Last week I had the opportunity to submit In Mind We Trust as a pilot for a TV or Web series. As some of you know, In Mind We Trust is the sequel to Justice Is Mind. When I wrote the sequel a couple of years ago, I think the idea for a series was always in the back of my mind.
The question I had before I submitted was that the pilot might not make sense unless someone watches Justice Is Mind. The response back was pretty straight forward. “…to have a lot of unanswered questions at the end of a pilot script — it opens up the world any mysteries for the series.” Well if there’s questions they want, they’ll get it with this story!
It’s stories this industry wants and needs. Sure we read how the major studios are just focused on tentpoles (I loved Wonder Woman by the way), but the terrestrial networks and OTT services just continue to expand and need programming to fill their schedules. With Apple, Facebook, Vice and others actively moving to original series orders, the quest for stories continues.
The one piece of advice I was given when living in Los Angeles was to always have more than one project ready to present. I didn’t fully grasp it at the time, but it makes total sense. Some may love sci-fi but have no interest in political thrillers. Others may not want something sports related, but are looking for a drama. Well, the latter fit the bill with In Mind We Trust.
Personally, if I had my druthers, who wouldn’t want to see their concept set up at a Netflix or Amazon. When I see the production values of The Crown and The Man in the High Castle (two of my favorite shows), it’s just amazing where the industry has gone over the last several years. But like anything in this business, it’s about time and in the case of a series—staffing.
Unlike a movie that can be staffed pretty quickly, a series requires an unprecedented amount of personnel. Just take a look at the end credits of a show or their listings on IMDB. These aren’t just one off projects like a movie, these are, if the show succeeds, long-term commitments. But before any of this is even remotely considered, it comes down to the story itself.
When I think of the number of mind-reading, privacy and intelligence agency articles being published on a regular basis, I certainly think In Mind We Trust has as good a chance as any of getting a review. Thankfully, the concept has already gone through some market testing with Justice Is Mind. From a theatrical release to media coverage and VOD, anyone looking at this project can already see it’s more than just words on a page.
With Marche Du Film (Cannes) coming up, I always find it interesting to learn about the new players while reading about the fate of others. No doubt in the weeks ahead we will read in the trades about the big splash of a new company’s star driven acquisition or the sorry story of others that used to hold court on private yachts. Having been to Cannes many years ago (not for the festival) the location is truly a stunning one to announce a major project.
There is no question that this is an industry of flash. When you have good news to announce you do so publicly, loudly and in grand fashion. The whole point is to cut through the noise to get your project noticed. As I’ve said time and time again, this industry is as much about making motion pictures as it is about promoting them. This is why in so many cases when you see a production budget you multiply it by itself for marketing and public relations.
But then there are the rest of us that aren’t making $175 million motion pictures (at least not yet!). What filmmakers like me rely on is reliable consistent revenue from VOD. While so many players come and go in this industry, we rely on VOD platforms to be there year after year. Although sites like Netflix are in a public relations battle with Cannes, Amazon is playing by the rules and, “was not coming to the South of France “looking to disrupt Cannes,” adding, “You have to approach Cannes on its own terms.”
And while Cannes is one of the world’s greatest launching pads for a film, there are VOD sites like TubiTV that are also making waves. Just this past week the site announced a $20 million outside investment. Justice Is Mind has been on TubiTV for several months and has started to gain some solid traction. I’ve also noticed an increase in traffic for Justice on other VOD sites. All these upticks bode well for the industry as a whole. It shows that consumers are watching across a variety of platforms and it doesn’t matter if they are star driven $100 million plus budgets or films made for under $100K. At the end of the day audiences want to be entertained and they want the choice to be theirs.
But as the industry enters a new season it’s a review of my current projects First World, SOS United States, Serpentine and In Mind We Trust, the sequel to Justice Is Mind. Are my websites updated? Do they convey the current status of each project? You know what they say about first impressions, you only get one to make one.
There is, however, a cardinal rule that I live by. I never disclose who I’m talking to and who I submitted to. This is why I declined to respond to a local entertainment publication that reached out to me on one of my projects. This is like when actors announce who they just auditioned for (or what festivals a filmmaker submitted to). I promise you that doesn’t help you get the part any quicker. In fact, it can have an opposite result. The same holds true for behind the scenes conversations. Sure, the trades like to know what’s going on, but confidentiality is paramount.
However, I will say this. The world’s largest oversees mobile player picked up Justice Is Mind from our distributor earlier this year. But until it’s live, I’ll hold on the formal announcement.
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.
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.
On August 18, 2016 Justice Is Mind will celebrate its third anniversary. The same week that will see the website completed for the figure skating political thriller I’ll be announcing soon. Some ask where does the time go, for me it’s about taking the time to develop projects that I’m passionate about.
When I was writing Justice Is Mind back in 2010 writing a political thriller around the sport of figure skating was the furthest from my mind. The same could be said about Justice Is Mind when I was writing First World in 2006. As a screenwriter, it’s the idea that first calls to me and then if it sticks around a while I start to write those first few pages of a screenplay. I’m not one that writes a story using index cards, beet sheets or other devices, rather I let the story unfold as I build characters and the world they live in.
When I look at my dashboard on Amazon Video Direct and see how my films are doing across all their territories, yes, it’s a pretty cool feeling. Just like when you see your film screen in a theater. There is that sense of accomplishment that all involved in the project can share. Because, making a film is a project that does involve a village.
It is precisely because it takes a village that developing a new project takes a considerable amount of planning. Part of that planning is visiting possible locations, meeting with potential talent and laying the foundation before I seek to bring on a crew. This past week I had a great meeting at Northstar Ice Sports and from that meeting went to a local competition at the Cape (one that I competed in myself many years ago!).
I forget how small a world the sport is. No sooner do I arrive and I see one of the judges who I used to talk to regularly when I was actively involved in the sport. We still to this day reminisce about our time together at an International Skating Union Congress in Davos, Switzerland back in the 90s. I was one of the few members of the media to attend and she was moving up the ranks in the judging system. It was also nice running into a couple of coaches I haven’t seen in a while. All in all it was a great time.
This morning I was reading C. Hope Clark’s latest email newsletter and there was a particular passage that really stood out, “We should strive to be in awe of our work, and awe-struck by others. Instead of production, maybe we ought to focus on our power to seek and create awe. After all, wouldn’t you rather be remembered for the one, lone book than the fact you published a lot of forgettable stories? Or maybe you can find a place in the middle, but to do so, you need to slow down and think about the quality you produce.” I couldn’t agree more with her statement as it greatly applies to filmmakers.
