Ever since I was a kid I’ve been fascinated with flight. Growing up in the 70s the Boeing 747 and Concorde were all the rage. But my first glimpse of the United States military came from the 1980 film The Final Countdown starring Kirk Douglas. That film was a brilliant combination of a narrative science fiction drama with the U.S. Navy and Air Force demonstrating real world capabilities. With this interest you can well imagine my excitement when I learned the Westfield International Air Show was returning to Massachusetts.
From the “static” display of a C-5 Galaxy to the F-16 U.S.A.F. Thunderbirds, the air show programmers really outdid themselves this year. The show was appropriately titled “A Century of Airpower” as it featured such planes as a restored Douglas C-47 and B-25 bomber. In fact there was a whole cadre of planes from World War II.
What was particularly moving for me was watching the C-47 perform the same mission it did 73 years ago when it dropped troops in the invasion of Normandy. Watching this reenactment I can only imagine what it was like during the height of the war itself. It’s almost impossible to comprehend the sheer bravery of everyone involved in that mission.
But mission is what the United States military does better than any nation on this planet. One only has to attend one of these air shows to see the demonstration of these great aircraft and the men and women that make it all possible.
Yes, as an American, there is a great sense of pride seeing this all in action. But to be honest, it’s also about national and world security. Sure that last sentence may sound a bit over the top, but there needs to be a military superpower to insure that such global travesties like World War II never happen again or at minimum are contained. As President George H. W. Bush would ask when our security was threatened, “Where are our aircraft carriers?”
With a reported 50,000+ people attending over a two day period, of course I had to know someone at the show. In the early morning hours on Sunday I ran into Monty Lyons. Monty was featured in both Justice Is Mind and Serpentine: The Short Program. Great seeing you Monty!
If you haven’t attended an air show I encourage you to do so. We see and hear so much about what the military does but don’t generally have the opportunity to see it up close in such a setting. Of course the actual air show itself is something to see, but it’s the static displays where you can really learn and experience something new. From lectures on their technical capabilities to what they do on missions. Yes, some of this research has wound up in my screenplays such as First World and SOS United States.
In summary a special thanks to the 104th Fighter Wing and organizers of the Westfield International Airshow for another spectacular event. But more importantly it’s to the men and women that serve in our armed forces, the veterans and those that have made the ultimate sacrifice, that have protected this nation and our way of live from its inception. Without them there is no United States.
When I was living in New York City in the 1980s there was ship docked a couple of avenues away that I would sometimes notice. In those days it was a dawn walk down 10th avenue in the morning on my way to Sky Rink before I went to work at Time magazine. That ship was the aircraft carrier USS Intrepid.
Last week I traveled to the city to spend the day at The Intrepid Sea, Air & Space Museum. I’m not sure if there is another museum in the world that offers an aircraft carrier from World War II, the Concorde, the Space Shuttle Enterprise and the Galileo shuttle from the famed TV series Star Trek. Needless to say among the array of exhibits there’s plenty to do!
When I was researching and writing both First World and SOS United States there was so much at the museum that touched on these stories. Not only do both involve aircraft carriers, the basis for First World is the 1960s space program and the return of the Concorde in SOS United States as Commonwealth One for the Prime Minister of the UK. It’s one thing researching a subject, it’s entirely another to experience them in real life.
Of course, being a Star Trek fan, I know the museum is getting a Star Trek exhibit in July. What I didn’t know is when I walked into the Space Shuttle pavilion I would see the Galileo shuttle from the TV show! I had just watched a documentary on the group of fans that saved this storied piece of TV history from a piece of discarded junk to a restored prop of broadcast quality. Yes, it was a total geek out moment seeing this iconic prop.
As for history, I remember seeing the Space Shuttle Enterprise on TV when it did its atmospheric tests in the 70s. Although I saw the Space Shuttle Discovery some years ago at the Steven F. Udvar-Hazy Center, the way the museum has the Enterprise displayed along with its related history and exhibits made the pavilion one of the highlights of my visit.
