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.
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.
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.”
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.
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 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.”
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 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.
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.
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.”
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
August 18, 2013. Five years ago today I was in Albany, NY for the world premiere of Justice Is Mind. The idea for Justice came to me in 2010 when I came across a 60 Minutes story about Thought Identification “mind reading.” I was researching mind reading “computers” when I was writing the sequel to First World. Yes, I finished writing the sequel. But no sooner was my Final Draft software cooling down and it was fired up again to write Justice.
I’ve often written about the development of Justice. The endless pitch to producers and financiers started at the script stage. Then I produced a short film version Evidence to develop interest in the project. After a couple of theatrical screenings and media the financing came together to produce the feature. Let me just say that 2012 was a whirlwind of a year. But in the end, over 10 crew, 100+ actors and 15 locations came together. Even post production into 2013 went relatively smoothly. Justice enjoyed a limited theatrical run, screenings at law schools, science fiction conventions and an international premiere on Cunard Line’s Queen Elizabeth (yes, that was a highlight!). The film is now available worldwide on VOD.
When you’re an independent filmmaker the completion of a feature film is a milestone that should be enjoyed and celebrated. As I see with so many in this industry, they worry incessantly about the next project when working on the current one. There were only a couple of occasions during Justice when a few people tried to get out of commitments because of an audition or other project they wanted to be part of. I’ve always believed in giving your maximum to every project you’re involved in. You worry about the next one after the fact.
It’s one thing to attend a film premiere for someone else’s project, it’s entirely another to attend one for your own. For nearly two years after our world premiere, so many of us attended the screenings together. For a while we were like a traveling road show! These weren’t film festivals, they were theatrical screenings. There is nothing more gratifying as a filmmaker than seeing your film on a marquee next to mainstream “Hollywood” productions. You work like hell to make the film, but seeing it in the market is in one word – gratifying.
A feature film isn’t about the “cool” photos behind the scenes of making it, it’s about creating the world around it so when it’s released there’s a place in the market for it. An acting friend of mine last year coined the phrase “the milk carton movie” for those films he was involved in that never saw the light of day. There were essentially “missing.” I couldn’t even fathom making a movie that sits on a shelf waiting for someone else to decide its fate. Film festivals are fine enough if you get into the top tier from an awareness point of view, but as a filmmaker you don’t see ten cents of box office from them. More importantly why would I want to share the public relations spotlight with other films? I remember only too well when we had a screening for Justice at a major university and, unknown to me, there was a small film festival in town that weekend. A reporter said to me they only had so much space and simply couldn’t accommodate everyone. Well, thankfully our screening went well because it was marketed internally and had some scientific personalities attending. That was a lesson to be learned.
As I now venture into the world of First Signal, I look back on the days of Justice Is Mind with great fondness and realize what’s possible when the right team comes together. I’ll never forget what one of the stars of Justice said to me at our last theatrical screening in March, 2017 “This never gets old.”
No, it doesn’t.
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.
For those that have ventured down the road of producing a film, there are numerous details to attend to. But one thing that is truly paramount is character and story background. This week I sent the actors and crew a multi-page document that provides not only the character backstory but terminology associated with the “First World” universe.
While Justice Is Mind was about mind reading, I honestly can’t expect actors or crew to read mine. First, I find the phrase “motivation” to be terribly overused. Rather, I like to give the actors and crew the big picture. It’s easy for a director to drone on about this or that or whatever. But when someone reads in black and white what the backstory is or universe they are in, it makes the process so much easier. It also fosters thoughtful creative input.
As for creative, this week also yielded some interesting conversations regarding costuming. In First Signal, four of the characters have very specific looks. Two are outfitted in Nehru styled suits, while two are Air Force officers. It’s the latter that saw the progress we were looking for. From discussions with an Air Force base military store to a costume company that outfits the military in my favorite TV show, the aim is to have these actors outfitted accordingly.