If you’ve ever sat through the end credits of film you see the number of people that were involved that made the film come to life. Unlike a stage production that can be tweaked along the way once you wrap a film, it’s up to creative editing, or god forbid expense reshoots if you didn’t get what you wanted in the first place. I can thankfully say we didn’t need to do any reshoots on Justice Is Mind.
While there won’t be a special theatrical screening of Justice Is Mind this week, there will be online promotion to further introduce the film to a worldwide audience and build momentum for the sequel In Mind We Trust.
Indeed, while past projects continue to be promoted and marketed a new one is about to be announced.
Being a filmmaker, I’m an avid reader of the industry trades. From The Hollywood Reporter, Variety and IndieWire to several email newsletters (SSN Insider is my favorite). In general, I look to get a feel for the industry and where it may be going. As I’ve written about in earlier posts, navigating this industry is like being on the bridge of a ship and deciding what port to sail into. The choices are numerous and in some cases smartly promoted. One of these choices was a film festival.
I attended my first film festival back in 2007 when First World was nominated for best screenplay out of over 80 submissions at the California Independent Film Festival. Having placed in the top 5 for this contest it was a total thrill to attend, network and then hear the title of my first screenplay announced as a finalist in a theater. I didn’t win the Slate Award but it was honor enough to be nominated. It was at this festival that I realized I had developed a new trade.
In this industry it seems just natural that you start to pick up new trades. You may start as a writer or an actor and before you know it you may be producing and directing your first short film. You start to get into some festivals, perhaps some theatrical exhibition and then score some media. Soon thereafter you realize you want to make your first feature film. Every level of this industry takes time and patience and despite what one might read in the trades, none of this happens overnight.
One thing that never happens overnight is film financing. It doesn’t matter what your station is in the industry. Film financing, in particular, is very nuanced. As for my projects, I’ve fully funded some and have had investors (public and private) in others. In one case I used crowdfunding. Larger projects, if they can attract the right talent, can also achieve pre-sales. But that’s being challenged owing to certain bankable “A” list availability to commit to a project before one scene is even shot. But one area that I’m particularly excited about is equity crowdfunding. There have been numerous articles on the subject, so I would do your own searches. That being said, it offers filmmakers yet again another option–and port?
With First World, In Mind We Trust and SOS United States in various stages of review and development, the one thing I have committed to is producing the first ten pages of the political thriller I’m writing around the sport of figure skating as a promotional vehicle. As some may recall, I made a short film version of Justice Is Mind titled Evidence. The point of that short was to not only develop interest in the project but to bring together an initial cast and crew to insure that various aspects work.
What are the primary challenges with this new project? A figure skater that can do a couple of triple jumps and can act. No matter how it has been done before, using a double for either the extreme close ups of a jump or distance shots just doesn’t work. A skater has a particular way they stand on the ice along with body type. The other part of this short is developing some new techniques to film a skating program that truly captures the grace, style and power that a skater projects. In essence I want the audience to experience the program not just see it.
Perhaps the greatest challenge of course is developing an original story. As I enter the closing of the second act to this political thriller, I remember where I was at the time when writing Justice Is Mind. At this moment I’m literally living with the characters and all the plots and subplots. But rather than taking the easy way out on their resolution, I will let the story sit for a few days and let the story speak back to me.
“I want Spotlight to win” was my Facebook post last Sunday before the Oscars started. While 2016 yielded some excellent films (Trumbo, Bridge of Spies, The Martian and Woman in Gold), there was something about Spotlight that just felt right. Not only was the story itself important, along with the mechanics of quality investigative journalism, but you couldn’t have asked for finer actors either. What was right from the beginning was the screenplay. In addition to winning the Oscar for Best Picture, it also won the first award of the evening for Best Original Screenplay.
As this article in The Hollywood Reporter stated, Spotlight took eight years to produce. But once Participant Media got involved as producer and with Open Road Films distributing, the rest, as they say was history. As Sierra/Affinity CEO Nick Meyer said, “the movie is the star now.” Indeed that star is the screenplay because as Tom Ortenberg said in a recent interview with The Hollywood Reporter, “The theatrical marketplace is a roller coaster. And anybody who wants to play has to be prepared for that fact.”
For all of us trying to make sense of the volatile nature of this industry, particularly when it comes to a theatrical release, it all comes down to the story. When I released Justice Is Mind into theaters, every one of our screenings was heavily marketed with an angle. We had to have an angle, because although we had a great cast and crew, nobody was a household name. The film had to sell itself. Thankfully, the media and audiences responded and the majority of our screenings were near or capacity audiences (there were no rentals).
But like the real “Spotlight” team at The Boston Globe did those years ago, writing a screenplay takes research and dedication. When I recall the research I did for First World when it came to the space program, the criminal justice system and neuroscience for Justice Is Mind and various workings of the executive branch, military operations and intelligence agencies for SOS United States, that work laid the foundation of the story before I wrote one word of dialogue. Of course we all want to see our screenplays come to life on the big screen, but as we saw with Spotlight, some things just take time. Why rush for quantity when you can have quality? In the case of Spotlight, that quality saw two Oscar wins.
Last week I finished the pitch document for Justice Is Mind as a TV series with the pilot In Mind We Trust already written. The process of getting some industry feedback has already begun. Having pitched a TV series around the sport of figure skating back in 2004, I’m familiar with the process. Of course, back around that time there were about 30 or so scripted series, now there are around 400. While times and processes have changed, it’s still all about coming up with the idea for a story.
As for changing times and figure skating, an idea came to me some months ago about a political thriller with figure skating as the backdrop to the storyline. Of course, it’s been some years since I actually attended a figure skating event. The last “Worlds” I attended as credentialed media was 2003 in Washington, D.C. So with The Ashton Times credentialed, I will be attending Worlds in a few weeks.
No the title of this week’s post isn’t a new TV series, but a character I introduced in Justice Is Mind that is greatly expanded upon in the sequel In Mind We Trust. And with EFM (European Film Market) currently underway in Berlin, Germany, it seemed particularly fitting.
Today marks one year since I wrote the first draft of the sequel. Yes, there have been some tweaks since then, but more of a decision on where to take the project. While Justice Is Mind was produced as a feature film, the next logical direction for the project is to present it as a TV series. I must have had that “in mind” when I wrote the sequel as it sets up the established characters from Justice Is Mind with new characters in a world where mind reading technology has permeated our way of life from the judicial system to immigration to employment and national security.
