This past week First Signal went to picture lock. This is a milestone in any film as it means that we are in the home stretch of post-production. The next steps in the process are color grading and sound mixing. We are still on schedule for a May completion. However, just as I was going to register for The Marché du Film (Cannes), the market was postponed until possibly late June.
Prior to this postponement, film festivals, sporting events, theaters and all forms of gatherings were being cancelled around the world. Countries were closing their borders, entire industries shuttering, tens of millions suddenly out of work. Companies instructing their employees to work from home. Financial markets all but collapsing overnight. The stock market losing trillions every time the bell rang. The military called up. Elected officials instituting never to be believed powers. The Department of Justice looking to suspend Constitutional rights. No, this isn’t a movie this is reality on planet Earth.
The existence and livelihood of 7 billion people is being threatened by a virus that has a worldwide case count of 318,000 and 13,000 deaths. Another statistic that is only now getting discussed is how many have recovered — 96,000. The question that begs to be asked is how long can this go on before the worldwide economy is permanently broken? A scientist friend remarked to me this week “that a good economy isn’t much good if everyone is sick.” My response was simple, “The sick need a good economy to get better. If we don’t switch it back on, there won’t be the capital to fix this problem.”
Yes, we certainly have some sort of new virus that needs to be sorted. Yes, people will die from it. But equally in the affirmative are the number of people that are recovering. The CDC states that from October – March 38,000,000 had the flu with 17,000,000 doctor visits, 390,000 hospitalizations and 23,000 deaths (these are all on the low end). Odd, I don’t recall the United States and world economy being shut down over this. But for some reason this new virus is going to “overwhelm” our hospitals. Who came up with that narrative? But one thing is a fact, this new virus has brought out the worst in humanity.
I’ve talked to a variety of people around the country and the world. None of them can believe we are in the present situation. We saw how fast governments and elected officials closed the world. We saw how fast the media (particularly cable news) and social media fed this frenzy. We saw how fast they stirred the world population into hysteria. We now see how civil liberties and constitutional guarantees are being threatened. I’m not a conspiracy theorist, but for those of us that think, one does need to question what happened. Why now? What truly is the reason behind this?
For the few I know that have lived through World War II, the country was never like this. Yes, food was rationed, certain products just weren’t available and forget buying a car. But for some reason, this virus calls for a worldwide economic collapse. In general the world, particularly the United States, was enjoying a solid economy with record low unemployment. In a week, that ended.
At some point, hopefully soon, it will need to be decided to switch back on the economy. Because one thing is truly certain, people, companies and governments will run out of cash either during the shutdown or when the unemployment ranks swell into the tens of millions when those less fortunate will need government services such as food and housing just to survive.
It’s time for common sense.
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.
Yesterday I ran into a colleague I hadn’t seen in few years. The first thing he asked me was “How’s the writing going?” I told him about First Signal and a few other things going on. As he runs a successful business in Worcester, I asked him how the salon was. He responded “Busy.” I really didn’t have to ask him that because I know his salon is always busy. He’s been working on building his brand for years.
It took some years to build my brand in figure skating and equally as long as a writer and filmmaker outside of the sport. Building a brand isn’t something that happens overnight. It builds from one project to another. However, we now live in a world where people think that having a large social media following is a brand. Social media, in my view, is great for amplifying what you’re doing in the real world. But without a foundation of something, it’s just likes.
When I started to revive the First World Universe to write First Signal a few years ago, I realized after reviewing all my original material and the media we had at the time, that I created a unique brand. One with its own voice. With First Signal I finally had the opportunity to present this world as a feature film. The first in what I hope to be a series of films in the First World Universe.
With the trailer nearly complete, the marketing train will soon be leaving the station. Once it leaves it can’t come back. While post-production has been going on in earnest with countless notes with the editor, composer and VFX artist, I’ve been working out the marketing plans for the trailer and ultimately the feature. All of us on the post-production team know how important it is for the trailer to present the film. At the end of the day it’s about selling the feature.
As for the First World Universe, I’m just over the thirty-page mark for the sequel. This is the story that takes place before the events in First World. In my view, writing a sequel is no easy feat. You must balance the established characters and their stories with something new. I think one of the most interesting sequels was 2010 from the legendary 2001. Starring Roy Scheider, John Lithgow and Helen Mirren, 2010 created a wonderful “what if” possibility.
