In the entertainment industry it is the “one sheet” that advertises and promotes a film. In an instant the release of a one sheet sets the tone for a film that could be weeks, months or years from release. It is a form of media that should be carefully thought out. While it’s impossible to convey the entire story in a film poster, it should at least project a certain atmosphere.
When I was in post-production with Justice Is Mind my goal was to conceive of a poster that would represent the general story. With an MRI image in the background we see two sides of Henri Miller. One looking forward in the present world and the other looking backwards into World War II. I had the general concept in mind when we were shooting so I had Vernon Aldershoff, the actor that plays Henri Miller, photographed accordingly.
With Serpentine, the story revolves around a figure skater caught up in a Cold War mystery. With a sheet of ice as the backdrop, a skater is centrally framed in Red Square to convey the premise of the story. For SOS United States, the image of two F35’s flying in proximity to a cruise ship, dramatizes the accompanying tag line that says it all.
There are times when the production of a one sheet has to be as accurate as possible. First Signal was one of them. While the science fiction aspect gives one a certain amount of creative freedom, some things need to be right. The Moon to Earth vantage point was modeled after the famed “Earthrise” picture taken from Apollo 8. But it was the star field that needed to be accurate. Thankfully, Celestia, a 3D astronomy modeling program, was available (Special thanks to Daniel Elek-Diamanta for creating the poster and finding Celestia!).
Right after I registered for AFM, I was wondering what I could create to represent my various projects. While they each had their own branding and collateral (depending where they were in the production pipeline), I realized that I didn’t. Those that know me and my projects know what I create, but there is a whole industry universe out there that doesn’t.
I am therefore pleased to present the one sheet for The Ashton Times. Designed by my longtime colleague and friend Adam Starr, it is designed to promote and illustrate the type of works I create. For the last couple of weeks it has been included in my industry communications and promoted on MyAFM and Cinando. As we are an industry of image, I think it’s important to create what we can to present our projects in the best possible light.
It seems fitting that I’m preparing to leave for AFM during the anniversary week when Justice Is Mind had its international premiere on Cunard’s Queen Elizabeth in 2014. That screening proved to me that you don’t have to be a major or mini studio or have A or B list actors in your film to have a marketable project. Indeed, you only need one thing…
…a good story.
Whenever I start the process of preparing a project for pre-production I start to breakdown the script. Every filmmaker has their own process, but for me I start on page 1 and list what’s needed apart from the characters themselves. Aside from the three locations and uniforms, the majority of the breakdown notes for First Signal is stock footage.
I’ve posted about stock footage before and its importance in film production. Without stock footage First Signal would only come to light with a significant seven figure budget. One scene calls for a “Helicopter Taking Off From Roof”. In the days before stock footage, such a scene would have to be produced. Now, it costs about $50.
For me the breakdown of a script brings the reality of production that much closer. Once that list is done, I just start to pull all these pieces together and check them off one by one. Of course, there’s always things that come up that seem next to impossible. With Justice Is Mind it was the 11th hour securing of an MRI center to shoot the pivotal scenes of the mind reading process.
The one thing I’m adamant about when producing a film (or anything for that matter) is organization. Nothing is worse than arriving on set and disorganization (or incompetence) seems to be the status quo. I honestly don’t understand it.
When I’m cast on a project I just do as I’m told. But I’m also observing everything. The one thing I have observed with these “large productions” is that there are simply too many cooks in the kitchen all trying to out maneuver each other. On a set there is only one cook, the director. It’s pretty laughable when a production assistant gives you direction opposite of what the director just gave you. Their look when I say, “Well the director wanted me to do it the other way” is priceless.
As for communication, next weekend I’ll be posting a casting notice on Backstage and New England Film for the characters in First Signal that have not been cast. Auditions will be in April. These next two months are going to very busy. The next Naval Justice School class starts on Friday for the next few weeks, then it looks like I’ll be casting for a major military exercise in April and May.