With Justice Is Mind released to positive reviews and In Mind We Trust written, I’ve been working on the story “bible” for the last couple of weeks. I’ve been down the TV series pitch process before with certain studios and production companies when my agent took out a series I conceived called Frozen Assets. It was essentially Dynasty meets figure skating and I worked with a leading writer of that famed TV show to shape the series. Being in pitch meetings is an interesting process and you really need to have your pitch rehearsed. I knew the sport, but this writer knew the industry. The show wasn’t picked up (figure skating was dying in the TV ratings at the time), but the experience was a real learning curve for me. On a side note my agent almost killed me when we pulled up to the Paramount gate and I said from the back seat of her car, “Jonesy! Hey, Jonesy!”
As for the industry, attention is on Berlin, Germany this week. Unlike Sundance which has turned into a showcase for studio productions and, in my view, lost its purpose as a haven for independent filmmaking, EFM is a unique film market to follow. It presents films from concept to completion. I might add that The Hollywood Reporter does a terrific job with their daily reports.
Reading the reports you can clearly see how the industry has changed the last couple of years. Sales agents want completed films and stars don’t guarantee any sort of success. I think Marc Gabizon of Wild Bunch said it perfectly when he stated in this article, “You see, film is a great business. It’s fascinating, but it’s also dangerous. You can’t forget about the risks, even when you’re successful — maybe especially then. There’s always a risk, but you have to make sure that if you have a flop, it doesn’t topple the whole company. Don’t bet the house on one or two titles.” By flop he was referring to Bradley Cooper’s Burnt.
While nothing is more exciting than announcing a new project, it does come down to risk. As a producer my job is to project a path of realistic profitability. As a director I need to deliver a solid and marketable project.
One trend I see coming out of EFM are the interesting political thriller type projects. This has been a consistent trend over the last couple of years and bodes well for SOS United States.
As 2015 comes to a close, it seems fitting to reflect on the past year as we look forward to 2016. The title of my end of year post is not only about the industry but about the movie Spotlight – “The true story of how The Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core.” Having been a magazine publisher and now a filmmaker, Spotlight is an unprecedented film that must be seen. Simply put Spotlight presents the importance of investigative journalism as a filmmaking triumph.
On a personal level, I sadly know more than a few victims of sexual abuse by Roman Catholic priests. On a knowledge level, very few people in Massachusetts didn’t know about this travesty in one form or another. You either heard about it, or knew a victim. But it was the “Spotlight” team at The Boston Globe that brought light to the darkness of so many. Spotlight is more than just another great movie, it represents the power of film and reminds us about the vital role that journalists have in a democracy. They are the voice for the voiceless.
I write passionately about this because when I was a magazine publisher there were more than a few times when I was pressured by the “powers that be” to silence a story by intimidation. I never caved in. I worked for my readers, not for some institution.
2015 has been a great year for film. From Spotlight, Trumbo, The Martian to the return of Star Wars, there was something for everyone. I almost feel sorry for The Academy. They have some really hard choices to make. But what it proves is that independent film, despite industry reports, is alive and well. This year proved, yet again, that original ideas still flourish.
The highlight for me this year was the 2nd anniversary screening of Justice Is Mind this past August. In addition to a reunion of the cast and crew, our 21st screening was another reminder that audiences want to see original works and they don’t care if those involved are household names. They just want to be entertained.
Perhaps the icing on the cake was the volume of media that covered the event from Worcester Magazine to our first international coverage in The Huffington Post. As Pamela Glasner stated in her article, “Justice Is Mind takes on less of a sci-fi feeling and more of a ‘forward-thinking documentary’ feeling.” All these efforts have been part of a long-term marketing plan to continue to introduce the film to new audiences. You can be sure, there are plans in the works for the 3rd anniversary screening.
This past year I continued to polish my political thriller SOS United States and In Mind We Trust, the sequel to Justice Is Mind. When you consider the current political climate around the world and advances in mind-reading technologies, both of these projects continue to be well timed. There are significant efforts around both of these projects that I plan to introduce next year.
If there is one thing I learned in 2015 is that you have to continuously reach out to expand your networks because you’ll never know what’s possible until you try. From direct discussions with private equity groups and hedge funds to presenting new projects to relaunching my personal website and some new clients, this has been a most interesting year.
But as Constance Smith says in Justice Is Mind, “I didn’t promise you an easy case.” Nothing in this industry is easy. It is work done the old fashioned way like an investigative journalist. You research, email, telephone and network. As producer John Davis (The Blacklist) told The Hollywood Reporter about what his father Marvin Davis (who once owned 20th Century Fox) taught him, “Get your ass out of bed. Work your ass off. And when you drill 80 straight dry holes, which he did, make sure you drill the 81st, which he would also do and hit the mother lode.”
Russia. Spain. Taiwan. First, the email came in from a colleague if I could assist a filmmaker in Spain to register his film in the United States. That was followed by a university in Taiwan that wanted to license Justice Is Mind. As the week drew to a close a distributor in Russia approached us about a VOD for Justice in Russia, Ukraine and Kazakhstan.
In the world of filmmaking “chain of title” is critical to establish a variety of documented steps of ownership rights to a film. As a former magazine publisher, I’ve been working with copyright matters for years. Sadly, I’ve seen some projects that don’t take this matter seriously. If you don’t have a properly established chain and necessary releases, it can severely complicate matters when it comes to dealing with a distributor. The chain starts with registering the script. Believe me it’s worth the fee.
The next chain of events this week came when I was contacted by a university in Taiwan that wanted to have Justice Is Mind for their library. Obviously, I was flattered and directed them to the variety of download and streaming options for the film. I even pitched them to screen the film like we did at some domestic universities here in the United States. It will be interesting to follow this development. Perhaps it could serve as a model for international university screenings.
On Thursday we received an offer for Justice Is Mind from a distributor in Russia that wants to distribute our film on a variety of VOD platforms in that part of the world. While I’m still reviewing the agreement, unlike some other recent distributors that approached us, this one appears to be pretty buttoned up. This is when I go back to my magazine experience and a phrase from President Reagan “Trust but verify” when it comes to foreign companies. I don’t say this because of the United States/Russian connection that Reagan was referring to during the Cold War, but from a business point of view with independent verification aka “due diligence.” Because once you sign on the dotted line and transfer the film assets, it’s done.
What has been very interesting for 2015 is how much the film industry has changed on the global stage. Everything from financing to production to distribution has literally taken a 180 degree turn. Some will say for the better, some for the worse. It all depends on your point of view. Film Specific had an interesting take on all of this last week. Their webinar can be found here. But if there is one thing that prevails in all of this it’s marketing. Yes, I’ve written about this before. In my view it’s marketing on all fronts, from presenting new projects to potential investors such as SOS United States and In Mind We Trust, to the continued marketing of established projects such as First World and Justice Is Mind. As I’ve said before, consistency is key for the long term.