In the sequel to First Signal the following dialogue happens in the Oval Office
“Exactly. Now he’s operating covertly and illegally. If you lose and Reager legitimately controls the military and his commander in chief is complicit, history books won’t judge your actions today, because they’ll be none left. It will be the end of civilization.” – Elisabeth Seward, National Security Advisor to President Helen Colton
That dialogue derives from actions around Operation Troy in First Signal.
“General if I sign this. What’s the objective of Operation Troy?” – Helen Colton, President, United States of America.
“Identification.” – General John Reager, Commander, Air Force Space Command
This week I write the draft press release and email newsletter to announce the trailer. As for when the trailer will be released? Sometime in February
Before I started to write my last blog post for the year, I took a moment to review what I wrote this time last year and the year before. In 2017 it was “One project I’m excited for in the new year is the First World prequel I’m writing.” In 2018 it was “The pre-production process of First Signal continues towards a May launch.” For the end of 2019 I can proudly say post-production on First Signal is well underway.
I’ve often stated the word perseverance and what it means to never give up. I see so many projects being announced with great enthusiasm only to wither away. I’ve also stated that making a feature film is a task like none other. It’s about surrounding yourself with people that share your enthusiasm and vision. If it’s one thing I’ve learned this year is that it’s important to work with those that understand dedication and don’t just call it in. That dedication will be released in 2020 for all to see.
I don’t make New Year’s resolutions or subscribe to the “New Year. New Me” philosophy. By example, I workout an hour a day seven days a week. I know next week the gym will packed. Over enthusiastic people trying to run a hundred miles an hour on a treadmill when they don’t even enjoy taking long walks. They don’t see results in a month, so they stop coming. They don’t know that to run on a treadmill you first have to learn to walk on one. That means showing up, taking small steps and watching your diet. In the entertainment industry I see the posts “My feature will be produced this year!” or “This year I’m going to star in a film!” Um, well, what did you do three months earlier? Just wait for the 1st of January to arrive? Did you look at your script and see how it could be adjusted to shoot on a budget you could afford? Did you see that part in a film but not submit? Remember in this industry there are no small parts. And more importantly it’s all about risk.
When you join a gym you risk not having the body of Adonis after six months. But you know what? After those six months you may have lost twenty pounds, feel and look better and no longer crave that evening pint of ice cream. When you write a script you risk not having it ever produced. But after you adjust for a budget you can afford, you could soon find yourself in post-production. When you decide to be an actor you don’t start as a star. You submit and submit and submit. You accept the roles you can, no matter the size, because that can lead to a starring role.
That happened to one of the stars of First Signal. He was my first choice, but I cast another actor who lived closer to our shooting location. The actor I originally wanted didn’t dismiss the project when I offered him a background role. He stayed interested. When the actor I cast flaked off and ghosted me, I offered the part to him. He breathed life into this character that I never thought possible.
This is an industry not only about accumulating experience but dedication and enthusiasm. If you have experience and are known to be dedicated and enthusiastic, you will be top of mind when a project comes to being. This just happened to me when I was contacted by a production company for a project coming up for a few days in January. It might not happen in the end, but at least I was contacted (with no agent involved).
Believe me I don’t look at this industry through rose colored glasses. We all have those days where it seems like we aren’t gaining any traction or making any progress. But I do believe if you stick with it and are persistent those chances improve tenfold.
See you at the premiere of First Signal in 2020!
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.
There has been a flurry of activity since First Signal wrapped principal photography in July. From editing, scoring, special effects to market preparation for the American Film Market, the work on a feature film hardly ends when the final “cut” is called. Post-production is where the puzzle of all the shots taken comes together. You only hope you have all the pieces! Thankfully, we do.
The one thing I’ve learned on this feature film, was that a long pre-production period was a good thing. There were casting changes that worked out for the best, ideal locations that came forward and research that proved invaluable during production and post-production. The one thing I’m glad I did during the pre-production process was attend AFM last year. It gave me a sense of how a film market operates and what to expect (or in some cases not to expect).
For AFM 2019 I have several meetings booked and several more sales agents/distributors that want to see a complete screener of First Signal. Certainly, these are all positive developments. However, as a filmmaker, the one thing you must believe in is your own film and not to be swayed by critics. One sales agent stated that I needed to introduce the “creature” early. As First Signal is a story driven science fiction film akin to Gattaca with the production style of Fail Safe, I declined that meeting (there is no “creature” in First Signal). In addition to an original story, what First Signal also offers is the start of a new science fiction series.
This weekend I picked up the sales cards/sell sheets for First Signal. A special thanks to Daniel Elek-Diamanta for the design! These sell sheets will be used like business cards during the market. What I aimed for with the sell sheet were select stills and copy that represented the story. While it’s impossible to present an entire film on such a piece of collateral, the goal is that of a trailer—promote the feature.
