When I set out to write First Signal in 2017 my goal was to simply write a prequel to First World. What I couldn’t have foreseen was the timeliness of the film when it was released in 2021. It was in 2017 when The New York Times suddenly released videos that purported to be UAPs (Unidentified Aerial Phenomena). Provided by Luis Elizondo, who was once the head of the Advanced Aerospace (or Aviation) Threat Identification Program, the videos sparked a media frenzy the world hasn’t seen in decades on this subject.
In early June the head of the U.S. intelligence community along with the secretary of state will be delivering to the U.S. Senate a report on the topic of UAPs also know as UFOs. What will be revealed in that report and what will be disclosed to the public, I’m fairly confident will be two different things. But one thing is certain, the questions on who or what is behind these videos simply will not stop. In fact, any concealment by the government will only further exacerbate the claim that the government is hiding something from the public.
I was about halfway through writing First Signal when these videos were released. While I wanted to include them in the story, I also wanted to broaden the “government coverup” aspect to not only include the central storyline of First Signal, but what the government may or may not do during such a crisis.
In one scene, General Reager states quite clearly that public doesn’t have the right to know the truth, “I call it protecting the people from themselves.” President Colton echoes his position when she states, “There are some matters of state that can’t be disclosed.” Do I believe that this may be the case with the upcoming June report? Who knows. But given present world events, I don’t think those of us that would frankly welcome an alien presence on Earth are going to be told much…if anything.
But putting aside my personal feelings on the matter of UFOs, the media around this subject is most certainly a boon for films like First Signal. As an independent filmmaker we do what we can with the resources we have to attract attention to our projects. Yet we always hope for some sort of outside influence to further propel our films forward. This happened with Justice Is Mind when suddenly “thought identification” technology was in the news during the time the film was released.
One does have to wonder if this report to Congress could create something on the order of an Operation Troy like we see in First Signal. Honestly, if the military knows about an alien presence on Earth or in our solar system, wouldn’t they use every conceivable method at their disposal to fully understand it? Of course they would along with, more than likely, linking with the militaries and intelligence agencies of other countries. They say knowledge is power, but sometimes one must also ask the question, “Do you really want the answers to the questions you seek?”
On a personal level, I do hope in my lifetime we definitively learn that we are not alone in the universe. I truly believe that this knowledge will benefit our planet not hinder it. As Cedric Yonah says in First Signal, “This is a time to study and investigate. Can you imagine what you could learn from them?”
While First Signal continues through the festival circuit and SOS United States just starts with festival submissions, my next decision is to decide who I’m placing First Signal with for VOD. For once the decision is made, I need to have faith in those that will be handling the majority of the rights for the next several years. But after over a year of research and discussions, I’ve narrowed it down to two companies. Look for a formal announcement shortly.
With First Signal largely wrapping up its festival run in April, my attention is now turning to theatrical. Over the last couple of weeks, I’ve had conversations with a small chain and a few independent theatres. The plan is the same I implemented with Justice Is Mind—one evening theatrical screenings in select markets. Of course, the world has changed over the last year with some of the theaters asking for multi-night screenings. Naturally, that would be fine with me!
There still lies the misconception that indie filmmakers must four wall (rent) a theater to get their movies screened. While I won’t divulge my method for getting films into theaters (sorry some things are my own process), my aim is to always present a win/win situation for the theater and the film. Today, more than ever, theatrical is critical not only to the survival of theaters but the film industry in general.
I understand on one hand why studios are pushing back the release of their major films, but on the other hand they just need to pick a date and get on with it. Simply, there will never be a perfect time. People will either go to the theater or stay home, it’s as simple as that. But if theatrical collapses, that is going to be not only a financial disaster for the industry, but for the local economies these theaters serve. I personally know of four theaters that are closed. Not because of draconian lockdowns, but because they can’t get contemporary product in the hope of some traffic. Seriously, would you go to a theater if that same film was on Amazon or Netflix?
I was asked the other day when I’m going to film my next project. Truthfully, I see this year largely being the marketing of First Signal’s theatrical and VOD release and breaking down SOS United States for a 2022 start date. First Launch, the sequel to First Signal, is being actively presented. But that project will require a substantial investment. Project Shinar, however, is moving along.
Since my last post, I’m delighted to report that First Signal has picked up two additional Official Selections. When I was looking at our laurels the other day, I couldn’t help but notice the international reach these festivals have. This type of placement will work well when First Signal goes to VOD.