Of course while all this was going on, I was patiently awaiting the release of Star Wars: The Force Awakens. I remember sitting in a theater in 1977 and seeing Star Wars come to life. Was it that moment that I wanted to be a filmmaker? I don’t know. All I do know is that with all the issues the world is facing right now it’s great to see a film that brings everyone together in a unifying force to enjoy a medium that the world over appreciates.
In Justice Is Mind the fictional trial was The Commonwealth v. Henri Miller. In reality Justice Is Mind was primarily filmed in The Commonwealth of Massachusetts. This past week, Justice Is Mind’s editor Jared Skolnick, who is also an award winning filmmaker, was featured in an article titled “Hey, Hollywood and Bollywood — how about Valleywood?” The story in The Valley Advocate stated that Jared “makes movies in the Valley because this is where he’s from and where he began building his professional network.” The same holds true for me. Even when I was living in Los Angeles in 2007 and cast the two leads in First World in the “Golden State” of California, I filmed the project in Massachusetts? Why? Because this is where I’m from.
Having lived in both New York City and Los Angeles, I can certainly understand the desire to be at the epicenter of the entertainment industry. Having been on a network TV show, a city like Los Angeles can be very exciting when you are working on the high end of the industry. I know numerous actors (some I’ve trained) and filmmakers who have left Massachusetts for the hope of fame and fortune. I firmly believe if you have the desire and will to move to these cities you should. You will never know until you try. For me, I’m glad I had my experience in both these great cities, positive ones from a career point of view, but my creative energy and the launching of all my projects has originated in Massachusetts. It’s not something I set out to do, it just happened that way. My new personal website, www.markashtonlund.com, chronicles the journey.
Case in point, the making of First World and Justice Is Mind. Both of these projects were enormously ambitious between the number of talent involved and needed locations. I had to work in a region where I knew the people and their general enthusiasm about being part of the film. Why film in a location that will require permitting, location fees and local regulations just to look cool, when you can film somewhere else for free working with enthusiastic location partners in exchange for promoting their business?
For me, as I did with Justice Is Mind, once I give the green light to a project I like to move along at reasonable pace in pre-production. Simply put, time is money whether literally or figuratively. As some may have noticed from postings to this blog, I have generally already scouted most of the locations for SOS United States and to some degree for In Mind We Trust.
But as we have seen from the latest film markets, the greatest challenge filmmakers on all levels have is in securing production financing for their projects and a return on investment. You don’t have to be a fortune teller to recognize that it always comes down to equity and what the investor wants. To say there has been an about face in film financing you just have to revisit articles that the trades wrote around the latest American Film Market and then there was this blog post over at Film Specific. But there is one piece to “The Commonwealth” financing pie that keeps films in the state.
Although Justice Is Mind has been on Amazon Prime for over a year, last night was the first time I saw it on a TV half the size of my car (My Pontiac Solstice even appears in the film). While I’ve seen the film countless times on my computer during the production phase, and at every theatrical screening, seeing it in this context was a new experience. I may be a bit bias of course, but the quality of the picture and sound was probably the best I’ve ever seen it. When I think of the numerous QC (Quality Control) checks we had to go through, seeing it in this format brings another round of applause to the cast and crew and the technology of VOD.
As a filmmaker, I’ve worked with Amazon for years. They are by far, in my experience, the most filmmaker friendly of all the VOD services. In addition to paying on a monthly basis, their algorithm technology ensures that customers that may be interested in your film are made aware of it. Of course, I’ve been marketing First World and Justice Is Mind on a regular basis to drive traffic to our listings on Amazon and other VOD platforms. Simply put the old adage of “if you build it they will come” doesn’t work, it comes down to marketing.
Regarding marketing and distribution, there was an interesting article on IndieWire this week about self-distribution. Having been a magazine publisher, distribution for me is second nature. But I know way too many filmmakers that hate it. Look, I get it. You just wanted to make your film and it took every resource you knew to accomplish that. With First World and Justice Is Mind now released, there’s just a regular program to keep the conversation going in whatever venue, media outlet or platform I can reach. But now, I’m back to the foundation building process with In Mind We Trust, the sequel to Justice Is Mind, and SOS United States. Making a film is like building a house—it all starts with a foundation.
As for the foundations of the industry, there is some serious seismic activity going on. From Variety’s “Why Good Films Are Failing at the Box Office in Awards Season” to the Hollywood Reporter’s “Harvey Weinstein on the Awards Season Crunch: “Everybody Cannibalized Each Other,” one has to wonder what state the industry will be in a year from now from a business point of view. That business starts with economics when someone, or some company, funds these visions. As I’ve stated before, I’ll state again, it does come down to a return on investment. I’ve never understood why the industry cannibalizes itself for an award at the expense of profitability. In all seriousness, I personally don’t care what film wins what award, I’m just interested in the film itself.
Audiences aren’t stupid, they want to see quality films. It doesn’t take a rocket scientist to understand that if someone sees a film in a theater, they will look for it on a platform like Amazon. Of course in “the old days” that conversation was around DVDs. Remember when films would go “straight to DVD”? Now some go straight to VOD. If there is one word that drives this industry and its resiliency it’s innovation. It’s innovation that gives filmmakers and audiences choices on where and how to watch a film.
This past week, just as I finished some updates to SOS United States, the American Film Market began. No sooner does it start than this article in Deadline comes out lamenting the “slim pickings” and quoting a variety of industry executives from, “It’s the lightest market in memory. TV is definitely sucking up talent” to “It’s much tougher now to find those projects that have that clear theatrical profile.”
Attaching talent, even in the best of markets, has always been a challenge. But clear theatrical profile? How is that truly defined? Having secured a limited theatrical run with Justice Is Mind that had talented but unknown actors, I often wonder what metrics these “executives” use when measuring a film for commercial appeal. This has always been an industry where you had to think outside the box, particularly when you are introducing something new to the market.
There’s no question there has been a seismic shift in talent from film to TV, that’s why I have positioned In Mind We Trust, the sequel to Justice Is Mind, as a pilot for a TV series. Sure, it could be a standalone feature, but it just makes sense to have this option when presenting. I remember many years ago when I attended Mipcom listening to execs wishing they could bring some of the theatrical talent over to TV. This is an industry that shifts like the tides. It’s just a matter of product and timing.