Speaking of actors, I received a call a few days ago from an actress that was beyond frustrated with the fact that she hasn’t secured representation. Is she talented? Yes. Does she have a solid resume? Yes. The one thing I stressed in this industry is that nothing is simple or easy. There are no shortcuts. And the one unwavering thing you need is patience. But comparing my work to yours or another actors is not the route you go. And when you start tuning out the advice you sought because you aren’t hearing what you want, you might need to rethink your career. This industry is waiting for no one, but it may respond if you have talent, a viable idea or a unique project (film or TV). I say may because I will quote the late Maximilian Schell, “This an industry of chances and luck.” Even after all his years of fame from Happy Days, Henri Winkler still auditions.
I do seem to be having good luck with the DJI Spark. I have to say this is a very smart drone. It takes a bit of getting used to operating virtual joysticks (there is an optional controller you can buy), but there’s so many flight options that are brilliantly automatic. At the end of the day all a filmmaker wants is a great shot.
Finally, I just finished reading James Comey’s A Higher Loyalty. No matter what side of the political aisle you’re on, this is an important read. In the hyper partisan, media obsessed world we live in, it’s too easy to make snap judgments without knowing or caring about the facts. That’s really what our country comes down to does it? Facts, truth and loyalty to the constitution of the United States and those that defend it.
As we are about one month away from First Signal’s table read on June 16, we had a location confirmation lock with the expansive field we needed. I couldn’t be more pleased with this location. It’s exactly what the script called for.
As this location is on private property I won’t reveal its location. With an outdoor location, private property is better to shoot on. Why? It’s about privacy. While I’m all about someone learning the process of making a film, the actual process of making one is time consuming detailed work. On private property you don’t have onlookers watching from the sidelines and getting in the frame of the shot. But it’s also about taking pictures and posting them to social media, etc. Unfortunately, the wrong picture can ruin an entire film. Anyone that works in the industry knows the general policies that go with on set photography. Most sets have “still photographers” that take a variety of pictures that encompass an entire production.
While additional locations are being scouted, along with numerous other behind the scenes activity, the one thing I’m very cognizant of is the film market itself. There is no better market than Cannes to provide a fresh perspective on where the industry is going. As Alex Walton of Bloom tells the Hollywood Reporter. “International distributors are in need of product, but they’re also incredibly cautious because they’re in need of the right product. There are fewer films, fewer packages and fewer things to buy, so when we approach Cannes now, even compared to five or six years ago, it is with a completely different mindset,” Adds Entertainment One CEO Darren Throop who tells the Hollywood Reporter, “The whole concept of buying a good package on the open market and reselling it to cinema, pay and TV — that whole model has changed. The very foundation of independent film has changed.”
The one thing that has changed in the last several years is the development of franchises and the sci-fi genre has pretty much been a solid bet. As a director my job is to create a quality film that’s ready for the market. But as a producer I am making a bet on the market. It’s an interesting line to balance.
But putting aside numbers, market share and all that comes after the fact, it is the process of making a film that’s the most exciting. Watching the actors and crew bring life to your story is tremendously satisfying. As a screenwriter we spend hours, weeks and months behind a computer coming up with, what we hope, is an interesting story. But it’s seeing that story emblazoned on the silver screen that makes the entire process a worthwhile endeavor.
Part of that process is equipment. Yesterday, I purchased a drone for a pivotal shot at the end of the film. But no sooner did I complete this purchase and I’m suddenly thinking of all the other creative areas we can use a drone in First Signal. This technology has changed so much since we used one in Justice Is Mind. Add to that the cost has come down exponentially. This is why the process of filmmaking is so enticing and exciting. The democratization of the entire process from creating to distributing has changed for the better.
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.
From actors I’ve cast in past projects to learning about new talent in the region, since the notice went live I’ve been very encouraged by the quality of the submissions. However, for this project I’ll be reaching out to additional sources for certain roles. The goal of the table read isn’t just to hear the script, it’s also about casting possibilities for the feature film itself.
