There were many times when I was in the process of making Justice Is Mind I remarked that my experience running a company helped create my first feature film. Producing a film is nothing more than project management and being able to compartmentalize numerous areas of a production. From personnel to the creative, it’s keeping everything in order, on schedule and on (or under) budget.
I can’t tell you how many times I come across filmmakers that are all excited to direct only to see a project fall off the radar in post-production or worse not promoted. When I think about it being a magazine publisher is just like being a filmmaker. Pre-production is the creation of the editorial, production is organizing the editorial around advertising with post-production creating the final product, distribution and promotion. Sounds like a familiar process doesn’t it?
When I was operating my publishing company we were financed on cash flow only after a brief round of investment capital in the first few years. I had to figure out ways to do things that saved money while producing a premium result. I’ve brought this experience to my film work. Back in the day publishing companies would over staff for even the most mundane type of work. No wonder when the financial bottom started to fall out in that industry their top heavy structure caused them to collapse. The same holds true for filmmaking.
Certainly for productions of a substantial budget (like a Star Wars), you need a sizable crew for obvious reasons. But honestly I was on a recent production and was astonished at the ridiculous number of crew they had to film a simple bar scene. First, it was clear that there was no rehearsal. Second, the production of the scene fell on its own weight when the moving of a camera position was a herculean time consuming task. This was not a science fiction production or one that was going to require any special effects in post. This was just a bar scene. I sometimes will go incognito to see how other productions execute. Sometimes I learn things that I take with me, but in the case of this production you learn what not to do (unless you don’t care about a budget).
I think the understanding of small crews came from my experience on set during those early days of publishing when I was frequently interviewed. Sometimes they would come to my office, but I usually would go to a location. Generally, there was just a camera operator, producer/director (who conducted the interview), sound operator and sometimes a gaffer (lighting). On occasion a makeup artist would be present. If there’s anything I learned about being on TV was the importance of makeup. Believe me the horror of seeing yourself on TV without makeup is something you’ll never forget! And with today’s high definition it’s just that, a makeup-less face will overly define everything.
On Friday I picked up the first three VHS tapes I had converted to digital. I have to say I think they came out pretty good. Of course things like this bring back all kinds of memories. It was a different time back then when social media didn’t exist (that wasn’t a bad thing). But when I look back we were always pushing the envelope. Creating targeted direct response commercials that ran during figure skating broadcasts, producing one of a kind themed cruise events and distributing our enthusiast magazines internationally.
If all this sounds familiar with how I produce and market my films, this is where it came from. But one does not execute alone. In all cases it’s about working with a dedicated team that sees your vision.
This past week Justice Is Mind went live on Amazon in Germany, Austria, the United Kingdom and Japan. Since the film was released in 2013, it has been my plan to get the film distributed in as many territories as possible. Considering part of the story takes place in Germany, and as our composer and sound mixer reside in the United Kingdom, it’s great to be able to bring the film to those markets. Also, it’s part of the long term plan to generate as much interest in the Justice Is Mind story as possible as the pitch process continues to further develop the project as a TV series. But, like all things in this industry, it’s about having more than one project in development as things take time.
When I was taking to a fellow filmmaker in England this past week, the one thing we talked about was distribution. As I’ve mentioned in my previous posts, as a former magazine publisher I directed the distribution and marketing of my magazines. The process has a variety of similarities. You deliver your finished product to a central source and it’s delivered to the outlets. But as I learned all those years ago, for every middleman there is a percentage given back. Sometimes a middleman is necessary, sometimes not so much.
To quote from Amazon Video Direct’s website “Helping content creators and visual storytellers reach millions of Amazon customers across hundreds of devices with the same distribution options and delivery quality available to major motion picture and television studios.” Why, unless a distributor was acquiring your film for a fee, would you just give Amazon your film to upload? With the tens of millions of customers that Amazon commands, I certainly understand why some distributors require Amazon to be part of their VOD platform mix. But with “platforms like Distribbr, Quivver, and Bitmax – what’s the benefit of going with a more ‘traditional’ distributor over those?”
Honestly, by the time I release my next film, self-distribution may just be the way to go. Unless a distributor brings me a fee and a marketing plan, why would I bother signing away the rights to my film when I can just deal directly with the VOD platforms? I have heard too many horror stories from filmmakers that were all excited a distributor was interested in their project only to receive a fraction of return even though their project was available on countless platforms. It’s sad and frustrating to hear these stories, because I know how much hard work and years of dedication goes into making a film.
As for new projects, the concept poster for my political thriller around the sport of figure skating is now being designed. With the script registered and URL reserved, the general plan is to formally announce the project in mid-late August. Nothing is more exciting than seeing those first images come to life. And for me that starts with the concept poster.
Of course, like building a house, this is the stage where the architectural plans are developed. In my view, a script is an evolving document based on a variety of factors until you lock it down just prior to pre-production when you lay the foundation for what you will ultimately see on the screen.