It was early in 1994 when the call came in. The Montel Williams Show wanted me as a guest to discuss the “Tonya/Nancy” fallout. Naturally, I was beyond thrilled, excited and, yes, nervous. But I had just launched a figure skating magazine and was eager for all the promotion I could get.
I remember like it was yesterday the days leading up to my first TV appearance. The call with the producer going over details of the planned show. Their booking of my flight to New York and my hotel. In the end I drove to the city the day before as a snowstorm threatened to cancel flights from Worcester. I couldn’t believe I was in New York as a guest on one of the most popular syndicated talk shows of the time. The taping went great and the rest as they say was history – over 15 years of TV appearances around the sport of figure skating (the total count is around 300). Because they wanted me on that show and because I said yes, it launched my career and created a brand in the process. Someone reading this is now asking how much I was paid in cash. The answer is simple – zero. It was exposure.
Throughout my career the one thing I have endeavored to keep is an open mind. When an opportunity presents itself the first thing I look at is the exposure. Is it going to look good on my resume? Might it lead to something else? Will the footage be worthwhile? Perhaps the most important – will I have a good time. Sure, the compensation package is a consideration. But currency shouldn’t just be measured in dollars and cents. Each “gig” is cumulative. By simple example, many high profile “non-cash” TV appearances led to a $2,500 an episode paid gig as a Judge on FOX’s Skating with Celebrities.
Unfortunately, what I’m seeing in this industry lately are closed minds unwilling to see the big picture. An actor, who I booked on a paid gig last year, recently took to social media to call out a listing they saw about how actors apparently weren’t being compensated. Instead of ignoring the posting they thought it was a good idea to take their “vent” to social media to get like-minded people to agree with them. I have seen other similar postings or have heard of those brought to my attention. These actors believe they’re doing the industry a service when in fact they just expose themselves as nonprofessionals. What’s curious about some is that they are represented by reputable agents. Do these agents know what their clients are doing on social media? Sadly, they don’t think about the possible fallout from defamation or that they have now branded themselves as troublemakers. Believe me when I tell you, producers, casting agents, directors and employers look at your social media before hiring you for a gig or a job. I now understand why some of these folks have painfully thin resumes.
To quote Paul McGill in my favorite book A Woman of Substance, “We are each the authors of our own lives, Emma. We live in what we have created. There is no way to shift the blame and no one else to accept the accolades.” Whether I’m creating a project or considering the opportunity to work on one, I always look at career “currency” and how it will increase my brand. This is all about leveraging one project after another. The one thing everyone wants in this industry is to be noticed. I think it’s best to be known for ones accomplishments rather than complaints.
I’m now thinking to myself, what if I said no back in 1994? Would my career have launched? Who knows. But one thing I do know is this is an industry of endless opportunities. It also doesn’t hurt to have a little bit of luck and being in the right place at the right time.
In the entertainment industry it is the “one sheet” that advertises and promotes a film. In an instant the release of a one sheet sets the tone for a film that could be weeks, months or years from release. It is a form of media that should be carefully thought out. While it’s impossible to convey the entire story in a film poster, it should at least project a certain atmosphere.
When I was in post-production with Justice Is Mind my goal was to conceive of a poster that would represent the general story. With an MRI image in the background we see two sides of Henri Miller. One looking forward in the present world and the other looking backwards into World War II. I had the general concept in mind when we were shooting so I had Vernon Aldershoff, the actor that plays Henri Miller, photographed accordingly.
With Serpentine, the story revolves around a figure skater caught up in a Cold War mystery. With a sheet of ice as the backdrop, a skater is centrally framed in Red Square to convey the premise of the story. For SOS United States, the image of two F35’s flying in proximity to a cruise ship, dramatizes the accompanying tag line that says it all.
There are times when the production of a one sheet has to be as accurate as possible. First Signal was one of them. While the science fiction aspect gives one a certain amount of creative freedom, some things need to be right. The Moon to Earth vantage point was modeled after the famed “Earthrise” picture taken from Apollo 8. But it was the star field that needed to be accurate. Thankfully, Celestia, a 3D astronomy modeling program, was available (Special thanks to Daniel Elek-Diamanta for creating the poster and finding Celestia!).
Right after I registered for AFM, I was wondering what I could create to represent my various projects. While they each had their own branding and collateral (depending where they were in the production pipeline), I realized that I didn’t. Those that know me and my projects know what I create, but there is a whole industry universe out there that doesn’t.
I am therefore pleased to present the one sheet for The Ashton Times. Designed by my longtime colleague and friend Adam Starr, it is designed to promote and illustrate the type of works I create. For the last couple of weeks it has been included in my industry communications and promoted on MyAFM and Cinando. As we are an industry of image, I think it’s important to create what we can to present our projects in the best possible light.
It seems fitting that I’m preparing to leave for AFM during the anniversary week when Justice Is Mind had its international premiere on Cunard’s Queen Elizabeth in 2014. That screening proved to me that you don’t have to be a major or mini studio or have A or B list actors in your film to have a marketable project. Indeed, you only need one thing…
…a good story.