There were many times when I was in the process of making Justice Is Mind I remarked that my experience running a company helped create my first feature film. Producing a film is nothing more than project management and being able to compartmentalize numerous areas of a production. From personnel to the creative, it’s keeping everything in order, on schedule and on (or under) budget.
I can’t tell you how many times I come across filmmakers that are all excited to direct only to see a project fall off the radar in post-production or worse not promoted. When I think about it being a magazine publisher is just like being a filmmaker. Pre-production is the creation of the editorial, production is organizing the editorial around advertising with post-production creating the final product, distribution and promotion. Sounds like a familiar process doesn’t it?
When I was operating my publishing company we were financed on cash flow only after a brief round of investment capital in the first few years. I had to figure out ways to do things that saved money while producing a premium result. I’ve brought this experience to my film work. Back in the day publishing companies would over staff for even the most mundane type of work. No wonder when the financial bottom started to fall out in that industry their top heavy structure caused them to collapse. The same holds true for filmmaking.
Certainly for productions of a substantial budget (like a Star Wars), you need a sizable crew for obvious reasons. But honestly I was on a recent production and was astonished at the ridiculous number of crew they had to film a simple bar scene. First, it was clear that there was no rehearsal. Second, the production of the scene fell on its own weight when the moving of a camera position was a herculean time consuming task. This was not a science fiction production or one that was going to require any special effects in post. This was just a bar scene. I sometimes will go incognito to see how other productions execute. Sometimes I learn things that I take with me, but in the case of this production you learn what not to do (unless you don’t care about a budget).
I think the understanding of small crews came from my experience on set during those early days of publishing when I was frequently interviewed. Sometimes they would come to my office, but I usually would go to a location. Generally, there was just a camera operator, producer/director (who conducted the interview), sound operator and sometimes a gaffer (lighting). On occasion a makeup artist would be present. If there’s anything I learned about being on TV was the importance of makeup. Believe me the horror of seeing yourself on TV without makeup is something you’ll never forget! And with today’s high definition it’s just that, a makeup-less face will overly define everything.
On Friday I picked up the first three VHS tapes I had converted to digital. I have to say I think they came out pretty good. Of course things like this bring back all kinds of memories. It was a different time back then when social media didn’t exist (that wasn’t a bad thing). But when I look back we were always pushing the envelope. Creating targeted direct response commercials that ran during figure skating broadcasts, producing one of a kind themed cruise events and distributing our enthusiast magazines internationally.
If all this sounds familiar with how I produce and market my films, this is where it came from. But one does not execute alone. In all cases it’s about working with a dedicated team that sees your vision.
As 2015 comes to a close, it seems fitting to reflect on the past year as we look forward to 2016. The title of my end of year post is not only about the industry but about the movie Spotlight – “The true story of how The Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core.” Having been a magazine publisher and now a filmmaker, Spotlight is an unprecedented film that must be seen. Simply put Spotlight presents the importance of investigative journalism as a filmmaking triumph.
On a personal level, I sadly know more than a few victims of sexual abuse by Roman Catholic priests. On a knowledge level, very few people in Massachusetts didn’t know about this travesty in one form or another. You either heard about it, or knew a victim. But it was the “Spotlight” team at The Boston Globe that brought light to the darkness of so many. Spotlight is more than just another great movie, it represents the power of film and reminds us about the vital role that journalists have in a democracy. They are the voice for the voiceless.
I write passionately about this because when I was a magazine publisher there were more than a few times when I was pressured by the “powers that be” to silence a story by intimidation. I never caved in. I worked for my readers, not for some institution.
2015 has been a great year for film. From Spotlight, Trumbo, The Martian to the return of Star Wars, there was something for everyone. I almost feel sorry for The Academy. They have some really hard choices to make. But what it proves is that independent film, despite industry reports, is alive and well. This year proved, yet again, that original ideas still flourish.
The highlight for me this year was the 2nd anniversary screening of Justice Is Mind this past August. In addition to a reunion of the cast and crew, our 21st screening was another reminder that audiences want to see original works and they don’t care if those involved are household names. They just want to be entertained.
Perhaps the icing on the cake was the volume of media that covered the event from Worcester Magazine to our first international coverage in The Huffington Post. As Pamela Glasner stated in her article, “Justice Is Mind takes on less of a sci-fi feeling and more of a ‘forward-thinking documentary’ feeling.” All these efforts have been part of a long-term marketing plan to continue to introduce the film to new audiences. You can be sure, there are plans in the works for the 3rd anniversary screening.
This past year I continued to polish my political thriller SOS United States and In Mind We Trust, the sequel to Justice Is Mind. When you consider the current political climate around the world and advances in mind-reading technologies, both of these projects continue to be well timed. There are significant efforts around both of these projects that I plan to introduce next year.
If there is one thing I learned in 2015 is that you have to continuously reach out to expand your networks because you’ll never know what’s possible until you try. From direct discussions with private equity groups and hedge funds to presenting new projects to relaunching my personal website and some new clients, this has been a most interesting year.