The character of Cedric Yonah is particularly important to the overall story. Not only does the actor need to be great at his craft, but he also must have a certain look. I can almost say that I’ve received enough quality submissions for all other characters, but I’m still looking for this one. This isn’t exactly “The search for Scarlett” but let’s just say the search is ongoing.
This reminds me of the classic sci-fi film The Day the Earth Stood Still. As I understand from the development process, director Robert Wise didn’t want to have a recognizable actor walk out of the spaceship as it wouldn’t have been believable. But it had to be an actor with gravitas and a certain look. The casting of Michael Rennie as Klaatu/Mr. Carpenter was brilliant.
Casting is not an easy process. I remember the three hundred plus submissions for Justice Is Mind. While I was fortunate to find some of the leading roles from the short film version Evidence, there were numerous parts that I needed to cast. In as much as you want to see a quality audition, it’s also about how you get along with the actor during that brief time. I do believe it comes down to the sixty second impression.
However, what I still don’t understand is how simple submission instructions aren’t followed. When I submit for a project I make sure I follow the instructions to the letter (why wouldn’t I?). If you refuse to follow submission instructions, how are you going to be during filming? I kid you not I received a submission that literally said here is my IMDb link and Google me. Sorry, if you can’t submit a required headshot, resume and link to your reel you just get relegated to archive.
But this is just part of the development process. Every project takes on a life of its own. I always find it interesting where a project gets its start. First Signal started at the Naval Justice School. But Justice Is Mind actually got its start when I wrote the sequel to First World and was researching mind reading technology. Thus my discovery of the 60 Minutes story from 2009 on thought identification being developed at Carnegie Mellon University (CMU). Four years after that story Justice Is Mind screened at CMU.
This week I completed a first draft of First Signal. I have to say there is something immensely satisfying about completing a script. From the moment I get the idea for a story it’s weeks and months of research, notes and random thoughts.
For me writing doesn’t start and stop at my computer. While I don’t believe in writer’s block, there are those times when after I do a bit of writing I just see the story stop for a moment. Sometimes it just takes a change of air to get the characters and storyline talking to me again. In my case, it’s generally a trip to the gym or watching a movie that brings me back to the computer. In fact, after I saw Darkest Hour last weekend I was inspired to write a critical speech in First Signal. If you can’t get inspired after watching Winston Churchill there’s a problem!
Like Justice Is Mind I wrote First Signal to independently produce, not to submit to production companies or agents. While my other projects are in various stages of review or consideration by the latter, First Signal is not part of that mix.
It is ironic how this whole project came to being. Here I am at the Naval Justice School talking to one of the actresses. Suddenly, the idea for a limited location drama that largely takes place in an underground bunker came to mind. After talking with her about the idea, I just started to write it with her as one of the new characters in the “First World” universe.
While I love acting and performing, I think my greatest joy comes from creating projects and original stories. Although it has been some years, I remember the days of Justice Is Mind and the dedicated cast and crew that made it possible. Unlike a play, when you create a motion picture it’s out in the world forever. As I often watch films from the 1930s and 40s, I wonder who may be watching my films in say the year 2088. From that era I count Gone with the Wind, Rebecca, Laura and Now, Voyager as some of my favorites.
Although I plan to reach out to a variety of actors and crew I’ve worked with in the past, the next step in this process will be a casting notice for a table read (one part is already cast).
First Signal—When Air Force Space Command receives a signal from an alien satellite in Earth orbit an emergency meeting with the President reveals a government conspiracy.
Last week I mentioned how producing a film is not rocket science, but writing about rocket science is a different story.
With Justice Is Mind I did an exhaustive amount of research on two fronts. The first was mind-reading technology with the second being the law as it applies to investigations and the courtroom. But at some point you reach a certain knowledge bank when you can start writing.
