The email came in on a Thursday afternoon. A producer from station KABC-AM 790 in Los Angeles wanted me to do a phone interview on Friday with Jillian Barberie and John Phillips for their popular morning drive talk show. The subject was figure skating. The topic was an incident between two skaters at the World Figure Skating Championships in Japan.
I co-starred with Jillian on FOX’s Skating with Celebrities. She was a skater and I was one of the judges. No sooner did we meet on set than we became fast friends off the ice. Needless to say I was very excited to do the interview. First, it was Jillian but second she’s a great interviewer. It was a reunion of sorts as we haven’t seen each other since I moved back east in 2008. The moment the interview started we picked right back up where we left off all those years ago. You can listen to the interview at this link. Those few moments on air with Jillian brought back so many great memories from my time in LA.
As for the world of entertainment, last year I was cast in a documentary titled Reconstruction: America After the Civil War. As you see in this still, it was shot entirely in green screen. In the production these shots will be animated to recreate areas of the documentary for which no photos or film exist. From what I’ve seen, this looks like a brilliant documentary about an important part of American history after the Civil War. The documentary airs on PBS April 9 & 16. To learn more click here.
In just over a month principal photography begins on First Signal. Since I wrote the script in late 2017, it’s amazing how fast time has gone by. It was becoming real enough over the last month when certain props arrived, but when the Air Force Uniforms started to arrive last week it was then that we all could feel the day coming.
I decided to buy the uniforms rather than rent. Not only was it about the same price for the weeks we needed them, I look at the uniforms as a smart investment. First, we’re not constrained to a limited amount of time with them. What happens if we need to reschedule shoot dates past the rental period? What happens if after we wrap we want to do some pickup shots? With this acquisition, the budget is locked down.
With cast and crew complete, final props being created and actors going through fittings, it’s this moment in pre-production where things are fine-tuned and coordinated. One could say we’re rolling out of our Vehicle Assembly Building.
This past week Justice Is Mind went live on Amazon in Germany, Austria, the United Kingdom and Japan. Since the film was released in 2013, it has been my plan to get the film distributed in as many territories as possible. Considering part of the story takes place in Germany, and as our composer and sound mixer reside in the United Kingdom, it’s great to be able to bring the film to those markets. Also, it’s part of the long term plan to generate as much interest in the Justice Is Mind story as possible as the pitch process continues to further develop the project as a TV series. But, like all things in this industry, it’s about having more than one project in development as things take time.
When I was taking to a fellow filmmaker in England this past week, the one thing we talked about was distribution. As I’ve mentioned in my previous posts, as a former magazine publisher I directed the distribution and marketing of my magazines. The process has a variety of similarities. You deliver your finished product to a central source and it’s delivered to the outlets. But as I learned all those years ago, for every middleman there is a percentage given back. Sometimes a middleman is necessary, sometimes not so much.
To quote from Amazon Video Direct’s website “Helping content creators and visual storytellers reach millions of Amazon customers across hundreds of devices with the same distribution options and delivery quality available to major motion picture and television studios.” Why, unless a distributor was acquiring your film for a fee, would you just give Amazon your film to upload? With the tens of millions of customers that Amazon commands, I certainly understand why some distributors require Amazon to be part of their VOD platform mix. But with “platforms like Distribbr, Quivver, and Bitmax – what’s the benefit of going with a more ‘traditional’ distributor over those?”
Honestly, by the time I release my next film, self-distribution may just be the way to go. Unless a distributor brings me a fee and a marketing plan, why would I bother signing away the rights to my film when I can just deal directly with the VOD platforms? I have heard too many horror stories from filmmakers that were all excited a distributor was interested in their project only to receive a fraction of return even though their project was available on countless platforms. It’s sad and frustrating to hear these stories, because I know how much hard work and years of dedication goes into making a film.
As for new projects, the concept poster for my political thriller around the sport of figure skating is now being designed. With the script registered and URL reserved, the general plan is to formally announce the project in mid-late August. Nothing is more exciting than seeing those first images come to life. And for me that starts with the concept poster.
Of course, like building a house, this is the stage where the architectural plans are developed. In my view, a script is an evolving document based on a variety of factors until you lock it down just prior to pre-production when you lay the foundation for what you will ultimately see on the screen.