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.
Writing an original story is by no means an easy process. There are times when I think and rethink various elements to make sure they flow. Does this transition from that transition make sense? Am I carrying the story forward and adding something with each moment? Even though I’m writing fiction, I always ask myself would people act and respond this way in “real life”?
But at one point it starts to click. For this story it happened around page twenty. While I have the general outline for act one, two and three (Yes, I believe in the three act structure), it’s the journey these characters take that will make the story what it is.
But one thing that is easy, is creating worlds that are larger than they appear or you have the budget for. With every film I’ve produced (and some commercials), I always use stock footage. From the White House in First World, to Reincar Scientific in Justice Is Mind to the FBI in Serpentine, it’s a simple purchase from one of the stock footage houses.
Most stock footage is very affordable. However, there are times when it can get pricey. Case in point was footage from the Nuremberg Trials after World War II in Justice Is Mind. In addition to the footage, I also had to obtain it at a certain aspect ratio. But in today’s modern world of filmmaking, it’s amazing what’s available if you just look for it.
As this story largely takes place in one room, it will be stock footage that takes us out of the scene to illustrate certain moments of the story. Why ask the Department of Defense if you can film a B-2 taking off from Whiteman Air Force Base if you can just acquire the footage for $79.
I remember after Justice Is Mind was released, I was asked by someone in the industry if I went to Logan International Airport in Boston to film planes taking off. I remember jokingly responding that it was a real pain in the ass to get over all the fences and position myself with a cameraman at the end of the runway. I think they thought I was serious. Oh well.
As I dove back further in the First World story and archives, I came across a time in 2008 when certain funding commitments were imminent for the production of the film (it was going to be part of a slate of films with a particular producer). But then the global recession took hold and literally decimated the film industry (particularly on the independent side). At the time it was disappointing, but everything happens for a reason.
It’s interesting how one is turned to a particular story. When the idea came to me during my moments at the Naval Justice School about developing a story in a one location environment, something drew me back to First World. Was it the military aspects of that story? The fact that I’ve already created these characters? Who knows, the one thing I never ask myself is why. I just write.