Out of the 82 page script, First Signal is edited up to page 76. The pieces of the puzzle are nicely coming together. Editing is a process all unto itself. It’s time consuming and detail oriented. It’s about pouring over hours of footage and audio to look for the best takes to build the story. A special thanks also to our editor (and director of photography) Daniel Groom for his work.
As I head into the last two weeks before I leave for AFM, there will be meeting preparations, practicing my pitch and finalizing the schedule. I’ll still never forget the first time I walked into the lobby of the Lowes Hotel last year—everything I saw was about the world of independent film. It’s an ideal market to network, get the latest insight and to present your project to the industry.
It is amazing to me how much this industry has evolved from my first film. When I released First World in 2007 Amazon had just announced video on demand the year before with Netflix just announcing a streaming service. Of course theatrical and DVD were still major revenue sources. But it was when I saw First World on the nascent Hulu that I knew the world of filmmaking would change forever. Yes, theatrical is still the primary revenue source, but we all know what happened to DVD. As I employed when I was a magazine publisher, I think it’s important to test and try new release and market technologies to reach audiences the way they want to watch your film.
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.
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.
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.
For years I have followed the film markets, but none so closely as the American Film Market (AFM). As an independent filmmaker and screenwriter, I think it’s important to stay informed on the latest trends and news. As we are “indie” it’s too easy to operate in our respective vacuums without the benefit of new voices. That ended last week when I attended AFM in Santa Monica, California.
As this was my first AFM, I followed their how to work AFM guide. Several weeks prior to the start of AFM, I researched companies that might be interested in hearing more about my projects. I curated a list and then sent an email of introduction that included a brief (title/logline) of my projects for consideration of a meeting. By the time I arrived in Santa Monica, I had several meetings confirmed. In addition, I made sure my Cinando profile was completed along with the MyAFM section of AFM’s website. The completion of my profiles and subsequent postings in MyAFM conversations resulted in a few companies reaching out to me for meetings.
My industry badge granted me access for four days that began on Saturday. But as the director in me wants to get the lay of the land prior to “arriving on set,” I landed in Los Angeles on Thursday and picked up credentials on Friday. I knew that the start of the market for me on Saturday would mean putting on my acting hat. The days and weeks of memorizing the loglines and synopsis of my projects along with talking points was soon going to be put to the test. As an actor, I wouldn’t think of arriving to set without knowing my lines, attending a film market is no different. If you don’t take the time to know your own projects, why should anyone else take their time? As attendee’s schedules are booked up well in advance, AFM is all about maximizing time.
The Lowes Hotel is entirely converted for the market (you can’t enter the hotel without the proper credentials). When you enter the lobby you are soon greeted by representatives of the industry trades with the dailies, see throngs of attendees going to and fro and banners representing the myriad of companies that are bunted on the multi-floor balcony railings. What were hotel rooms before the market, are now offices. You have arrived at AFM.
Over the course of two days, meetings with producers and production companies in the United States, Canada, Germany and Romania resulted in positive experiences. Then there were the various film commissions from Russia, Georgia and Japan that also asked for meetings. On Saturday night at the official carousel cocktail reception, casual conversations resulted in meeting two producers with substantial credits (there was a specific request for China related stories – First World anyone?).
But what I do want to stress is that you can’t go into the market thinking “what can you do for me” it’s more about “what can I do for them.” Think about it, is the screenplay I have going to be a good fit for “X” production company or producer? One company I met with wasn’t interested in science fiction, but wanted to see my political thrillers. In the reverse, one producer was very keen on developing science fiction franchises and requested information on the “First World” universe. In both those cases, they asked for scripts. It pays to have a variety of projects to offer.
These meetings are also about building relationships for the long haul. All the meetings and interactions I had were positive, with the exception of one. In that case, it didn’t take long for me to realize that one was just playing the posture and poser game (he didn’t even have a business card). Yes, while AFM is all about meeting the right people and developing a network, you do have to be judicious on who you interact with.
But here’s an interesting twist of fate. Years ago I pitched Justice Is Mind to a distributor that passed on the project. For AFM, this company reached out to me about First Signal. When I was meeting with them and Justice Is Mind came up and their original pass, they presented a new division for digital distribution and asked me for a screening link. As for First Signal, the number of companies looking to get involved at the script stage is a market trend. This is an industry about product and intellectual property and that’s exactly what AFM is all about.
