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.
I’ll never forget the day Adam Starr brought his drone to the set of Justice Is Mind. When I wrote the part in the story that called for a drone, I count myself lucky that Adam had one. In those days (2012) a drone for an independent film was a novelty. Adam had recently purchased a drone for a commercial shoot so thankfully he had one. As you can see from the image below, he did a great job. And with his VFX skills he transitioned from drone footage to special effects seamlessly.
Last weekend was a bit of a drone adventure for me. After my successful shots at the McAuliffe-Shepard Discovery Center earlier in the month, I went to a WWII event at Battleship Cove. I go every year, but this time I brought my DJI Spark. Although I’ve been working with the drone for a few months now, I never really put it through the paces. The image above was from the drone’s maximum height (without the remote controller). Yes, “Big Mamie” is a big ship! To watch the video, click this link.
The next day I went to Newport, RI and toured The Breakers. Although I took a picture of Marble House with the drone when I was at one of the “Cars & Coffee” shows, I had yet to video one of the Gilded Age “summer cottages.” After the tour I started to envision what I wanted to see from this great mansion that was the home of Cornelius Vanderbilt II. For those that remember the opening credits of Dynasty, that was my motivation. To watch the video, click this link.
To answer what some of you may be thinking, yes, I always get permission to film at museums and the like. The drama you hear about drones is pretty much nonsense. Operating a drone is like driving a car. It’s called practice and being responsible. If I’m not sure about something, I’m not going to try it. One of the cardinal rules is pretty simple—always be able to see your drone. Today’s drones have so many wonderful features built right into their programming. For mine, I can just tap “return to home” and that’s exactly what it does.
As part of SOS United States takes place on the USS Massachusetts, I’ve always wanted to do some filming at the museum. My interest in The Breakers was obvious. What filmmaker wouldn’t want to film such a grand residence? Because these two locations are so unique, my aim was to get two different looks if you will. But there are those moments when you kick yourself. I was approaching the low battery warning and had one more chance to get a shot at The Breakers. I hit “tap to fly” and the Spark was moving forward nicely. After a few moments I hit return to home. But I forgot to hit record when it was flying! Thankfully, I had enough footage.
Of course I originally purchased this drone for First Signal. Although actor and crew scheduling conflicts meant moving the film to 2019, this actually gives me more time to experience the capabilities of the Spark. There’s lots to shoot in the region!
As for First Signal, SOS United States, and my other projects, I always have a plan b. This November I’ll be traveling to the American Film Market. I haven’t been to Los Angeles since Justice Is Mind had its west coast premiere in 2014. It will be great to make new contacts and visit with friends and colleagues from my days in “Hollywood.”