When I was at the museum I took two guided tours, Pacific War: USS Intrepid in WWII and Concorde a Supersonic Story. For the respective price of $15 and $20, they were wonderfully informative and were essentially private tours. For WWII it was another guest and myself. The tour was all the more interesting as the other guest was a veteran of the Korean War. If it wasn’t for those brave men and women that serve in our military, we would be living in an unrecognizable world today.
Having always been a fan of the Concorde, I saved what turned out to be a private tour until the end of the day. If you grew up in the 70s the Concorde was all over the news. Simply put she was so far ahead of her time that just to see the plane was a cool experience. I first saw Concorde in 1985 on my first trip to London as she was taxing at Heathrow. As I understand it from the terrific guide I had, this is one of the few Concordes in the world that you can actually go into. When I was sitting in the passenger seats I was just thinking to myself about the amazing conversations and deals that went down in the cabin during her time in service.
As for time, I met up with my former business partner Lois Elfman for a wonderful dinner at Bistro Citron (highly recommended!). I first met Lois during my days in New York City at the offices of the Ice Theatre of New York (for insiders Moira’s loft). As many know we went on to launch a newsmagazine for the sport of figure skating that we proudly built into the world’s largest with an “intrepid” team.
Speaking of building, I just completed the second act of the political thriller I’m writing around the sport of figure skating “If she skates the way she did at sectionals she’s going to worlds. And the Federation can’t stop it.”
It has become a common practice in the entertainment industry to create “proof of concept” trailers and short films to promote projects past the written word of the script (sometimes there’s not even a script!). With more and more projects looking for attention, a thoughtful concept trailer can most certainly advance a project.
Yesterday morning, Daniel Elek-Diamanta, the composer of Justice Is Mind, sent me just over :30 of music he scored. We’ve been talking about SOS United States for several months and when it comes to composing music, we have always been on the same page. It was like this with Justice Is Mind. In August, 2012 he was sending me samples of music well before one frame of the film was shot. What you hear in the final cut of Justice was largely agreed to well in advance. Suffice to say, it’s a great collaboration and I highly recommend him as a composer.
I’ve been wanting to create some sort of video for SOS United States past our concept poster. The moment I heard Daniel’s sample the idea came to mind. You can view the concept trailer at this link. The general premise of SOS United States is relatively straight forward. An ocean liner in the middle of the Atlantic Ocean may have a nuclear bomb on board. The only military vessel in the vicinity is the HMS Queen Elizabeth aircraft carrier during her sea trials.
As I have some preliminary producer meetings this week, the concept trailer for SOS United States is well timed. But that being said, I’m sure the subject of budget, casting, etc., will come up. On the face of it, it looks like the Massachusetts Film Tax Credit is here to stay – for now anyway. But as these producer meetings are happening “across the pond” the UK offers some of the best incentives along with a vibrant infrastructure.
This past week a very rare article was published around an independent film called Papadopoulos & Sons. What was rare about it was the breakdown of financials. Honestly, that short of working for a distributor, these numbers are seldom known, never mind released. There’s a variety of pros/cons for releasing numbers. Yes, box office results are largely public, but VOD, TV, etc. are usually held very close to the chest. In this filmmakers view it’s because the deals for these platforms not only differ for each film, but there are myriad proprietary contracts involved that can limit public dissemination from a competition point of view.
What this article does fully document are the fees involved in film distribution and the realities of revenue that come back to the financiers. This is why being realistic about a film budget is so important. Yes, you want the film to look and sound great with a stellar cast and crew, but at the end of the day it’s about revenue.
This Thursday I announce that Justice Is Mind will go live on another VOD platform which has over 170 million users around the world. What’s so interesting to me is the constant ever changing world of film distribution. Most of the VOD platforms we are now on didn’t even exist when I wrote the business plan for Justice. Imagine where this business will be in the next five years.
Speaking of business plans, I’m about two-thirds completed with In Mind We Trust. While this plan certainly has many characteristics that are similar to SOS United States in terms of demographics and the Cold War overtures, there are of course numerous differences. It’s highlighting those differences in terms of marketing and public relations that will certainly aide the project as it moves forward.