Speaking of product, a couple of weeks ago I was approached by a “distributor” for Justice Is Mind for an “exclusive” deal in a major market. Sure I’m always interested in a new deal, but it has to make sense. No sooner did we conclude our initial call and documents arrived with the most ridiculous terms and requirements I have ever seen. Um, no, I will not reedit the opening and end credits of my film to include a laundry list of producers to make it look like you produced the film. Um, no, I will not upload my film for you to review to a mysterious website that can only be accessed by you after the fact. It was laughable. And if you say you have distributed hundreds of films, you best have a listing on IMDb. Just when you think you’ve seen everything you see something new.
As for timing, I never would have thought that after I wrote First World that China’s space program would truly boom the way it did or that the cyber attacks I present in SOS United States would become so front and center. When I first wrote Justice Is Mind that idea was born by one broadcast on 60 Minutes about ‘thought identification’ and my passion for a good legal drama. Could I have ever imagined the advances in mind reading technology and neurolaw? No, of course not.
In my view it’s impossible to time the market from an industry or consumer standpoint. If you have an idea for a new movie or TV series, just write it and then do everything you can to produce it. In the end, it all comes down to what the consumer wants and the way they want to watch it.
“Let them lead us.” SOS United States.
This post might be observed as a continuation of The Cold Call. As I’ve previously discussed, whether you are a studio, production company or independent filmmaker, you need investors to realize your projects. As I stated in my opening remarks at the world premiere of Justice Is Mind, without them you don’t have a project. It doesn’t matter how great it is.
Over the last few weeks, I have discovered a not so pleasant revelation of investors (hedge funds, private equity, etc.) that used to be involved in the industry but aren’t any longer. The reasons stem from lack of returns, revenue transparency or, worse, misrepresentation. These investors that used to invest millions now invest elsewhere, and for good reason.
As filmmakers we are creators, visionaries that can illuminate a project without showing one frame on the screen. It’s what we do. It’s not only the investor we have to sell; but the actors, crew, location, marketing partners, distributors, etc. But there is also a business side that needs to be observed to make these dreams happen in the first place.
The one thing I have learned with investors over the years from publishing to filmmaking is what I call an alignment of common interests. Yes, you want funding, but you also want some sort of engagement. When I was publishing magazines, my investors had a vested interest in the industry we covered. In filmmaking it can be anything from the subject of the film, the mechanics of the process or simply a pure investment play to generate a return. But in my view, it just comes down to being honest and, to be blunt, not a bullshit artist.
Yes, I will tell you point blank that I can make $1,000 look like $50,000 on screen and back it up with the talent involved and technology shop talk. But I will not tell you that we will get selected for Sundance and all rights deal that includes a wide theatrical release. But what I will state is how I accomplished a theatrical run and VOD distribution for Justice Is Mind. I’ll then mention the various companies I would use to facilitate this process for the next project. In other words, transparency.
As I filmmaker I couldn’t have asked for better investors in Justice Is Mind. First, as they are in business for themselves, they were realists and enjoyed both the excitement and challenges that come with any new business. And a film, even a low budget indie, is a business.
The one area they found particularly interesting was distribution. Rightly so, they wanted to know how Justice Is Mind was going to market. While the business plan spelled out our primary method at the time, during the production of Justice Is Mind a company I was going to work with changed their business model that didn’t align with ours. This is when it comes down to adaptability and looking for new avenues. Those avenues led us to a limited theatrical run, an international premiere on the Queen Elizabeth ocean liner, solid media coverage and VOD distribution. Yes, we all want more, but the one thing this industry takes is time—time to build relationships, new projects and getting them to market.
Anyone that knows me knows that I love science fiction movies. It’s hard to say what are my favorites, but last night I did add one to that list – The Martian. There are so many films that have revolved around Mars, but The Martian really did it right–from a captivating story to real world science. Although there were many aspects of the film I enjoyed, one plot point that I thought was terrific was the cooperation between NASA and the CNSA (China National Space Administration). If you’re on the fence about seeing The Martian jump off and go see it, you’ll be glad you did.
The cooperation between NASA and the CNSA is also a major plot point in First World when China announces its first manned mission to the Moon four years ahead of schedule. When I first introduced the story back in 2007, who would have thought that China’s space program and film industry would be booming to such a degree. At some point in the future I feel it is inevitable, and rightly so, that the United States and China will cooperate on space exploration – especially when it comes to a manned mission to Mars.
With the Toronto International Film Festival concluded and the American Film Market starting in a few weeks, it’s always interesting to see what comes out from industry trends to sales. It was well reported that Toronto was a slow market, but it could be just the opposite at AFM. But what we do know is that audiences will turn out for a great story and a trend can change overnight. So many films that revolved around Mars have fared poorly, but The Martian has reversed that trend.
The one thing I learned some years ago was to have a slate of projects ready to present at a moment’s notice as you never really know what’s going to resonate when you pitch. Case in point was Justice Is Mind. It was packaged as a low-budget independent as opposed to First World which has a multi-million dollar budget. With In Mind We Trust, the sequel to Justice Is Mind completed and with some minor updates to my political thriller SOS United States, it’s always interesting to see what project gets attention over the other.
And now on a business note. Like the producer I mentioned last week that gets unsolicited scripts sent for review, this week I received a random instant message from someone I’ve known for years asking me to introduce them to managers and agents. It took me by total surprise, as, 1) I’ve never seen this person’s work, 2) To the best of my knowledge this person has never been nominated or won an award for their screenwriting, 3) It wasn’t personally addressed as “Hi Mark…” at least pretend you know me. My advice is the same as advice that has been given to me, 1) Enter your screenplay in contests. I did this for First World it opened some doors and established credibility, 2) If you want to pitch an actor or their reps just do it. Send a brief introduction with a logline. Some have their own production companies. If you want an agent or manager call them and see what their submission policy is and 3) Personalize your introduction.
When I wrote Justice Is Mind in 2010 I had no idea that the science of mind reading and its related legal and ethical implications would present itself in the real world the way it did (Pamela Glasner’s article in The Huffington Post pretty much sums it up). There’s no question this public awareness helps when I market the film.
In the sequel, In Mind We Trust, part of the storyline picks up from the end of Justice Is Mind – lost artwork from WWII. In the story it’s revealed that Wilhelm Miller worked in transportation whose responsibility was to ship stolen artwork via train, artwork that disappeared at the end of the war and begins to resurface through the Miller family.
It is oddly ironic that over the last few weeks there has been substantive media attention to an alleged underground NAZI gold train that disappeared at the end of the war. Apparently, a death bed confession revealed its whereabouts. There’s no question that there are countless unresolved mysteries from that time period. And the stealing of artwork, gold and other treasures during the war is another horrid atrocity that the world continues to face and rightly so. Now that Poland’s military is involved in the search, we should have a resolution one way or the other sooner rather than later.
