The one thing about preparing for a film market is that it makes the process of filmmaking all the more real. It compels you to organize your marketing materials and position your film for the market, from building a website, to sales cards, to online profiles, stills and any other materials that showcase your film. The adage, if you build it they will come, doesn’t work in this industry (or any other for that matter). It’s not enough to make a film, you have to tell the world about it.
When I was organizing my home office yesterday, I found a variety of sales materials from last year’s AFM. I found a sales card for one film that at the time was in post-production and represented at the market by a well-known production company. When I looked the film up on IMDb, it was still in post-production and that production company was no longer affiliated with it. There could be a thousand reasons as to why this film is still in post or the company that was representing it no longer is. The one thing I do know, is there needs to be a Plan A, B and so on.
I was reminded through Facebook memories this week about the numerous screenings we had for Justice Is Mind. The year following our release in August 2013 was a very exciting time. Not a month went by when there wasn’t some sort of activity, be it a theatrical screening or media report. The apex of Justice Is Mind was our international premiere on Cunard Line’s Queen Elizabeth ocean liner. There was a moment during that cruise when I was standing on deck reflecting on the journey Justice Is Mind took to get to that moment. Suffice to say, it’s important to stay focused, believe in your project and move past any and all naysayers.
With First Signal now past the halfway mark in post-production, I see what opportunities lie ahead. But I can’t help but think of the journey it took just to complete principal photography. Despite the substantial challenges we faced in pre-production (too many to list!), First Signal eventually found its dynamic locations and talented cast and crew. If this process was easy everyone would be doing it. To quote President Theodore Roosevelt “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.”
To the outsider, they see a film and think it comes together magically. They generally have no idea what it takes to go from script to screen. When I attend the American Film Market in four weeks, I’ll come across hundreds of films each with their own unique story in various stages of production—all looking for a home. For me, this market will be one of many interesting ports First Signal visits.
With this post, I’m pleased to present two additional stills from First Signal and The Ashton Times AFM 2019 poster representing my projects.
This past week the pitch process for First Signal began in earnest. As long as you follow the process outlined by the American Film Market (AFM), it’s pretty straight forward. There is so much that goes into getting ready for a market. For the last few weeks it’s been about updating my websites, building First Signal’s official website and preparing other marketing materials. They say you only get one shot at a first impression, so why not give your best one.
Post-production is moving right along. The film is nearing the halfway mark with a rough cut, with the first twenty minutes generally scored and color corrected. It’s these twenty minutes that’s being pitched to interested parties at the AFM. I can’t say enough good things about the post-production team of Daniel Groom, Daniel Elek-Diamanta and Adam Starr. The post-production process is highly detailed exacting work. It requires organization, patience and diligence. Traits, I’m happy to say, that we all have. But there’s something else none of us have, an ego that gets in the way of working together. To turn a phrase from McDonald Walling (William Holden) in Executive Suite, “In your own words, Shaw, I have only one interest around here – the good of this company.”
With this post, I’m releasing an additional still that introduces the mysterious Cedric Yonah and James Griffin. Titled “When Worlds Collide,” it follows the previously released still titled “Who are you?” In that still we saw General Reager and Major Sampson looking at someone. Now we know who they were looking at. It is from this point forward in the story that the tension in First Signal builds to a revelation that leads into the sequel.
It’s hard to believe that in six weeks I’ll be back in Los Angeles. It’s even harder to believe that it’s been over ten years since I lived in the city. Like so many of us that are part of this industry we are drawn to LA for its magnetism with the word “opportunity” in the air. While I loved my years living in New York City, it’s Los Angeles that always feels like my second home when I visit.
I was living in LA when I wrote my first screenplay First World. What was the genesis that gave me the idea? It may have been all my visits to the Griffith Observatory. For it was an event at that famed institution when I had the honor to meet Ray Bradbury. For the few minutes I talked to him and told him how much I admired his work, he asked me if I was a writer. I told him briefly about First World, he smiled, shook my hand and said graciously, “You keep writing.”