Once a project of mine is given the green light I bring it to experts to insure its veracity. Of course there’s creative licensing, but at the end of the day a rocket launches vertically not horizontally!
One of the things I enjoy the most about screenwriting is learning something new. Am I an expert on mind-reading, the legal profession and rocket science? Good heavens no. But I can certainly talk about it in the context in which it’s presented. That’s what filmmakers do. We present. We create a fictional world against fact. Sure, some stories are pure science fiction with no regard to science, but I like to root my stories in plausibility.
While I was inspired to write Justice Is Mind from a 60 Minutes story, did I ever actually think the science fiction I postulated in my story could become near science fact? As a storyteller I’m doing just that, telling a story. My feeling has always been that as long as the story is interesting, it will hold an audience.
We’ve all been reading the difficulty that films are having at the box office. There are countless discussions on why this is happening. I have my own theories, but what I truly believe it comes down to is having an interesting story that is well marketed.
When I was marketing Justice Is Mind the actors were brilliantly talented and on par with any A list actors you would see on the silver screen, but they were not A list from a public relations point of view. I couldn’t market the film with Starring So and So, but I could market the concept. The end result was audiences bought a ticket and came to our screenings. Some were nearly sold out while others saw an OK attendance. What it proved to all of us was that audiences will turn out for an interesting story.
Revisiting the First World story has also been interesting. In addition to my “rocket science” research, I had almost forgotten the mountain of work I have done on this project, from writing the original script, producing a short film version, writing a sequel and publishing a novella. It’s safe to say I have some well thought out characters to work with!
July 20 should be a national holiday because it marks an unprecedented milestone in the history of the human race – the day we set foot on the Moon in 1969.
Imagine for a moment what it must have been like for Neil Armstrong and Buzz Aldrin to look at their home, the planet Earth, from 238,000 miles away. July 20, 1969 marked the very pinnacle of research, science and mankind’s determination to explore the unknown when Armstrong famously said “That’s one small step for man, one giant leap for mankind.”
Yet, sadly, there are those ignorant dangerous fools that still believe the manned missions to the Moon were a hoax. Somehow an achievement that exceeded the mysterious building of the Great Pyramids was created by the Hollywood studios. It’s unbelievable to me in today’s day and age that such ignorance permeates our existence. When evidence is there for everyone to hear and see, they turn deaf and blind by deliberate choice. Some of these misguided morons have tried to post their so-called views on First World’s Facebook page. Thankfully it’s called a delete and ban.
Yes, as you can surmise I feel very strongly about the aforementioned. For if there is one thing the Apollo space program taught us was that anything is possible if we remain singularly focused on just such a mission. In the 1960s there’s no question that the United States government was motivated to compete against the then Soviet Union. Say what you want, but that was a healthy competition because the fruits of all those scientists lay in the very technology we enjoy today.
But decades before Apollo 11 there were the steps of over 300,000 allied soldiers that were evacuated from Dunkirk. The Battle of Dunkirk is well known as a substantial turning point in World War II and has been brought back to life by Hollywood.
Christopher Nolan’s epic Dunkirk is most certainly a must-see film. But more importantly it is a history lesson for those that may not know the story. It is a story about what’s possible when faced with the impossible. How do you evacuate over 300,000 people off a beach? The answer was as miraculous as it was obvious—you mobilize a fleet of small civilian boats to effect a rescue.
While I greatly enjoyed Nolan’s version of Dunkirk, if anything because it reintroduced this critical moment in world history to 21st century audiences, I found myself enjoying the 1958 version better. For me it provided a larger backstory as it followed several characters between England and France until they arrived on the beaches of Dunkirk.
But whether you liked the 1958 version over the 2017 entry isn’t important. What’s important is that these films are watched. What’s important is that we learn from history. Who would have thought back in 1940 that the United States, United Kingdom, France and Germany (and Japan) would someday become great allies in years to come? For it’s allies that truly unite mankind. Building off that first step on the Moon, modern day space programs are a coalition of cultures.