From actors I’ve cast in past projects to learning about new talent in the region, since the notice went live I’ve been very encouraged by the quality of the submissions. However, for this project I’ll be reaching out to additional sources for certain roles. The goal of the table read isn’t just to hear the script, it’s also about casting possibilities for the feature film itself.
The character of Cedric Yonah is particularly important to the overall story. Not only does the actor need to be great at his craft, but he also must have a certain look. I can almost say that I’ve received enough quality submissions for all other characters, but I’m still looking for this one. This isn’t exactly “The search for Scarlett” but let’s just say the search is ongoing.
This reminds me of the classic sci-fi film The Day the Earth Stood Still. As I understand from the development process, director Robert Wise didn’t want to have a recognizable actor walk out of the spaceship as it wouldn’t have been believable. But it had to be an actor with gravitas and a certain look. The casting of Michael Rennie as Klaatu/Mr. Carpenter was brilliant.
Casting is not an easy process. I remember the three hundred plus submissions for Justice Is Mind. While I was fortunate to find some of the leading roles from the short film version Evidence, there were numerous parts that I needed to cast. In as much as you want to see a quality audition, it’s also about how you get along with the actor during that brief time. I do believe it comes down to the sixty second impression.
However, what I still don’t understand is how simple submission instructions aren’t followed. When I submit for a project I make sure I follow the instructions to the letter (why wouldn’t I?). If you refuse to follow submission instructions, how are you going to be during filming? I kid you not I received a submission that literally said here is my IMDb link and Google me. Sorry, if you can’t submit a required headshot, resume and link to your reel you just get relegated to archive.
But this is just part of the development process. Every project takes on a life of its own. I always find it interesting where a project gets its start. First Signal started at the Naval Justice School. But Justice Is Mind actually got its start when I wrote the sequel to First World and was researching mind reading technology. Thus my discovery of the 60 Minutes story from 2009 on thought identification being developed at Carnegie Mellon University (CMU). Four years after that story Justice Is Mind screened at CMU.
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.