I programmed SpaceX’s launch date into my calendar. The upcoming launch of the Falcon Heavy was an event I wasn’t going to miss! But as can often happen with a launch, the time (and even date) can change at a moment’s notice. When the launch time did change, I went to the gym. As the time ticked down, most of the news oriented stations started to report on what was either going to be an historic success or a catastrophic failure.
I soon found myself paying attention to who was watching and who wasn’t. Yes, there were a good number of people watching (particularly in my age group). But then there were those that just didn’t seem to care. Judge Judy and Dr. Phil are fine enough shows, but you only get one chance at seeing history in the making and remembering where you were at the time. While I remember seeing the later Apollo missions on TV, at four years old I was a bit too young to remember Apollo 11. To this day I still remember those grainy black and white images. But today’s broadcast was being carried in vivid HD.
Watching the Falcon Heavy liftoff from the same pad as Apollo 11 was epic. It reminded me of what’s possible when we join together to create greatness. It’s this type of science, cooperation, ingenuity and forward thinking that makes this country great not myopic politicians. Although the political winds of the Cold War set the space program on the course it achieved in the 1950s and 60s, it’s private enterprise that will take us on the next step of this final frontier.
There’s no question that my following of the space program led to my interest in science fiction. While the 60s had Star Trek (again, a bit before my time), my introduction to science fiction was in the 70s with such programs as UFO and Space: 1999. Each of those programs had a base on the Moon along with a fleet of ships.
Launching oneself into the world of screenwriting also carries its own set of risks (but not nearly as much as an actual rocket launch!), the primary one being the risk of getting a story wrong. Writing an original story is not an easy process. It takes time and research. When I set out to write a story, I usually do some baseline research so when I start to write I don’t need to stop until I reach that next point of needed additional research. When I wrote Justice Is Mind the first phase of research was around thought identification with the second phase being the legal process around a court proceeding. For First Signal, the majority of the research revolved around satellite communications and the Deep Space Network.
As the submission process continues for First Signal, I’ll also be having a meeting this week with a filmmaker. I recently saw some of his work and he had that number one thing that’s so important when working with a crew – inspiration. From my own projects to others, I’ve been on a variety of sets over the last year. And while inspiration is expected from actors, it’s just as important with members of a crew. You can easily see who’s on point and who needs a sharpening.
Let’s make one thing clear, no matter the state of the markets there will always be films because filmmakers are a determined bunch. As independent filmmakers, we abhor gatekeepers, don’t follow the rules and can generally spot a bullshit artist before they even get onto our radar screen (as a former magazine publisher I’m really good at the latter). Yet, although the industry is changing at lightning speed, there is a still a rigidity to change at the expense of the consumer and filmmaker.
The reports coming out of the American Film Market were beyond telling, “It’s the lightest market in memory” “We can’t keep making films for the same size of budget. It can’t be the distributors taking all the risk. The talent has to learn to bring down their fees and bring down the budget. Take a share of the backend and share the risk” “It’s the worst I’ve ever seen it.”
None of this should be a surprise as the market indicators have been there for years. While some brilliant independent films like The King’s Speech, The Imitation Game, Dallas Buyers Club and Woman in Gold have done excellent, this recent story in Variety titled, “Why Are Oscar Contenders Flopping at the Box Office?” reflects a new reality. Simply put, talent needs to take backend risks and budgets need to come down considerably or producers will not finance. The red carpet should represent accomplishment not red ink.
I have always believed that it’s story first. Without a solid story, talent can’t breathe life into it. It’s story that gives you the hook with the media. I proved this for years as a magazine publisher and with Justice Is Mind. Sure there are the literal handful of actors that will garner media attention and move audiences to theaters. And sometimes, like we saw in the aforementioned films (along with recent Bridge of Spies), all the ingredients were there – story, talent and crew. But when you read that there were only 10 “bankable” films out of 2,000 at AFM, you can’t help but feel for those producers and filmmakers that are sitting on completed projects waiting to find a home.
As I’ve stated before I will state again, I firmly believe that a theatrical release is critical. First, the media is more apt to report on a film that’s in a theater. Second, it builds audience awareness. Third, it generates real revenue. Sorry, while I love the art of filmmaking, I’m a capitalist.
My original business plan for Justice Is Mind didn’t even call for a theatrical release. I soon realized not only the value of a theatrical release, but that theaters and audiences want to see something different. With Justice Is Mind they saw an engaging story brought to life by talented actors, filmmakers and crew. It wasn’t some theory that we brought audiences into a theatre with a public relations hook and grassroots marketing, it was a fact. It’s time to do it again.
While I have been presenting my slate of films to potential producers and financiers, my findings have been trending towards one particular project—SOS United States. From real world events around surveillance, cyber-attacks and shadow governments, to various TV series and films that center around political thrillers, this project is resonating the most.
Having completed updates to the script last week, I’ve already started to source locations and marketing partners along with a media plan. While there has been some general interest on the equity side, it may take the same course I took with Justice Is Mind to go from script to screen – crowdfunding.