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.”