As Jodie Foster told The Hollywood Reporter this past week, “The hardest part is getting the green light, getting the movie going.” From financing, locations, crew and talent, moving a project to green light status is a major undertaking. Reading the dailies coming out of Cannes this week there is a host of industry adjustments. From distributors looking for new ways to grab audiences, to Amazon launching a YouTube like service .to the availability of A list actors when so many are committed to “superhero” movies. Yet again another era of change in an ever changing industry. But at some point you just have to throw caution to the wind and do it.
A few days ago I crossed the 60 page mark in the political thriller I’m writing around the sport of figure skating. My aim is to have a complete first draft by the end of June. I’ve already started to reach out to a couple of key people I’ve worked with over the years on availability later on this summer.
For me it comes down to visualizing not just the film but the market in which it’s going to exist in. This is why I always write a business plan as part of the development process. Bottom line, I need to know there’s a market for the story and/or a target demographic. For Justice Is Mind it was older audiences and a few films that fell into the type of audience I was going after—Fringe meets Law & Order in a Gattaca setting. With SOS United States the story is set in a contemporary world of conflict between nations and shadow governments that can best be compared to Seven Days in May meets Clear and Present Danger.
But with this new story I’m writing, one does not need to be a rocket scientist to see that the sport of figure skating has a base of enthusiasts and participants that can be marketed to. For me it comes down to not just creating “another skating movie” but one that builds off that base with a story that revolves around a decade’s long Cold War mystery that culminates at the world figure skating championships. What it really comes down is marketing to an alternative audience.
As producer Charles Cohen told The Hollywood Reporter regarding the niche he targets, “It’s a mature audience that’s seeking an alternative to the typical Hollywood production — your big tentpole picture. People who are crying out for Marigold Hotel or Philomena or Brooklyn. Films that harken back to the ’60s and ’70s, which deal with real issues.” I could not agree more. As I learned with Justice Is Mind audiences want an alternative.
Perhaps the biggest news this past week was Amazon’s new Video Direct Service that takes direct aim at YouTube. I’ve been working with Amazon’s CreateSpace and through our distributor for Amazon Prime for several years. Amazon, in my view, is one the best places independent filmmakers have to showcase their work to a wide audience (they also own IMDb). Unlike some of these “curated” platforms that you barely hear about, Amazon’s algorithm approach puts the decision firmly in the hands of the consumer.
But there’s another thing that Amazon also gets right and that’s its approach to theatrical screenings. They know that a quality theatrical screening makes all the difference to just another VOD release. Having had a theatrical release for Justice Is Mind it also helps enormously with press and building an audience. While I’ve been a proponent of VOD for years, the film industry is steeped in the tradition of the theatrical release and rightly so. As a filmmaker, there is nothing more exhilarating than seeing your movie on the marquee and having it come to life in a theater.
What I love about screenwriting is the research that goes with it. When I wrote First World I learned about the Apollo space program, the Kennedy and Nixon administrations, the Roswell incident and how parts of the United Nations operate. For Justice Is Mind it was the science of mind-reading (“thought identification”), reincarnation, and complex legal issues from the introduction of evidence based on new science to the construction of a criminal trial. Whenever I write science fiction, I think it’s important to have it rooted in plausibility or at least have it explained with a sense of realism (Star Trek is great for that).
The basis for my political thriller SOS United States has always been around this premise – the possibility that an ocean liner may have a nuclear device on board. Where did the idea come from? I’ve always been interested in the Cold War and count Fail Safe and Seven Days in May as two of my favorite movies of the time. Add that interest to my passion for ocean liners and SOS United States was born. It was my mother that first got me interested in ocean liners in the 1970s with our membership in the Titanic Historical Society (Yes, Titanic is one of my favorite films).
With premise in mind I started my research. The ocean liner in my story needed to be fast, luxurious and military-like. It didn’t take long to discover the SS United States. Built in 1952 the luxury liner “was designed as part of a top-secret Pentagon program during the Cold War, which stipulated it could be quickly converted from a luxury liner into a naval troopship in the event of a war.” Needless to say I found my ship. And found her I did. Since the SS United States was retired in 1969 she has been laid up all over the world and is currently docked in Philadelphia. More than once the ship was almost scrapped.
In my original notes the idea was that some company purchased the SS United States and refurbished her. But I quickly discounted that as unrealistic. Instead, I researched the United States Lines and discovered their early flagship the SS Leviathan. With that name, and the original blueprints of the SS United States, a company built a “state of the art” luxury liner, equipped with offensive capability to defend against pirating with a maximum speed of over 50 MPH. I guess my original notes proved to be something more than an idea.
Last week in New York City, Crystal Cruises, a luxury cruise line, “announced it will save “America’s flagship,” the SS United States, and embark on the enormous undertaking of bringing the ship into compliance with the latest standards, and returning her to oceangoing service.” While I figured some sort of redevelopment plan would be put forward, as was done with the Queen Mary in Long Beach, California, the fact that the SS United States will actually sail again as a luxury liner just proved once again that if you stay true to your mission with persistence and patience the impossible can become a reality. My congratulations to the dedication of SS United States Conservancy to save and preserve the ship and to the visionary leadership of Crystal Cruises to see the SS United States return to the high seas.
Suddenly the world premiere of SOS United States on the SS United States just became a little more possible. I remember sailing on the Queen Mary 2 in 2007 and saying to my mother how grand it would be to have one of my films screen on an ocean liner. After years of planning and determination, Justice Is Mind had its international premiere on Cunard Line’s Queen Elizabeth on October 29, 2014.