Now it’s about the follow up. The continuation of introductions, conversations and presentations that started at AFM. One thing that’s always excited me about this industry are the possibilities of what’s next. Because for this filmmaker, there will be a next AFM next year. As for AFM, a special thanks to Jonathan Wolf, Managing Director at AFM, for creating a welcoming atmosphere for first time attendees and his informative presentation at the AFM Orientation.
After AFM I had the opportunity to visit Eastern Costume. I was introduced to Eastern by the costume supervisor on Madam Secretary regarding Air Force Uniforms for First Signal. Another special thanks to Ian Brown, Military Technical Advisor, for a three hour tour. Whatever you need for your film, Eastern Costume has it!
Of course, my trip to Los Angeles wasn’t all business. I had some great reunions with friends along with some requisite touring. Seeing the Endeavour Space Shuttle and the King Tut exhibit at the California Science Center was truly exciting. But my favorite place to visit is the Griffith Observatory. From the wonders of science and space to its expansive views of the city, it was wonderful way to spend my last night in the city at…
…the top of the world.
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.
This past Wednesday I registered to attend the American Film Market (AFM). It’s a market I’ve been wanting to attend for some years. It’s interesting, the last time I was in Los Angeles was in 2013 for the West Coast Premiere of Justice Is Mind that took place during AFM but wasn’t connected to it. Now I return to network and to introduce my six film projects.
As I was uploading the details of my projects on Cinando (you receive a one year membership for registering at AFM), I was fondly remembering the long journey to this point. My first short film, First World, had its first screening in Los Angeles in 2007. Never in a million years did I think I would be returning to the city six years later with a feature film in hand that wasn’t the feature film version of First World.
Since the day I penned my first screenplay, I’ve worked with over 250 actors, crew and other partners to bring my projects to life. As I’ve often referenced, being a director is akin to that of the conductor of an orchestra. A director is only as good as the instrumentalists that make up its actors and crew. The process of creating a film is like writing a symphony only in this industry it’s called a screenplay.
The screenplay is the very foundation of everything this industry is about. You can’t build a stage to shoot without a solid foundation. But this does take me to a bit of a rant. I find filmmakers conducting auditions without a completed screenplay to say nothing of forwarding a side to actors. How on Earth are you expected to get a quality audition from an actor without the benefit of them reading from your script? It happened again this week when I was asked to audition and the filmmaker refused to send sides from the actual script. My response? Pass. This is also an industry of time management with very little to waste.
Time is what’s ticking as the days lead up to my November 1 flight. There’s making sure all my project listings are current, setting up meetings and working on some new artwork. Of course, like getting ready to put a film into production, there’s a hundred other details.
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.
July 20, 1969. The 49th anniversary of the Apollo 11 mission – “we came in peace for all mankind.”
Although at 4 years old, I was too young to remember the historic event of the Eagle landing on the Moon, I fondly recall the later Apollo missions in the early 1970s. Those grainy black and white pictures being transmitted from the Moon to our television sets was a remarkable achievement. Indeed, it truly was “one small step for man, one giant leap for mankind.” In those days the world watched in wonder as the impossible was achieved, not once, but several times.
When you think of the new technologies, sciences and discoveries that resulted from the space program of the 1960s and 70s, it’s clear that a giant leap was achieved on numerous levels. You can’t bring together that many scientists and engineers and focus them on a single end goal without achieving breakthroughs that were literally out of this world. Of course, another result of the space program was the motivation it gave to so many.
In my case, I developed an interest in astronomy which led to my passion for science fiction. When I combined these interests and wrote First World in 2006, I had no idea where that journey would take me. In the film world it led to the production of the short film version of First World in 2007, followed by Evidence and my first feature film Justice Is Mind. In the real world, I have been fortunate to see the space shuttle Atlantis land at Edwards Air Force Base, Discovery and components of the Apollo program at Steven F. Udvar-Hazy Center, the Enterprise at The Intrepid Sea, Air & Space Museum and Freedom 7 at John F. Kennedy Presidential Library and Museum.
In the world of entertainment, two of my favorite TV series that involved the Moon are UFO and Space: 1999 with my favorite sci-fi movie being War of the Worlds (1953). But over the last several years “Hollywood” has produced some excellent must see films. I could list many, but my two recent favorites have been Hidden Figures and Arrival. Two completely different films, but with compelling messages of the possible when faced with the impossible.