One area that has sparked quite a bit of discussion has been the past-life reincarnation of Henri Miller in Justice Is Mind. In In Mind We Trust this area of the story is fully realized. How incredible was it that NBC News, and countless other media outlets, reported this past week about one ten year old boy who details a past life he had as a Hollywood actor. The report itself is fascinating and you can watch it at this link. Personally, I do believe in past lives. Like the research and science that’s part of “thought identification” mind-reading, this will be another area that I’ll be watching develop.
As for developments there is an upcoming movie called Women in Gold that stars Helen Mirren in which she plays a character who seeks to reclaim a piece of artwork that was stolen during The Third Reich, a claim that winds up at the Supreme Court. Based on a true story, there are the parallels between that film and Justice Is Mind and In Mind We Trust. In Justice, the painting in question is Raphael’s Portrait of a Young Man that engages a conflict between Henri Miller and his father Joseph Miller. In In Mind We Trust, we learn the backstory of the painting and how it came into the possession of Henri Miller.
Of course some things have changed from a business point of view, locally, here in Massachusetts. Our state’s film tax credit may soon disappear. In my view, the credit obviously, is a good thing. But as I understand the way our state’s tax credit is written, it does need an overhaul. An overhaul is one thing, but a termination is something else. The large studio productions that shoot in the state will just take their business to other states and an entire industry will simply atrophy. Many businesses have made significant investments that will have to be written off in terms of infrastructure and jobs. Simply, there has to be another alternative.
While we didn’t qualify for the state tax credit on Justice Is Mind, we would on In Mind We Trust, SOS United States and First World. If, by example, In Mind We Trust is produced for say around $100K plus on the low budget end, it won’t matter really if there’s a credit or not. But bring in a multi-million dollar budget with named talent and suddenly, and rightly so, you are looking elsewhere as it comes down to the overall project. Think about it. A film, even with a budget of $500,000, can earn a credit of 25%+. That’s not money you leave on the table, you simply take the table to another state or country that maximizes your capital.
Picking up where I left off last week, having been given a trial subscription to Variety Insight and Vscore, I highly recommend it. It’s a wonderfully comprehensive service and does, as the name suggests, offer a wealth of insight. Like IMDB, Vscore rates popularity of actors across a “variety” of sources. From TV, film, awards and social media, an actor’s entire career is given a score.
This weekend I started to write the business plan for In Mind We Trust. While I’m modeling it after my plan for SOS United States, I did take a review of my original business plan for Justice Is Mind that I wrote in 2011. Needless to say some updates are in order.
When I wrote the plan for Justice Is Mind, it called for no theatrical release and signing with one distributor for VOD. So what changed? Theatres are embracing independent film (thus our theatrical release) and that distributor I was going to sign with changed its revenue model so now the payout to filmmakers is literal pennies based on minutes viewed. Terrible for the filmmaker but gangbusters for the distributor. Needless to say, they aren’t distributing Justice Is Mind.
Putting aside the story itself for a moment, In Mind We Trust is a unique film from the point of view of the characters. In addition to bringing back the majority of the stars, co-stars and some featured characters from Justice Is Mind, new starring, co-starring and featured roles now exist in In Mind We Trust. The goal is to attract some “named” talent to these parts for marketability.
While the industry has changed from a distribution point of view, and while you can get distribution with talented although largely “unknown” actors, the fact does remain that named talent does bring sales and marketing cache to a project. In addition, it also opens up additional distribution opportunities. However, as we have all seen, there is simply no guarantee of success one way or another. That being said, it’s about complimenting these roles with actors that would bring some gravitas to the characters without taking away from the overall story. In other words, not just putting in “so and so” to say we have “so and so”.
From the Chief Justice of the Supreme Court, Senator Caraway, General Blair and Hilma Miller, there are some great opportunities for named talent to be part of In Mind We Trust working alongside some of the actors that brought Justice Is Mind to life. Indeed, I can just imagine the marketing and public relations possibilities of such a pairing!
The goal, of course, is to put together a plan that’s not only attractive to financiers but making sure it reaches the right parties. This is the process that can take some time. Indeed, it took over a year to find the investors that saw my vision for Justice Is Mind. The great thing about In Mind We Trust is that Justice Is Mind has done well in the marketplace. It proves that there’s an interest in the original story that I’m looking to expand upon with the sequel.