But then we move forward in time to First World and SOS United States. When I wrote First World back in 2006 sure China had ambitious plans with their space program. But I had no idea it would move along at the pace it has. There’s no question, that unless something substantive happens to China’s economy, that country will land a man on the Moon. Much like the space race when the Soviet Union successfully put Sputnik in orbit, it was a wake-up call to the United States. And wake-up our country did by landing a man on the Moon in 1969. Curious how Russia announced this past week they are going to the Moon. Something tells me that China and Russia will soon be cooperating.
This of course brings us to SOS United States. Although China is moving along at a rapid clip, they are disadvantaged in certain areas of military might, particularly in aircraft carrier development, thus the conflict in my political thriller around the HMS Queen Elizabeth aircraft carrier and her ordnance.
But it is the continued cyber-attacks by groups in China directed against United States interests that really is the crux of the world we live in and a major plot element in SOS United States. And let us not forget how Chinese warships entered United States waters off Alaska this week.
In my view, every film whether the subject is good, bad or indifferent needs some sort of hook. Something that will pull the audience in from the real world while they escape into the narrative world of a movie.
Although summer doesn’t formally end until September, it’s the end of August when many of us reflect on what we’ve done. For some reason summer says you have to do things. Personally, the summer is just another set of months for me, albeit it’s warmer! But from some cool day trips, to planning the 2nd anniversary screening of Justice Is Mind to adapting a book into a screenplay, I would say my summer has been pretty complete if not complex.
Regarding Justice Is Mind’s screening on August 18, I had a pleasant surprise this past week. Although I knew she took some pictures and asked a few questions, I didn’t know the reporter from the Sturbridge Villager was planning a follow up story. But follow up she did when this story appeared in the Sturbridge and Charlton Villager along with the Webster Times. My thanks to Olivia Richman and her enthusiastic post-screening coverage of Justice Is Mind!
Our record media coverage of this screening certainly helped our VOD placements. Just after the screening Yidio, a video aggregator, sent out a notification that “Justice Is Mind is Hot”. The only way that was possible is if an inordinate number of people were watching and/or searching for the film. I’ll certainly take it!
This past weekend marked another milestone. I finished the adaption of Winds of Fall into a screenplay. My work on this project was actually mentioned in the Sturbridge Villager two weeks ago when they ran a story on Al Mercado’s new book. This is a story that is entirely character driven and largely set in the late 1960s. More on this project as it develops.
As for projects, with fall around the corner, it’s also time to make sure First World, SOS United States and In Mind We Trust are up to date along with their respective business plans. The summer is a great time to write and update, but it’s the fall months where new activity really starts in the film world. Anyone involved in film finance knows this is a process. Presentations made months ago can suddenly start to yeild conversations.
It has been interesting. For the last few years, my summers have largely been planning stages while the fall has seen the most activity. In 2012 it was the making of Justice Is Mind, in 2013 it was the primary theatrical run, in 2014 it was the international premiere, let’s see what the next few months brings.
No this post isn’t about the five year mission about the Starship Enterprise (I love Star Trek), it’s about the concept, development, launch and marketing of an independent feature film called Justice Is Mind.
With our second anniversary screening coming up on August 18 at Cinemagic, it’s hard to believe that five years has gone by since I first started to write the screenplay. From the screenplay, to the short film Evidence to the feature Justice Is Mind, it is a journey I would do again in a heartbeat.
This past week Gail Sullivan who plays Helen Granger in Justice Is Mind commented on Facebook, “How many movies are showing after two years? Just the classics, which means this one is definitely a classic!” Those words meant a lot. But it also meant something else that’s very important to remember, just because a film is released once and isn’t part of the “studio system” doesn’t mean that it can’t be released again and again.
Will Justice Is Mind become a true classic? Only time will tell. But the glorious thing about filmmaking now is that video on demand makes longevity possible. Gone are the days when a film is made and forgotten (unless it develops a cult like following). For me, it’s all about discovery. While I love contemporary independent films like The King’s Speech and The Imitation Game, it’s classics like Laura and Advise & Consent that are true finds for me. Then there is my passionate interest in 1950s science fiction (add The 27th Day to my list). But in the here and now there is Justice Is Mind to market.
This past week I finished up my interviews with the regional press. What will they report on? That’s up to them. But like I said last week, I try to always provide some sort of newsworthy hook. From the concept of the film, our screenings to date, the anniversary and the development of the sequel In Mind We Trust, all the reporters had their own take.
One asked if I would have done anything differently. Yes, there is one thing. I wouldn’t have wasted good money listening to “experts” about film festival submissions, I would have just planned a theatrical release from day one. Thankfully, I got wind of the festival world before our world premiere so I started working feverishly on our theatrical release in the summer of 2013. If you want to read an excellent article about the film festival world, check out this article. Bottom line, unless it’s a film market (Toronto, etc.), I’d much rather have my film screen in theaters dedicated to my film (with audiences paying for tickets) rather than having to play in a chorus with others. Sorry, I’m an “independent” filmmaker.
So as I continue to work on the final leg of the marketing and public relations push for Justice Is Mind’s second anniversary screening on August 18 at Cinemagic, I’m reaching the apex of the screenplay I’m adapting from the book Winds of Fall. Actually, that’s timing pretty good for a first draft to be finished by the fall.
The mission continues.
This past week was another exciting one for both space history and the space program. From the 46th anniversary of the Apollo 11 landing on the Moon on July 20, 1969, to new images from New Horizon’s flyby of Pluto and the discovery of ‘Earth’s cousin’ Kepler 452b , NASA continues to excite and motivate a new generation just as it did back during the days of Apollo.
I have always loved the space program and, of course, science fiction. From Destination Moon in 1950 to Apollo 11 in 1969, we see time and time again the influences movies have in the real world and visa-versa.
The same can hold true for the science fiction of mind reading I postulate in Justice Is Mind. Just this week, two articles came out that not only further the conversation of neuroscience in the courtroom, but the actual real world implications of the science of mind reading.
In fact, the origins for Justice Is Mind are in the space program of the 1960s. When I was writing the sequel to First World, the idea came to me that on return to the installation on the Moon, inhabitants had to pass through a “mind reading like” device to gain entry. Thus some simple research brought me to a “thought-identification” story on 60 Minutes. The rest, as they say, is history. Justice Is Mind was written, produced and released with our second anniversary screening coming up on August 18.