As for possible, progress continues on First Signal. With Daniel Elek-Diamanta designing our first promotional poster, the look of First Signal is beginning to take shape. With more location scouting planned over the next several days, I have no doubt that the right location will soon present itself. When a launch is planned, all the conditions need to be right. I don’t want to settle on a substandard location just for the sake of keeping a schedule. Not only do I need to be excited as a director, but I want the actors and crew to feel equally motivated with their surroundings.
Last week I talked about lists. Well this week I was able to cross off, or at least through, one thing on my list – uniforms.
Whenever I plan to put a script into production I go through it with a fine tooth comb to break down exactly what’s needed. For First Signal the Nehru styled suits for two of the characters have been secured for some weeks. Personally, I thought it was going to be a bit of a challenge to get the look I wanted with the budget I set for costumes. I soon discovered there were numerous manufacturers that offered countless styles and ranges in price. In the end I got what I wanted for that look.
But there was one type of uniform that was proving a bit elusive–Air Force officer service dress. Yes, a good number of regional costume shops had air force officer uniforms. They would have worked fine if our story was set in the early 1990s. But as First Signal is set in the year 2014, we needed a contemporary look.
To start I discounted contacting the big costume houses that work with “Hollywood” budgeted films and TV shows. My thinking was why on Earth would they want to work with an indie film on the scale of First Signal? So contacting the official uniform suppliers to the Air Force began in earnest. But in the majority of cases you need to be authorized military personnel to make a purchase from those companies. So short of purchasing items piecemeal on eBay and the like, this was a major item on my list that wasn’t budging.
When I saw the season finale of Madam Secretary and the number of military uniforms that were used on that episode, I decided I had to take a different route. I went to their listing on IMDbPro to see who was in charge of costuming. No sooner did I contact one of the wardrobe supervisors via LinkedIn did he get back to me with companies and contact names. Yes, these were the big costume houses on the west coast.
The welcoming reception I received from Eastern Costume put aside my preconceived anxiety about contacting one of these companies. To say they are knowledgeable about costumes would be an understatement. After sending them some pictures of the types of Air Force service dress uniforms I was looking for, they gave me a rundown on prices that will work for First Signal. Is it a bit more than I budgeted? Certainly. But in this case anything less than a contemporary look just wouldn’t have worked.
The search, however, continues for a suitable location. The one thing I have done with all my films is to secure locations via a trade marketing partnership. It’s a pretty straight forward process that works great for everyone. A location allows us the opportunity to film and I promote and market the location. Well after the actors and crew have left, a location sees themselves promoted regularly on social media, mentioned in the press, credited at the end of the film, on official sites and other entitlements that benefit all concerned long after “That’s a wrap” is called. I have no doubt that a suitable location will be secured. But there are always surprises in this business. Like when you believe you have a deal and suddenly it goes from trade to a $10,000 plus fee! Um no thanks, I’ll keep looking! The one thing I have long learned in this business is never be desperate to do a deal. I look for partners not takers.
Whenever I’m involved in the production of an event, I always arrive early. First, I hate to be rushed. Second, it’s about setting everything up. Finally, I like to just sit and take it all in for a few moments. I don’t meditate. It’s about quiet time. Because the time for this event was starting shortly before 11 AM – the table read for First Signal.
This journey didn’t just start when I wrote the script for First Signal, it started back in 2006 when I wrote First World. When you write a screenplay you never really know where it’s going to go or who is going to be involved. But when I was watching Lindy Nettleton reprieve her character of Allison Colby, the Prime Minister of the United Kingdom from First World, I was not only enormously thankful for her return, but the realization of the journey this project has taken since those early days.
As a writer, there is something surreal about watching actors bring your characters to life. I’ll admit, when I was writing First Signal I had several actors in mind for certain parts. There’s a reason why you see filmmakers work with the same actors because you know what you’re going to get in a performance. But then there is also the excitement about working with new actors and crew. They bring things to the table that you just don’t see. Not because you don’t want to, but as the writer you tend to have blinders on to keep the train of the story on a certain track.
Case in point when Vernon Aldershoff and Adam LaFramboise were in a confrontational moment. Vern suggested the line of “You can sit down” or “Sit down” before his character answers Adam’s. As I mentioned to the room, I have no problem with such additions (or deletions) if it adds to the vibrancy of the story. As a filmmaker you have to let a story breathe. The key, is to make sure it’s remembered by the actors and then noted by the director. Yes, I made a variety of notes from yesterday’s table read and will be following up with the actors and crew.
This is the first time I’ve held a table read and I’m glad I did. It wasn’t just about hearing the words come to life, it was about the actors and crew meeting each other and getting familiar with their respective styles. In the end it’s about chemistry for the next time we are all together it will be on set.