As filmmakers we draw inspiration from other films, life events or experiences to create. It’s been well reported that Gene Roddenberry was inspired by Forbidden Planet to create Star Trek and that George Lucas was inspired by Flash Gordon (and other films) to develop Star Wars.
For me, the inspiration to create First World came from film and television. Two of my favorite science fictions films are The Day the Earth Stood Still and Capricorn One. Then there is the iconic TV show Space: 1999. Sadly, Capricorn One has been largely forgotten but for anyone who wants to see a good space conspiracy thriller with some great actors and cinematography, it’s a must watch.
As for SOS United States, I’ve always loved a good political thriller especially those from the Cold War. Discovering Seven Days in May and Fail Safe along with my love for ocean liners, I created a political thriller that is starting to gain some traction. With political thrillers on the rise, coupled with current world events, the timing is good.
Of course, for those that have seen Justice Is Mind you know what my primary inspirations were – Law & Order, The Andromeda Strain, Fringe and, yes, Dynasty. In so many ways, the genre mix in Justice Is Mind is reflective of what we are seeing today – especially on TV. As for my inspiration for In Mind We Trust? That would simply be Justice Is Mind and a conflux of current events.
It’s one thing making your film but it’s another getting to market. When the aforementioned films were made they were simply distributed by a studio. Pretty standard in those days. Ask any independent filmmaker and you not only have to be the creative behind the script, but a distributor and marketer at the same time.
Reading about the various challenges filmmakers faced at Tribeca to bring their films to market along with a myriad of interesting comments by Julianne Moore about independent films at CinemaCon, while there is tremendous opportunity to get your film in front of an audience, the navigation of this industry on the distribution front continues to intensify and diversify.
There was a pretty good article titled The Distribution Equation on Cultural Weekly that is worth a review. The big question I would love answered is why would independent films with limited theatricals runs sign with a distributor (for theatrical) if that was going to create a loss against the title of your film? It simply makes zero sense from a business point of view. Justice Is Mind has had 12 theatrical screenings and has grossed $13,357. Our total out of pocket costs were just over $500 (mostly from printing posters). On my end it costs nothing but time to present Justice Is Mind to theatres, write a press release and pitch the media. For me, from a business point of view, it’s much more important to show profitability than perception of “we signed with so and so”. “So and so” might look good on paper but red ink is still red ink.
This past week I pitched Justice Is Mind to another eight theatres. Yes, we have had a great run to date theatrically for our independent film, but why not make the pitch. You never know who’s going to say yes.
For those that follow me on Facebook and Twitter there is nothing unusual about me offering a one word status update “writing”. It usually happens on weekends when I write this blog, but it was primarily for a new screenplay I was writing through a good part of 2013 and early this year. With Justice Is Mind in theatrical release, an idea suddenly came to me about an idea for a political thriller. It was the same for Justice Is Mind when I was working on First World. The idea just happens and then before I know it, I fire up Final Draft and start writing.
I am pleased to present the political thriller SOS United States – A visit by the Prime Minister turns into a political crisis when the President learns that a nuclear bomb is on an ocean liner heading to Boston.
Inspired by the Cold War political thrillers Fail Safe and Seven Days in May with the contemporary pacing of Clear and Present Danger, I have always enjoyed this genre of film that revolves around government conspiracies, intrigue and deception. Another one to add to this would be Advise and Consent.
With SOS United States announced, my efforts begin in earnest to raise the capital to produce the film ($300,000). This isn’t a project that I plan to shop around to option, this is a film that I plan to direct. That being said, it all starts with the concept poster. The poster you see here was designed by the talented Jestyn Flores of Pixel Eight Design. I met Jestyn through Shannon McNamara. Shannon plays the court clerk in Justice Is Mind. Yes, it is a small world!
But while all this was going on, there was something else I was waiting for—another review of Justice Is Mind was scheduled to publish on Saturday night. While I was working on the closed captions file for our VOD distributor (Kinonation), this coming review was top of mind. With our VOD release coming up, along with our international premiere, the goal, naturally, is to secure positive press. After I finished the closed captions file (Zencaptions is great!) and uploaded it to Kinonation I went over to the reviewers website and there it was.
“It’s Mark Lund’s writing that makes these interactions what they are, for there is so much intelligence in the dialogue.” When I read this part of Angeliki Coconi’s review of Justice Is Mind on Unsung Films there was a moment when I almost started to cry. Yes, for all the Swedish stoicism I project, it’s my French half that takes over in moments like this. There is nothing more satisfying than having your work acknowledged. But in addition to my work, I always like when a reviewer calls out actors for their performances. In the case of this review it was Kim Gordon (District Attorney Constance Smith), Paul Lussier (Henri Miller’s lawyer) and Carlyne Fournier (Dr. Eve Pullman). When I think of the hours they put in to develop and prepare these very involved, and dialogue heavy, characters, I just want to thank them again (and all the actors and crew) for making Justice Is Mind possible.
When I think of the hours, days, weeks and months I have sat behind a computer writing, researching, re-writing, printing, presenting, etc., reviews from Frisco Kid, The Barnstable Patriot and now Unsung Films, makes this process all the more worthwhile. But it has been the local press that has fired up interest in the film, from the Spencer New Leader to Worcester Magazine to the Nashua Telegraph, which brings audiences into buildings that translate to word of mouth, social media, etc. It’s all part the plan to present Justice Is Mind and now SOS United States to the widest possible audience.
Of course, I am not so taken with our accomplishments to date to know that there will not be some difficult navigating down the road. Indeed, for all the red carpets, there are those business issues I’ve had to deal with along the way (some not so pleasant). There will be those that love what you do and there will be the detractors. Indeed it can get very hot in the kitchen, but that just means that something is cooking.
On the bridge.