Regarding the promotional efforts I do for First World, Justice Is Mind and SOS United States, it is always interesting to me to see which one gains the most traction. This past week First World spiked sharply with my Apollo 11 posts, SOS United States saw its highest impressions ever with the U.S. Embassy opening in Cuba and Justice Is Mind increased dramatically with a story titled, “Scientists Say They Can Read Your Mind, And Prove It With Pictures“.
Marketing a film takes time, consistency of message and perseverance. The major studios have the benefits of seemingly endless marketing budgets and A list actors. For a truly independent film like Justice Is Mind, it’s important to have a hook and to see what resonates with audiences. For this project, I have always seen consistent engagement when it comes to media related articles that have to do with mind reading and their real world applications in court or the perceived abuse by government.
When doing my follow calls to the media this week, the one thing that has resonated well was that the sequel is in development and that a concept trailer exists. We shall see how this all pans out in the next couple of weeks as we lead up to the second anniversary screening of Justice Is Mind on August 18 at Cinemagic in Sturbridge, MA.
Exactly one month from today Justice Is Mind will celebrate its Second Anniversary on August 18 at Cinemagic in Sturbridge, MA. Actors and crew continue to RSVP their attendance, traditional and social media is picking up, photographers are confirmed and the theater has the film. Believe me there’s still plenty to do with the media follow ups and general marketing push, but the event is tracking well. For me it comes down to planning and organization. Time moves quickly and before you know it you are seeing your event come up on the horizon.
When I was writing In Mind We Trust, the sequel to Justice Is Mind, there were a few things I wanted to make sure the sequel captured. First, the Miller family was still the nucleus of the primary story while key plot points from part one (Justice Is Mind) were expanded. In the case of In Mind We Trust it was the government’s involvement with mind reading and their partnership with Reincar Scientific. Also, when you consider TV shows like The Blacklist, Fringe, etc., audiences enjoy what I call “intelligent intrigue”.
I am pleased to present the concept trailer for In Mind We Trust. The trailer can be watched on Vimeo or YouTube. My aim with the concept trailer was to introduce elements from Justice Is Mind that carry forward into the sequel In Mind We Trust. From part one we know the United States government and intelligence agencies are, for some reason, involved with mind reading technology. The answers become clear in the sequel, thus the concept trailer sheds some light on where the story will go. And as the U.S. Supreme Court has now become the defacto policy maker in our government, the concept trailer, like the screenplay, ends at America’s highest court in the land.
Of course, I want to thank Daniel Elek-Diamanta for the tremendous score he wrote for the concept trailer. The gravitas of his score just brings the entire concept trailer to life. Those of you that have been following Justice Is Mind know that Daniel scored the entire film. Indeed, as one of our actors said recently, it’s worth the price of the ticket just to hear his score. For those of you that can’t make our screening on August 18, please visit www.justiceismind.com for VOD viewing options.
But the real new horizon this week was not a movie, it was the actual New Horizons interplanetary spacecraft and successful Pluto flyby on July 14. The word “stunning” doesn’t even begin to describe the quality of the images New Horizons set back to Earth.
I was a bit too young (4) to appreciate the Apollo 11 Moon landing, but the excitement shared around the world about New Horizons encounter with Pluto was truly one for the history books. From NASA’s scientific achievement to the sheer enthusiasm of audiences around the world waiting and watching for those early pictures. I can only imagine how the New Horizons team felt when they were waiting for the spacecraft to communicate after its closest flyby. Nearly ten years in space, and years of planning before that, and you are waiting for a signal, until…
New Horizons phoned home.
To learn more about New Horizons and its historic mission to Pluto, please click this link.
Yes, the title of this post is a twist on the book Scarlett, Rhett and a Cast of Thousands, but I was reminded just the other day on what goes into making a feature film. It was early summer in 2013 and our world premiere date for Justice Is Mind was set for August 18, 2013. Yes, the film was edited and scored, but we were still under the gun on those numerous last minute items like color correction and sound mixing. The one thing left to finish was the closing credits. It wasn’t until I started to add everyone in when the number of names credited was finalized at 201. But add in the employees of our location partners and the number was well north of that. It’s true when they say it takes a village, or maybe in the case of Justice Is Mind a small battalion, to make a feature film
With our Second Anniversary screening coming up on August 18 at Cinemagic in Sturbridge, Massachusetts, planning is well underway. As I’ve mentioned before, I treat every screening like it’s the first one. The deal with the theatre is secured; cast, crew, location and marketing partners are notified; a press release is sent and then there is the media pitch. My special thanks to the Worcester Herald and Examiner for their early coverage of the special day.
I am delighted to confirm that several of the stars, co-stars and featured performers have already confirmed their attendance. While many of us have traveled the theatrical release tour together, August 18 will mark for the first time in two years the coming together of those that I haven’t seen since the world premiere. Indeed, we are all looking forward to it.
But aside from a reunion of some of the cast and crew, it is about presenting Justice is Mind to new audiences. The work that goes into the production of a feature film is monumental. Indeed, some producers I know are starting to pull back on producing projects as they are time intensive. But when a film is finished, when you see it play in a theatre, your TV or even your smart phone, you realize at that moment that all the sleepless nights, self-doubt and over analysis is over. The work that has been put in by so many is being presented to the world. Thus, you want to do it again and again. At least I do.
The film industry is changing even more rapidly that it was when I first created the world of Justice Is Mind. But at the end of the day content is still king. There are now more platforms available to watch a film than ever before and they need product to fill their pipelines. Whether it’s a tentpole like the upcoming Star Wars (I can’t wait) or a truly independent film like Justice Is Mind, there is something for everyone.
The days are long. You feel there will never be an end in sight. But then there is that moment after the final rendering that the heart and soul of a cast of hundreds comes to life. For it has been the reception that Justice Is Mind has received that has led to the development of the sequel In Mind We Trust. By this time next week, the concept trailer will be released.
Justice Is Mind – The Second Anniversary Screening – August 18, 2015.
Tickets now on sale.
When I wrote Justice Is Mind in 2010 I don’t recall thinking about a sequel. It’s hard enough getting a feature film made in the first place, never mind a continuation of the original story. But no sooner was Justice Is Mind released in 2013 than ideas started to come together from one of the underlying plots in the film – the government’s involvement with mind reading and one family’s search for the truth. After about four months of intense research and writing, In Mind We Trust was complete.
One of the more popular ways to bring projects to life is with a concept trailer also known as “proof of concept”. One of the most popular of these trailers was for a project called The Leviathan. I love high concept sci-fi and this had it in spades. By all reports it looks like The Leviathan will be turned into a feature film.