It’s impossible to thank the actors and crew enough for believing in First Signal. Your dedication and talent means a first rate production. And from their hosting of First Signal’s auditions in April to yesterday’s table read, my thanks is also greatly extended to The Verve Crowne Plaza in Natick. Indeed, a film has many behind the scenes partners. Each one of them is part of the production engine that finds its way to the silver screen.
There is that moment during pre-production when suddenly you shift into a higher gear. That moment came this week with location scouting in Massachusetts and New Hampshire. Personally, I find location scouting one of the most interesting parts of the filmmaking process.
After the actors are cast, it comes down to the location. Of course they have to be captured brilliantly by a talented crew, but finding the right location encompasses a variety of factors. Does the scheduling work between the location and film? Does it work geographically for the actors and crew? Does it fit to the story? Unless a set is custom built to the script, there are always story adjustments after a location is secured.
Just as I mentioned last week, one of my jobs is to make sure a location knows exactly what they are getting into when they sign on to a film project. I’ll be working on a proposal to one of the locations this week. For me it’s all about planning and efficiency. I personally can’t stand disorganization on sets. As they say, time is money either literally or figuratively and film sets are no exception.
The one thing I believe is critical is testing equipment at locations well prior to the start of production. Sadly, I have been on my share of sets where camera, sound and lighting were simply never tested until the first day of production. There simply are some things you really want to know in advance. Where are the outlets? Are there reflections? Is there signage that needs to be covered? Can the house lights dim? Any strange background noises during the sound check? That’s why it’s called pre-production!
But it’s not all about locations. Wardrobe is another important part of the process. First Signal calls for two unique sets of costuming for certain actors. Two are wearing U.S. Air Force uniforms and two are wearing Nehru styled suits. After finding a great vendor in Colorado, the Nehru suits arrived yesterday. Not only was the price fantastic, but the quality was solid. A few alterations and we will be good to go.
With more location scouting over the next couple of days, along with numerous other details, the pre-production process continues as we move forward towards the June 16 table read.
With First Signal’s table read set for June 16 at The Verve Crowne Plaza in Natick, MA, the priorities are now turning towards locations. Of course there are numerous other details to attend to, but locations are the top of my list. Once I have the locations secured, I build out the rest of the production from there.
The one thing I have learned over the years is you never know what type of locations are available until you start talking to people. This past week I introduced First Signal to someone who operates a website that chronicles former Cold War bunkers and installations in New England. Then there was the pitch to certain government agencies in Massachusetts. In both instances, the parties got back to me the same day to discuss the possibilities. I look forward to some interesting tours in the next couple of weeks!
When I start the search for locations, it’s not just about filming, but establishing a marketing partnership. As I’ve learned over the years, a location is either eager to work with you or doesn’t want anything to do with a film. That works just fine for me. The last thing you want is to film in a location that isn’t supportive.
But as a filmmaker I also have the responsibility to be forthcoming on what a location can expect when filming commences. There will be the actors, crew and equipment. To those not familiar with the process it will appear to be chaotic and disorganized. There will be no glamour. There is no red carpet. Even when “action” is called, it’s only for a limited time before you hear “cut”. Then the process is repeated for another angle, then repeated for another…and another. With everything I’ve produced I always have someone come up to me and say, “I had no idea so much was involved.”
One thing that can be assured is that First Signal will have an epic score. Last week Daniel Elek-Diamanta, who scored both Justice Is Mind and Serpentine: The Short Program, agreed to score First Signal! His work on my last two films was beyond brilliant. You can learn more about Daniel and listen to his work on his official website at this link.
From finishing the latest class at the Naval Justice School to National Guard role playing exercises at Joint Base Cape Cod, the last six weeks have been a whirlwind of activity. But perhaps the most anticipated was last weekend’s auditions for First Signal.
Every film has its origins. First Signal can trace its back ten plus years ago when I wrote First World in 2006. After three screenplay nominations, the production of a short film version, over twenty screenings at sci-fi conventions around the world, that project was at the twelfth hour of funding with a production company attached only to see the economic collapse in 2008 hit the entertainment industry like a rocket explosion. Anyone that was around at that time and working in the industry knows what it was like. But in the end it’s called survival.
