Marketing planet Earth one project at a time.

Posts tagged “filmmaking

Performance Capital

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Vernon Aldershoff and Michael Coppola in Serpentine: The Short Program. Vern has been in three of my four films, while Michael was in my first.

In this industry it’s all about building a brand. It’s when to say yes to a project and when to say no. And while we all like to get paid for our services, there are some things that transcend remuneration and that’s awareness. When I’m approached about a project my first consideration isn’t money it’s about building my brand.  I always ask myself if this project is going to help build towards something bigger down the road.

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Kim Gordon and Paul Lussier in Justice is Mind.

Yes, there are plenty of “exposure only” opportunities. There are many times I’ve said yes to these types of projects because I knew it was going to be another building block on my brand. I knew by doing it, I was either going to get some great exposure, tape for my reel or some other solid representation of my work that I would be proud to promote. But of course not all these projects are the same. Like those with a narcissist director who is only interested in promoting their own agenda while ignoring those that helped along the way (they’re called actors and crew).

When I set out to produce a project I’ll be the first to say that sometimes they don’t pay much, but what the actors and crew get in return is sizable promotion in addition to a copy.  From traditional to social media, if someone is going to throw their hat in my ring, it’s important that I bring them as much promotion as possible. Everyone knows the deal from the start and you are either on the same page or you aren’t.

As some have noticed, I tend to work with the same people. We see this all the time in the industry. A producer or director that has their reliable stable of actors and crew they can count on. Of course, we always expand our network with each project. There were some outstanding actors I worked with last month at the Naval Justice School that I hope to work with in another project.

I believe this is why when some projects are announced (particularly independent films) most of the key parts are already taken. It’s not because a director isn’t interested in new talent, it’s because limited resources means they need to be able to count on tried and true talent on both sides of the camera. This is where building a reputation is just as important as awareness. Some years ago it was a culmination of awareness and reputation of national TV appearances that eventually led to a starring role on a network TV show.

If you’re going to choose one of the hardest industries to break into, I think it’s important to build your brand to be known for something.  Because once you are known for one thing, you can build it into another.

Career.

Naval Justice School - March 2017

 


Dinner and a Show

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At “Mr. Burns” at The Wilbury Theatre in Providence.

As the venerable Hannibal Lecter said, “Shall we say dinner and a show?”

Before we finished working at the Naval Justice School (NJS) several of us agreed to get together to see a play one of our fellow actors was in. Phoenyx Williams was certainly pulling double duty. Playing an NCIS Agent along with me during the day he would then travel back to Providence for nightly performances in the “Post-Electric Play” Mr. Burns (by Anne Washburn). Williams played the “electric” Mr. Burns.

But before the play, we met up for dinner at the excellent Federal Taphouse & Kitchen. Although it was exactly a week since we last saw each other at NJS, it was great catching up with new friends and sharing some interesting stories. I’ll just say this, lots of laughs! Of course the director in me is always mindful of the clock and we were soon on our way to the Wilbury Theatre for a 7:30 show.

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Phoenyx Williams in “Mr. Burns, A Post-Electric Play” at The Wilbury Theatre Group; photo by Maggie Hall.

Although most of us had been briefed on the synopsis, we honestly didn’t know what to expect. The premise from their website states, “After the collapse of civilization, a group of survivors share a campfire and begin to piece together the plot of “The Simpsons” episode “Cape Feare” entirely from memory.” It started at the campfire and then went on to two additional acts with two intermissions. I have to confess, I’ve never watched The Simpsons.

As a writer, producer and director I’ve certainly created experimental work. But with experimental work comes risk. While the story wasn’t for me (as one of the actors in the play said to me this play is either for you or isn’t), the acting, writing and production itself was excellent. Although I didn’t care for the story, the execution was brilliant and the actors are wonderfully talented.  The “fun” highlight was when the actors moved the audience (we were on risers with wheels!). In conclusion, the third act was owned by Williams. He nailed it.

Whether it’s stage or film, this entire industry is an experiment of some sort or another. I applaud anyone that creates an original work and doesn’t try to duplicate someone else’s efforts. I hear time and time again from filmmakers and actors who try so hard to be like this filmmaker or this actor. How about creating your own brand? You can be sure that I want to see what Anne Washburn comes up with next and I’ll be following these actors!

As for next, this past week was also about reorganizing my projects. With Serpentine: The Short Program released, my focus goes back to promoting that project along with In Mind We Trust (the sequel to Justice Is Mind), First World and SOS United States. I say now what I’ve said before, projects do not come to fruition overnight.  It takes abject dedication to bring a work to life. Whether that be a play, movie or performing career.

But with every new experience comes a new idea.

Concept.

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