In Mind We Trust is not only high concept, it also involves the intricacies of intelligence agencies, past life regression, stolen artwork and complex legal issues around the Fourth Amendment. The aim with the concept trailer is to distill it down to just over a minute and to find just the right video clips to make it work. In my search for clips, the ones I thought were going to be impossible to find showed up on the first search, while some I expected to be easy took me a few days. But in the end, I believe I have a workable presentation. At 2:36 the concept trailer starts with Justice Is Mind and then introduces the key elements of In Mind We Trust. The plan is to release it just prior to Justice Is Mind’s 2nd anniversary screening on August 18 at Cinemagic.
As for the upcoming 2nd anniversary screening on August 18, things are moving forward nicely. Tickets went on sale this past week, some listings are showing up and Pizza Post is back on board with their special promotion (ticket purchasers get a dollar for dollar redemption). Look for our press release next week.
There was a great article in MovieMaker magazine this week about the 2015 Produced By conference in Los Angeles. You can read the article at this link. For me, there were so many excellent takeaways. From, “Don’t be afraid to cold call or email”, “Partnerships with companies”, “A great script is the foundation for any project” and “Never produce a project you don’t feel good about”.
But perhaps the most important statement at the conference was, “The one thing that was said in ALL panels regardless of the topic. CONTENT IS KING!! At the end of the day, all that matters is what’s on screen or going to be on screen.”
In preparation for the second anniversary screening of Justice Is Mind on August 18, I’m going to Cinemagic tomorrow to give them the film. They’ll have our theatrical DVD and a DCP (Digital Cinema Package). The DCP was created for us by the Chatham Theatre. Sometime next week they’ll run the DCP test. Out of all the theatres which have screened the film, it looked and sounded the best in this theatre. While I know what the DVDs are capable of, I am looking forward to seeing the film in its highest possible resolution.
Since my last post, art is starting to imitate life. In SOS United States a Cyber Pearl Harbor by China takes out the United States power grid and military satellite communications. Last week the United States strongly believes that China is behind a cyber-attack that compromised millions of Americans. These weren’t just any Americans, the agencies targeted were the Office of Personal Management (OPM) and the Interior Department.
As part of the development process of SOS United States, I reached out to the media relations office of the National Security Agency a couple of weeks ago. This is the same process I did for First World when I contacted the Secret Service and the various universities and law schools for Justice Is Mind. For me, as a filmmaker and screenwriter, it’s important to get as many facts straight as possible. I believe adding reality brings believability and plausibility to a movie.
On a personal note, I have no problem with the work the NSA does. Unless you live under a rock and off the grid, we live in a very complicated world. A world that needs to be monitored for the safety of its citizens. As General Blair says in In Mind We Trust at a Congressional hearing, “Senator don’t talk to me about privacy when most of the planet posts their most intimate details voluntarily. You know as well as I that the next attack on the United States isn’t going to come over the pole as a nuclear device, it’s going to come from a computer.”
Speaking of In Mind We Trust, I am developing a concept trailer along with Justice Is Mind composer Daniel Elek-Diamanta. Originally, I was thinking it would be just about a minute long, but given the scope of the story we are expanding it to over two minutes. The first minute introduces elements in Justice Is Mind that propel the In Mind We Trust storyline.
Continuing with the development process, I was invited on Chris Denmead’s show Radio of Horror on WCUW 91.3 FM a couple of weeks ago. You can listen to the interview at this link where I talk about a wide variety of subjects around filmmaking. I met Chris when he participated in Justice Is Mind during the flashback wedding scene. As I’ve often said, this is an industry of networking and relationships.
Just as this week was coming to an end, I was alerted to this article in the Huffington Post stating “Scientists Can Read Your Mind Using These Images of the Brain”. It was great to read the latest news from Carnegie Mellon University’s research in this area and Dr. Marcel Just’s quotes. As some of you may know, I was inspired to write Justice Is Mind after seeing Dr. Just on a 60 Minutes story in 2009 that talked about ‘thought identification’. Justice Is Mind had the opportunity to screen at Carnegie last year.
Unless you are living under the proverbial rock, all of us involved in the industry are paying close attention to Cannes. For me, I’m always interested in the business of distribution and marketing because at the end of the day you have to get your film seen. With VOD distribution all the rage, there’s no wonder that Netflix’s Ted Sarandos is being so widely quoted—and rightly so.
As I’ve mentioned in some previous posts, on any given week there are numerous things I try to accomplish for my projects. From pitching, to writing, to editing, to marketing, there’s always something going on. But this week, things jumped ahead.
With Justice Is Mind successfully distributed, my attention has largely turned to my current slate of projects with First World, SOS United States and In Mind We Trust. While I continue to market Justice Is Mind on a daily basis, the goal is to secure the necessary partnerships to bring the next project forward. That goal took several steps forward this week with a great Skype meeting with a producer and his team in the United Kingdom. From my days in publishing, to our recent partnership with Cunard Line for the international premiere of Justice Is Mind on the Queen Elizabeth, I’ve always enjoyed working with colleagues “across the pond”.
The one thing any filmmaker will tell you is that this is an industry of partnerships and collaboration. From the actors, crew, location, marketing and distribution partners, over two hundred people from two countries were involved in Justice Is Mind. For good reason, I keep in touch with most of them. One of those reasons is a new project I’m working on.
My friend Alberto Mercado is a published author and a wonderful photographer. Al photographed Justice Is Mind’s screenings in Sturbridge and Millbury. His photos were such a hit they soon started to show up as headshots on IMDB and Facebook.
A few weeks ago at a party at his house we started talking about the “mechanics” of filmmaking. The conversation was not dissimilar to one I had with my investors in Justice Is Mind back in 2012. Al wanted to see one of his books made into a motion picture. He attended several of Justice Is Mind’s theatrical screenings, including my short film Evidence, so he knew what my capabilities were. But was there a story? Indeed there was. A great story. One that I wanted to tell.
Oddly enough, Al thought I was reading his book A Rose for Essie Mae when in fact I was reading Winds of Fall. In the end, he was glad I read Winds instead. So I am pleased to announce that I have been commissioned to write a screenplay adaption of Alberto Mercado’s book Winds of Fall and to direct the feature. The plan is to complete the script this summer with Al financing the production for either this fall or spring.
Like the funding that came together for Justice Is Mind, the road to the Skype meeting, our screening on the Queen Elizabeth and the journey to bring Winds of Fall to the big screen, you just don’t know where the next opportunity is going to come from. As the late actor Maximilian Schell said, this is an industry of chances.