It was First World that gave birth to Justice Is Mind. The psychological sci-fi courtroom thriller with mind reading at the center of the story. When I was writing notes on a sequel story to First World, it was the development of a mind reading computer called CENTRAL (Computer Encoding Neuro Transmission and Library) that found its way into Justice Is Mind. In Justice the computer program was called FVMRI for Functional Video Magnetic Resonance Imaging. The rest, as they say, is history when Justice Is Mind was produced in 2012 and released in 2013. My goal since 2006 was to create a new sci-fi franchise around the “First World” universe. With First Signal the aim is to do just that.
Like Justice Is Mind, I wrote First Signal with the intention of producing it myself. Sure, one can pitch to “the industry” and wait…and wait…and wait. Or, take the bull by the horns and get it done. The key is to find enthusiastic actors, crew, location partners and a host of others to see the vision through. To say I am pleased with the auditions from last weekend would be an understatement—I was thrilled.
But first and foremost I want to thank actress Patience McStravick for inspiring me to write First Signal. If it wasn’t for our conversations last fall during our time at the Naval Justice School about a story that largely takes place in one room, I doubt this project would be where it is today. Then it was her introduction to talented filmmaker Daniel Groom. Patience starred in his film They Don’t Know (highly recommended!). With Patience and Daniel on board, First Signal was moving forward.
Auditions commenced last Saturday at the Nashua Library in Nashua, NH and then moved to The Verve Crown Plaza in Natick, MA on Sunday. Some I cast in my past films (and were good friends), some I recently worked with between the Naval Justice School and National Guard. Others I didn’t know. But prior to all this, some parts were already cast. There are times as a director you just know you can offer a part to someone without an audition.
Kim Gordon as the President of the United States was my immediate first choice for this role. Her portrayal as District Attorney Constance Smith in Justice Is Mind was brilliant. I wrote the Major Ellen Sampson role specifically with Patience McStravick in mind (Patience is an Army veteran as well).
But there was one actress that I wanted to bring back to the “First World” universe. It was in 2006 and I was getting ready to produce the short film version of First World. The short called for a Prime Minister of the United Kingdom. An actress by the name of Lindy Nettleton submitted. She arrived at the same time actor Jeffrey Phillips did who was auditioning for the role of the President. They both read for the parts together outside an elevator bank at the hotel I was staying at while I recorded it on my Palm Treo! During their reading I truly thought they were heads of state (Jeffrey also appeared in Justice Is Mind as George Katz). Although I stayed in touch with Lindy throughout the years, I had no idea if she would be interested in reprising this role after a decade plus. When she said she would play Allison Colby I was beyond elated! First Signal was coming full circle.
But the circle was complete with last weekend’s auditions. I could not be more excited to work with such talent. I invite you visit to First Signal’s IMDb page to learn about the talented group of actors in this project. For those that know how I promote, you’ll be learning more about them the weeks, months and years ahead.
This past Friday I finished my fifth class playing an NCIS Special Agent in the Naval Justice School’s mock trial program. When I first started in this program back in December 2016 I was simply cast as an actor, given background information to learn and literally jumped into the deep end of the pool. For those of you that have been following this blog for the last year, you know how much I enjoy this assignment. It’s important work. Not just for me as an actor, but for the school, the students and the military.
Now that I direct and supervise this program for the government contractor the responsibility level elevates. It’s not just important that I do my job as an actor, but I need to insure that others are doing their job as well. As a director my goal is that they present a strong performance on stage and off.
This round was particularly special for me when a recently retired NCIS Special Agent joined our group as an actress playing an “NCIS Special Agent”. Obviously, she brought a wonderful perspective to the part and was a joy to work with. But when she presented me with an “official” NCIS challenge coin, well that just made this round all the more exciting. But rewarding for me came at the end when I was getting ready to leave on Friday. One of the students walked up to me and thanked me for the work I did. Likewise, I thanked him for his service and the work he is doing. In the end, that’s what this is all about.
But as for out and about, it wasn’t all business. I had time in my schedule to visit the Audrain Automobile Museum to see their latest exhibit. If you find yourself in the Newport, Rhode Island area, I highly recommend a visit.
In regard to visiting, I will be at the Joint Base Cape Cod for a National Guard training exercise on April 6-7 and 10-11. To quote from the registration link for those interested in being a Casualty Role Player, “The training exercises will simulate an emergency response to a manmade or natural disaster including a structural collapse and/or nuclear, biological or chemical incident.” I will be there in a production capacity. To learn more, and to be considered as a Casualty Role Player, please visit this link.
It’s hard to be believe that auditions for First Signal will soon be here. With auditions set for April 14 in Nashua, NH at the Nashua Library and April 15 in Natick MA at the Verve Crowne Plaza, we have some great talent scheduled.