But as Constance Smith says in Justice Is Mind, “I didn’t promise you an easy case.” Nothing in this industry is easy. It is work done the old fashioned way like an investigative journalist. You research, email, telephone and network. As producer John Davis (The Blacklist) told The Hollywood Reporter about what his father Marvin Davis (who once owned 20th Century Fox) taught him, “Get your ass out of bed. Work your ass off. And when you drill 80 straight dry holes, which he did, make sure you drill the 81st, which he would also do and hit the mother lode.”
Russia. Spain. Taiwan. First, the email came in from a colleague if I could assist a filmmaker in Spain to register his film in the United States. That was followed by a university in Taiwan that wanted to license Justice Is Mind. As the week drew to a close a distributor in Russia approached us about a VOD for Justice in Russia, Ukraine and Kazakhstan.
In the world of filmmaking “chain of title” is critical to establish a variety of documented steps of ownership rights to a film. As a former magazine publisher, I’ve been working with copyright matters for years. Sadly, I’ve seen some projects that don’t take this matter seriously. If you don’t have a properly established chain and necessary releases, it can severely complicate matters when it comes to dealing with a distributor. The chain starts with registering the script. Believe me it’s worth the fee.
The next chain of events this week came when I was contacted by a university in Taiwan that wanted to have Justice Is Mind for their library. Obviously, I was flattered and directed them to the variety of download and streaming options for the film. I even pitched them to screen the film like we did at some domestic universities here in the United States. It will be interesting to follow this development. Perhaps it could serve as a model for international university screenings.
On Thursday we received an offer for Justice Is Mind from a distributor in Russia that wants to distribute our film on a variety of VOD platforms in that part of the world. While I’m still reviewing the agreement, unlike some other recent distributors that approached us, this one appears to be pretty buttoned up. This is when I go back to my magazine experience and a phrase from President Reagan “Trust but verify” when it comes to foreign companies. I don’t say this because of the United States/Russian connection that Reagan was referring to during the Cold War, but from a business point of view with independent verification aka “due diligence.” Because once you sign on the dotted line and transfer the film assets, it’s done.
What has been very interesting for 2015 is how much the film industry has changed on the global stage. Everything from financing to production to distribution has literally taken a 180 degree turn. Some will say for the better, some for the worse. It all depends on your point of view. Film Specific had an interesting take on all of this last week. Their webinar can be found here. But if there is one thing that prevails in all of this it’s marketing. Yes, I’ve written about this before. In my view it’s marketing on all fronts, from presenting new projects to potential investors such as SOS United States and In Mind We Trust, to the continued marketing of established projects such as First World and Justice Is Mind. As I’ve said before, consistency is key for the long term.
Of course while all this was going on, I was patiently awaiting the release of Star Wars: The Force Awakens. I remember sitting in a theater in 1977 and seeing Star Wars come to life. Was it that moment that I wanted to be a filmmaker? I don’t know. All I do know is that with all the issues the world is facing right now it’s great to see a film that brings everyone together in a unifying force to enjoy a medium that the world over appreciates.
Yes, the title of this post is a twist on the book Scarlett, Rhett and a Cast of Thousands, but I was reminded just the other day on what goes into making a feature film. It was early summer in 2013 and our world premiere date for Justice Is Mind was set for August 18, 2013. Yes, the film was edited and scored, but we were still under the gun on those numerous last minute items like color correction and sound mixing. The one thing left to finish was the closing credits. It wasn’t until I started to add everyone in when the number of names credited was finalized at 201. But add in the employees of our location partners and the number was well north of that. It’s true when they say it takes a village, or maybe in the case of Justice Is Mind a small battalion, to make a feature film
With our Second Anniversary screening coming up on August 18 at Cinemagic in Sturbridge, Massachusetts, planning is well underway. As I’ve mentioned before, I treat every screening like it’s the first one. The deal with the theatre is secured; cast, crew, location and marketing partners are notified; a press release is sent and then there is the media pitch. My special thanks to the Worcester Herald and Examiner for their early coverage of the special day.
I am delighted to confirm that several of the stars, co-stars and featured performers have already confirmed their attendance. While many of us have traveled the theatrical release tour together, August 18 will mark for the first time in two years the coming together of those that I haven’t seen since the world premiere. Indeed, we are all looking forward to it.
But aside from a reunion of some of the cast and crew, it is about presenting Justice is Mind to new audiences. The work that goes into the production of a feature film is monumental. Indeed, some producers I know are starting to pull back on producing projects as they are time intensive. But when a film is finished, when you see it play in a theatre, your TV or even your smart phone, you realize at that moment that all the sleepless nights, self-doubt and over analysis is over. The work that has been put in by so many is being presented to the world. Thus, you want to do it again and again. At least I do.
The film industry is changing even more rapidly that it was when I first created the world of Justice Is Mind. But at the end of the day content is still king. There are now more platforms available to watch a film than ever before and they need product to fill their pipelines. Whether it’s a tentpole like the upcoming Star Wars (I can’t wait) or a truly independent film like Justice Is Mind, there is something for everyone.
The days are long. You feel there will never be an end in sight. But then there is that moment after the final rendering that the heart and soul of a cast of hundreds comes to life. For it has been the reception that Justice Is Mind has received that has led to the development of the sequel In Mind We Trust. By this time next week, the concept trailer will be released.
Justice Is Mind – The Second Anniversary Screening – August 18, 2015.
Tickets now on sale.
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.