With First Signal’s table read set for June 16 at The Verve Crowne Plaza in Natick, MA, the priorities are now turning towards locations. Of course there are numerous other details to attend to, but locations are the top of my list. Once I have the locations secured, I build out the rest of the production from there.
The one thing I have learned over the years is you never know what type of locations are available until you start talking to people. This past week I introduced First Signal to someone who operates a website that chronicles former Cold War bunkers and installations in New England. Then there was the pitch to certain government agencies in Massachusetts. In both instances, the parties got back to me the same day to discuss the possibilities. I look forward to some interesting tours in the next couple of weeks!
When I start the search for locations, it’s not just about filming, but establishing a marketing partnership. As I’ve learned over the years, a location is either eager to work with you or doesn’t want anything to do with a film. That works just fine for me. The last thing you want is to film in a location that isn’t supportive.
But as a filmmaker I also have the responsibility to be forthcoming on what a location can expect when filming commences. There will be the actors, crew and equipment. To those not familiar with the process it will appear to be chaotic and disorganized. There will be no glamour. There is no red carpet. Even when “action” is called, it’s only for a limited time before you hear “cut”. Then the process is repeated for another angle, then repeated for another…and another. With everything I’ve produced I always have someone come up to me and say, “I had no idea so much was involved.”
One thing that can be assured is that First Signal will have an epic score. Last week Daniel Elek-Diamanta, who scored both Justice Is Mind and Serpentine: The Short Program, agreed to score First Signal! His work on my last two films was beyond brilliant. You can learn more about Daniel and listen to his work on his official website at this link.
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.