With First Signal being the first installment of what I hope to be a franchise in this “First World” universe I created a decade ago, the challenge is finding the right actors for the right parts. I’ve been fortunate over the years to work with some wonderful talent. Actors that are not only great at what they do on camera, but a joy to be around when the cameras turn off. That’s vital when casting a film. Because long after the last “cut” is heard and the cameras are turned off, it’s on to promotion and marketing.
After dealing with a massive snowstorm the day before, the first day back at the Naval Justice School went well. As this is my fifth time doing the program, these are like class reunions between the actors and staff. But with every new class, we have new actors join the program.
I can’t speak for other regions, but in New England the acting community really is about six degrees of separation. While I may not have worked directly with some of the new actors, the other actors have or are familiar with their work. What struck me interesting with one of the new actors was him telling me about a project of his own that he’s putting into production himself. Sound familiar?
While any actor, screenwriter, cinematographer, etc., wants to be hired, there’s nothing more satisfying than creating your own work. It truly is magical watching your performance, your words and your images come to life. But one does not magically snap their fingers to get a project off the ground. In the end it’s about partnering with good people that believe in bringing the project to life.
In addition to the casting notices going up this week for First Signal, location searches will also begin in earnest. As I mentioned to someone already involved in the project, the way I approach a location is to trade the opportunity to shoot with a mutual public relations and marketing plan. I’ve taken this approach with the films I’ve produced and, with the exception of $100 to shoot in church for Justice Is Mind, it has worked.
The last thing you do as an “independent” filmmaker is ask what their rate or how much they would charge. I promise you, you’ll get frustrated when you hear numbers that are impossible to meet. Worse, you meet them and go broke in the process. You want to work with people and companies that are excited about the project. But that excitement is not without responsibility.
On a set I am the first to arrive and the last to leave. Why? Because it’s my responsibility to insure that I leave a location the same way I found it. Case in point was the conference room we used in Serpentine. In the film, the location was at the FBI in Washington, D.C. In the real world that was the Aquarius board room at The Verve Crowne Plaza in Natick, MA.
That room worked out great in the film, but it needed to be dressed. I purchased Washington, D.C. images to cover up the posters on one wall and added The Brandenburg Gate during the Cold War era to highlight a certain moment in the story (it was also an Easter Egg for Justice Is Mind). How did the viewer know they were at the FBI? Stock footage the moment before that showed the exterior of the FBI. What’s interesting about that footage is that one of my favorite shows, Madam Secretary, has also used that same clip.
With the script breakdown for First Signal almost complete, look for a casting notice in the coming days. And that military exercise I mentioned last week? Looks like that contract is coming through.
No the title of this week’s post doesn’t refer to a meeting hall, but the Vehicle Assembly Building (VAB) at NASA’s Kennedy Space Center. This famed building assembled the Saturn V and Space Shuttle vehicles and will be home to the Space Launch System in the future. Assembly building could also refer to the process of creating a film.
This past week I have been quietly talking to certain actors and crew about First Signal. While I mentioned last week the plan to produce this film in August, I’m purposely being quiet on who exactly is involved until after the fact. Yes, a few actors have already been cast and I started to reach out to crew. Of course it’s exciting to bring a project to light, but there is a method to this “secrecy”.
Those that follow me have probably noticed that I haven’t published one line of dialogue, mentioned a proposed location or stated who is already with the project. For First Signal this is all about building a comprehensive branding and marketing campaign around this “First World” universe. Much like the careful thought and preparation that goes into the assembly of a space vehicle, the same holds true for a film (but not nearly as complicated!).
With the number of films being created due to the democratization of the process of filmmaking, I believe it is imperative to have some sort of solid public relations and marketing campaign tied to your project. I did this with the magazines I published and have carried this discipline to my film projects. I say discipline because that’s what you need when making a movie. Yes, it’s all very exciting when you are on set and actually making a dream come to life, but the years, months, weeks and days leading up that moment is one of careful planning and execution. In particular, the genre of science fiction takes a certain amount of world building to make it original.
Of course what this also comes down to is making a project interesting for a consumer audience. This article in The Hollywood Reporter addressed the gamble films take with a box office release versus selling to Netflix. I firmly believe it was the limited theatrical release we had for Justice Is Mind that led to the majority of press reports and consumer awareness.
Honestly, unless a film has some sort of momentum owing to cast or concept, how do you differentiate one movie from another in the sea of video on demand? Do you hope it’s discovered on VOD or do you give it a consumer marketing push first with a theatrical release? I’ll always believe the latter makes the most sense.