes to filmmaking.
Although we knew we were going to film the “bunker” scene at the McAuliffe-Shepard Discovery Center, I was hoping for other location possibilities at the museum. After an audition we held a couple of weeks ago, we drove up to the Discovery Center to meet with museum officials. This was also an opportunity for the director of photography and one of actors to see the facility. Needless to say, everything worked out beautifully. With the exception of the scenes in the field, First Signal will be entirely produced at the Discovery Center.
Excited doesn’t even begin to describe how we all feel about this opportunity. For First Signal the location provides a perfect backdrop to the story. For the Discovery Center it will showcase the museum for years to come. For both, the marketing and public relations opportunities are endless.
As a filmmaker what’s terrific about this arrangement is that it’s all being produced in one location. Nothing can be more taxing on a cast and crew when numerous locations are involved. It’s like you’re starting over from day one. When talent on both sides of the camera are relaxed and in a familiar environment, it only enhances the end result. Because that’s what this is all about, the end result.
The production of a feature film isn’t just about the days on set, it’s mostly about the pre and post production. This is why I always aim to plan as much as possible in pre-production so when the day comes when I first call “action” nothing is left to chance and we can all enjoy the process.
Like planning for a launch, that first day of production comes up faster than you think. As that day approaches you only hope that you’ve covered all your bases. But it’s all about surrounding yourself not only with a talented cast and crew, but a location partner that believes in your project as much as you believe in their mission.
No, this post isn’t about NASA’s new launch system but the systems created to produce the independent feature film First Signal. Since I returned from AFM a month ago the pre-production process has ramped up for a May 2019 production start date.
The process of bringing a film to life is one of organization and planning. Whatever I’ve produced, from magazines, commercials, events and films, the more I can execute in pre-production the easier the actual production is. Once production starts the train has left the station. You can only hope you’ve laid all the necessary tracks to complete the journey.
These tracks begin with rounding out the cast. Starting next weekend and into early 2019, auditions will commence for a few roles. With the majority of our filming taking place at the McAuliffe-Shepard Discovery Center, we can now plan accordingly from a production point of view.
However, before one scene is even shot, I’ve already started to lay out the general plans for First Signal’s marketing and release. While these plans may ultimately change, I think it’s important to have a good idea where you want to go so when you get to that destination you’re prepared. There’s simply too much time and money involved to not think of release plans. One thing is certain, in this age of independent film, you have to take the long view. Anyone going into this industry looking to make a quick impression (or buck) is in the wrong business. Case in point Justice Is Mind: released in 2013 to a limited theatrical run and now available on Amazon Prime and other outlets, it’s still being pitched for other opportunities and promoted on social media.
With First Signal’s URL reserved and social media already active, one of my next steps is to build the website. Although I was aware of it before I attended AFM, the one thing I was cognizant of was the countless number of films in various stages of production all looking for attention. Being a filmmaker isn’t just about shooting the film, you also need to be the marketing communications department. It’s simply one of the many hats you have to wear. Trust me, distributors will ask about your films online presence.
Since I registered for AFM (American Film Market) it has been a whirlwind of activity. From setting up personal and film profiles on MyAFM and Cinando to arranging meetings in advance, there seems to be no shortage of things to do as I prepare to leave for Los Angeles on November 1.
The one thing I’m looking forward to is learning something new. In an ever changing industry, I think it’s important to know where things are going. That doesn’t mean that I latch on to the next big thing. But it does mean that you have to be aware or at least open minded to change.
It’s easy for the casual observer to think that all innovation in the entertainment industry originates out of Los Angeles. Indeed, “Hollywood” is the entertainment capital of the world, and while proximity to the city certainly has its advantages, innovation truly comes from the four corners of the world.
Here in New England (Massachusetts to be specific) we have some terrific talent on both sides of the camera. Probably because I’ve lived here most of my life, I find it easier to get projects off the ground. But there are times when I have discovered that while we have solid talent, the pool is limited. Knowing that, sometimes it takes a bit longer to put together the right team.
When I saw First Man yesterday I was reminded what originally brought me into the world of film – the Apollo 11 mission to the Moon. Director Damien Chazelle assembled a dynamic team that wonderfully brought this historic story to life. Not only did Ryan Gosling deliver a solid performance as Neil Armstrong, but visually Chazelle created a film that brought the viewer back to those iconic moments in time.
Talking about teams, there is no team greater than those that work at NASA. During Apollo, it took “400,000 engineers, scientists and technicians to accomplish the moon landings.” It was a time when nothing seemed impossible. Those that say the moon landings were a hoax are just ignorant fools that suffer from denialism.
