A few months ago I thought seriously about attending the American Film Market (AFM). Aside from the fact that I’m due for a visit to Los Angeles to catch up with friends and colleagues, there’s no question that networking opportunities at AFM are important to anyone in the industry.
Before I spend some thousands of dollars to attend (or on anything), one does have to be practical about it. Will there be a return? In my view, “Hollywood” is a year round industry and “pitching” isn’t married to a film market. But markets are something I’ve been tracking for several years and when The Hollywood Reporter starts its day 3 daily with the headline, “AFM Dealmakers in Revolt! ‘There’s Nothing for Us’”, I’m glad I didn’t make the trek.
I predicted that when Hulu came online that VOD would be the future for independent film. Now in 2017, Amazon and Netflix are the saviors of independent film. Television, whether terrestrial, cable or VOD, has taken so many A and B+ actors out of the independent film world to the more lucrative TV industry. So what’s left? Well, to quote from The Hollywood Reporter’s day 3 daily, “A lack of big-name, must-have projects is leading to plenty of grumbling at the market, with some buyers wondering if this year marks the ‘death knell’ for the indies. Says one frustrated insider: ‘It’s B-, C- and D-quality stuff’”.
If you read the dailies from the film markets you know the hundreds, if not thousands, of films that are looking for some sort of home. Something to recoup the investment that has been put up for someone’s dream. This is an industry of dreams envisioned and dreams realized. It’s important, for obvious reasons, that we keep the dream alive.
In my view the dream will be kept alive with a good story. Plain. Simple. To the point. Star driven independent films only do one thing, drive up the cost of the film with no guarantee of return at the box office. That’s fact, not fiction.
When I wrote Justice Is Mind my goal from day one was to produce it myself (with investors of course). Sure, I presented it to some production companies, but the feedback was unreal. There is this assumption that after you do all the hard work you somehow need their help. Here is a recent email I received from a production company, “I didn’t had the chance to look in details at the project as they seem to be in too early stage for us. Don’t hesitate to keep us posted when you will have a budget, cast, financial plan.” Putting aside the horrid grammar, the question begs to be asked, “And I need you why after I’ve done all this work?” The answer is simple, I don’t need you.
Producing a film is not rocket science. You just need a good script and capital. Done. Yes, it is that simple. The “rocket science” comes up if you’ve never produced because there are countless details you need to know, particularly when it comes to post-production (sound engineering anyone?). It also can get involved if you decide to use a named actor and have to deal with the myriad issues around that. Seriously, at the end of the day a filmmaker just wants to see their dream come to life. Having produced four films (3 shorts and 1 feature) and seeing them come to life on the silver screen is a feeling like none other.
Tomorrow I start to write this new feature with the same production aim as Justice Is Mind. The title of this new feature may have the word First in it, but thankfully it will be the fifth.
Tomorrow is a motion hearing in court. Not a real court. But the mock trial program I’m in at the Naval Justice School (NJS). While I can’t go into specifics for a variety of reasons, it involves my character as an NCIS Special Agent to be informed on matters pertaining to “my training” and certain actions I took. Sorry I can’t say more.
As an actor it gives me the opportunity to create a character. As this is a role playing part, as long as I know my background, there is a certain amount of leeway I can bring to the performance. The goal is to create a realistic environment for the students in the program. Because when this program is over, these students go out into the real world.
Creating worlds is what the fall is all about with the film markets. Toronto just finished with AFM coming up in early November. Some of the discussions that I’ve seen on filmmaking sites talk about the importance of having a teaser to represent a project. I couldn’t agree more. It honestly doesn’t take too much effort to create a sample of what a project could look like. Although I love reading a good script, being able to see some sort of visual does help bring it to life.
As for bringing a project to life, I firmly believe not going broke in the process. Yes, we all want to see our written word come to life, but it seriously isn’t worth emptying a bank account or maxing out credit cards. About a month ago I learned that an indie film that was in post-production hell finally climbed out of it when a producer mortgaged their house to finish it. Seriously.
But whether it’s a teaser, short or feature film, you want to work with actors and crew that do their part. Let me be clear, professionalism has nothing to do with union status and everything to do on how you comport yourself during a project. Are you prepared? Do you know your character? Do you show up on time? Are you contributing to the project or taking away from it?
There are people I’ve worked with on both sides of the “camera” over the last ten years that I wouldn’t hesitate to work with again. If you look at my projects you see many similar names. But sadly, there are those that I just won’t engage with on a future project. Nothing is harder on a production than an actor not being prepared or a crew member not doing their job. Simply, there are too many people looking for an opportunity and to prove themselves in the process.
The one thing that I enjoy about this industry is discovering new talent. And that truly is what this industry is all about—talent. Because there’s a “talent” in bringing a project to life.