Last week I hit page 30 on this prequel story to First World. The title and logline came to me about halfway through this initial draft. With notes for the next two acts generally outlined, I’m aiming to have a first draft completed in January.
It’s always interesting how these new projects start. The idea came to me in September when I was at the Naval Justice School (NJS) talking with a couple of the actors about developing a new story. For the last two weeks I’ve been back at NJS with most of the students returning for this next class.
For me it comes down to motivation. If I’m not motivated to write a story, it just won’t be written. I firmly believe that environs make all the difference. When you are around other creative types and engaged in the kind of work you enjoy doing, it’s amazing how ideas start to generate with collaboration bringing new opportunities.
Of course it’s one thing to write a screenplay, it’s another to produce it. This one is being written in the same fashion as Justice Is Mind, to produce independently without pitching to the industry. While there’s obviously nothing wrong with the industry pitch, that process goes in fits and starts. Hot one day, cold the other. Ask anyone in this industry and that’s just the way it is—if you take the traditional route.
As I’ve mentioned in previous posts, it’s one thing to produce a feature film, it’s another to promote it. I have to know if I’m OK devoting the next 2-5 years of my life developing and promoting a project. Justice Is Mind was literally a five year commitment. From screenplay (2010), short film version (2011), production of the feature film (2012), release of the film (2013) and marketing (2013-2015). I still promote Justice of course, and I continue to pitch the sequel, In Mind We Trust, as the basis for a TV series.
The “First World” project is about developing a franchise. It always has been. But commitment is important in this industry. It’s not just about making the film, it’s about staying with it for the long haul. As I learned with the short film version of First World and Justice Is Mind, you never know where a project can take you. It was a series of pitches that saw First World have a premiere in India at their The First Ever National Discussion on Science Fiction and Justice Is Mind having its international premiere on Cunard Line’s Queen Elizabeth.
The creation of a new story is always an adventure, a journey into the unknown. Believe me when I tell you, it’s a trip worth taking.
It has become a common practice in the entertainment industry to create “proof of concept” trailers and short films to promote projects past the written word of the script (sometimes there’s not even a script!). With more and more projects looking for attention, a thoughtful concept trailer can most certainly advance a project.
Yesterday morning, Daniel Elek-Diamanta, the composer of Justice Is Mind, sent me just over :30 of music he scored. We’ve been talking about SOS United States for several months and when it comes to composing music, we have always been on the same page. It was like this with Justice Is Mind. In August, 2012 he was sending me samples of music well before one frame of the film was shot. What you hear in the final cut of Justice was largely agreed to well in advance. Suffice to say, it’s a great collaboration and I highly recommend him as a composer.
I’ve been wanting to create some sort of video for SOS United States past our concept poster. The moment I heard Daniel’s sample the idea came to mind. You can view the concept trailer at this link. The general premise of SOS United States is relatively straight forward. An ocean liner in the middle of the Atlantic Ocean may have a nuclear bomb on board. The only military vessel in the vicinity is the HMS Queen Elizabeth aircraft carrier during her sea trials.
As I have some preliminary producer meetings this week, the concept trailer for SOS United States is well timed. But that being said, I’m sure the subject of budget, casting, etc., will come up. On the face of it, it looks like the Massachusetts Film Tax Credit is here to stay – for now anyway. But as these producer meetings are happening “across the pond” the UK offers some of the best incentives along with a vibrant infrastructure.
This past week a very rare article was published around an independent film called Papadopoulos & Sons. What was rare about it was the breakdown of financials. Honestly, that short of working for a distributor, these numbers are seldom known, never mind released. There’s a variety of pros/cons for releasing numbers. Yes, box office results are largely public, but VOD, TV, etc. are usually held very close to the chest. In this filmmakers view it’s because the deals for these platforms not only differ for each film, but there are myriad proprietary contracts involved that can limit public dissemination from a competition point of view.
What this article does fully document are the fees involved in film distribution and the realities of revenue that come back to the financiers. This is why being realistic about a film budget is so important. Yes, you want the film to look and sound great with a stellar cast and crew, but at the end of the day it’s about revenue.