As I prepare to present my projects at AFM, one could say, in a small way of course, that it’s my very own Apollo. It’s about putting together the right team for the next project.
A few months ago while searching for First Signal locations I came across The McAuliffe-Shepard Discovery Center in Concord, NH. A museum that honors Alan Shepard and Christa McAuliffe with a “mission is to inspire every generation to reach for the stars, through engaging, artful and entertaining activities that explore astronomy, aviation, earth and space science” is right up my alley of interests.
Last Sunday I took a day trip to visit the museum. When you first arrive you are greeted by a 1:1 scale model of the Mercury-Redstone 3 (Freedom 7) that launched Alan Shepard to space. When you see a life size replica of the space program standing in front of you, it puts those early years of the space program into perspective.
For space and science enthusiasts, this museum really gets it right. You’re first greeted by a NASA funded tribute wall to Alan Shepard and Christa McAuliffe before proceeding to the main exhibits. Some of the exhibits include the experimental XF8U-2 Crusader Jet, the Mercury capsule and developmental path and images of the Lunar Reconnaissance Orbiter. The resolution of the images this satellite has captured make you feel that you are actually on the Moon. Stunning doesn’t even begin to describe what you’re staring at. Considering that part of First Signal’s story revolves around satellites, I found the CATSAT story to be particularly interesting.
Of course no science museum is complete without a planetarium. The Discovery Center’s 103 seat theater did not disappoint! I arrived just in time for the Take Flight show that brilliantly animated the history and science of aeronautics. After the show, there was the space shuttle simulator (it’s not easy!) that was very engaging. But I felt like I was in a scene from The Andromeda Strain when I took a picture of myself in infrared. Between the static exhibits and the interactive, the museum really has something for everyone. One thing I enjoy the most about developing new projects like First Signal is the research. It takes you to places that you might not normally go.
While I was at the museum, I couldn’t help but remember the tragedy of the Space Shuttle Challenger that took the life of all seven astronauts (including Christa McAuliffe). It reminded me of a quote I used in First World from President Reagan’s memorial speech about the accident. In one line he summed up what the dedicated men and women in the space program represent, not only to the United States but the world.
“The future doesn’t belong to the fainthearted; it belongs to the brave.”
– President Ronald Reagan; Houston, TX; January 31, 1986
The development of a film property isn’t just about the actual filming, it’s about creating imagery, branding and a marketing campaign. Long after you type the first word of your script, it’s the first image associated with the story that everyone remembers. How many times do we read about a project in development or one that has long ago been filmed, until we see an image associated with it? First Signal is much more to me than just another film project. It’s about setting the right tone and creating the “world” of First Signal.
Although I had a general idea of what I wanted to see in a promotional poster, I had no idea that Daniel Elek-Diamanta was thinking along the same lines. Daniel, as some of you know, is an accomplished composer. He brilliantly scored Justice Is Mind and Serpentine. Unless he’s not available, he knows he’s always my number one. Weeks ago he agreed to score First Signal. In addition to his talent scoring films, he’s also a brilliant graphic designer. When he sent me a surprise draft of a promotional poster for First Signal it’s like he read my mind (Justice Is Mind?).
I am therefore pleased to present the first promotional poster for First Signal by Daniel Elek-Diamanta! Inspired by the famed Earthrise photo from Apollo 8, with a star field created by Celestia an open source virtual 3D astronomy program, the poster was released today on IMDb and social media.
Also launching today is First Signal’s official url www.firstsignalmovie.com. The site presently points to First Signal’s Facebook page, but will soon be directed to a custom designed website. The footage has already been selected with Daniel working on an introductory score.
Standing out in this industry is a herculean task. Sure, I go to my social media feeds and I see what’s going on locally. But it truly comes down to making a national and international push for a project. I’ve never had any interest in being a “popular local.” For me, it’s about someone discovering my films who lives far away from where it was created.
When Justice Is Mind had its international premiere on Cunard Line’s Queen Elizabeth back in 2014, nobody on the ship, aside from my mother, knew me or anything about the film. All they knew what was in the daily communique. Those passengers were my most important audience. Thankfully the screening was, I’ll say it, smooth sailing.
I also received word this week that the Department of Defense is formally reviewing First Signal for possible cooperation. As some of you may know, the military has entertainment liaison offices that work with the industry. Although First Signal is science fiction, there are numerous elements to the story that are based in the real world. And like the legal aspects of Justice Is Mind, I think it’s important to insure the military and science aspects are properly vetted.