New Course
The Prime Minister arrives on Commonwealth One to meet with the President…
Let’s make one thing clear, no matter the state of the markets there will always be films because filmmakers are a determined bunch. As independent filmmakers, we abhor gatekeepers, don’t follow the rules and can generally spot a bullshit artist before they even get onto our radar screen (as a former magazine publisher I’m really good at the latter). Yet, although the industry is changing at lightning speed, there is a still a rigidity to change at the expense of the consumer and filmmaker.
…in a bunker in New York State.
The reports coming out of the American Film Market were beyond telling, “It’s the lightest market in memory” “We can’t keep making films for the same size of budget. It can’t be the distributors taking all the risk. The talent has to learn to bring down their fees and bring down the budget. Take a share of the backend and share the risk” “It’s the worst I’ve ever seen it.”
None of this should be a surprise as the market indicators have been there for years. While some brilliant independent films like The King’s Speech, The Imitation Game, Dallas Buyers Club and Woman in Gold have done excellent, this recent story in Variety titled, “Why Are Oscar Contenders Flopping at the Box Office?” reflects a new reality. Simply put, talent needs to take backend risks and budgets need to come down considerably or producers will not finance. The red carpet should represent accomplishment not red ink.
Intelligence reveals that a nuclear bomb may be on the SS Leviathan heading to Boston.
I have always believed that it’s story first. Without a solid story, talent can’t breathe life into it. It’s story that gives you the hook with the media. I proved this for years as a magazine publisher and with Justice Is Mind. Sure there are the literal handful of actors that will garner media attention and move audiences to theaters. And sometimes, like we saw in the aforementioned films (along with recent Bridge of Spies), all the ingredients were there – story, talent and crew. But when you read that there were only 10 “bankable” films out of 2,000 at AFM, you can’t help but feel for those producers and filmmakers that are sitting on completed projects waiting to find a home.
As I’ve stated before I will state again, I firmly believe that a theatrical release is critical. First, the media is more apt to report on a film that’s in a theater. Second, it builds audience awareness. Third, it generates real revenue. Sorry, while I love the art of filmmaking, I’m a capitalist.
The Prime Minister orders in the Queen Elizabeth aircraft carrier and F35s to stop the ship.
My original business plan for Justice Is Mind didn’t even call for a theatrical release. I soon realized not only the value of a theatrical release, but that theaters and audiences want to see something different. With Justice Is Mind they saw an engaging story brought to life by talented actors, filmmakers and crew. It wasn’t some theory that we brought audiences into a theatre with a public relations hook and grassroots marketing, it was a fact. It’s time to do it again.
With domestic surveillance ordered by the President, the National Security Agency soon reveals a clandestine military plot in his own government.
While I have been presenting my slate of films to potential producers and financiers, my findings have been trending towards one particular project—SOS United States. From real world events around surveillance, cyber-attacks and shadow governments, to various TV series and films that center around political thrillers, this project is resonating the most.
An earlier threat not to intercept the SS Leviathan becomes a reality when the United States power grid comes under a cyber attack and military satellites go dark.
Having completed updates to the script last week, I’ve already started to source locations and marketing partners along with a media plan. While there has been some general interest on the equity side, it may take the same course I took with Justice Is Mind to go from script to screen – crowdfunding.
Full ahead.
On the eve of a military unification treaty between the United States and United Kingdom, the President and Prime Minister order a drone strike to neutralize the crisis.
Five Year Mission
Gail Sullivan as Helen Granger with Robin Ann Rapoport as Margaret Miller in Justice Is Mind.
No this post isn’t about the five year mission about the Starship Enterprise (I love Star Trek), it’s about the concept, development, launch and marketing of an independent feature film called Justice Is Mind.
With our second anniversary screening coming up on August 18 at Cinemagic, it’s hard to believe that five years has gone by since I first started to write the screenplay. From the screenplay, to the short film Evidence to the feature Justice Is Mind, it is a journey I would do again in a heartbeat.
In the Senate. Charles Laughton and Walter Pidgeon in Advise & Consent (1962).
This past week Gail Sullivan who plays Helen Granger in Justice Is Mind commented on Facebook, “How many movies are showing after two years? Just the classics, which means this one is definitely a classic!” Those words meant a lot. But it also meant something else that’s very important to remember, just because a film is released once and isn’t part of the “studio system” doesn’t mean that it can’t be released again and again.
Visiting the replica of the Senate at the Edward M. Kennedy Institute for the US Senate last weekend.
Will Justice Is Mind become a true classic? Only time will tell. But the glorious thing about filmmaking now is that video on demand makes longevity possible. Gone are the days when a film is made and forgotten (unless it develops a cult like following). For me, it’s all about discovery. While I love contemporary independent films like The King’s Speech and The Imitation Game, it’s classics like Laura and Advise & Consent that are true finds for me. Then there is my passionate interest in 1950s science fiction (add The 27th Day to my list). But in the here and now there is Justice Is Mind to market.
This past week I finished up my interviews with the regional press. What will they report on? That’s up to them. But like I said last week, I try to always provide some sort of newsworthy hook. From the concept of the film, our screenings to date, the anniversary and the development of the sequel In Mind We Trust, all the reporters had their own take.
One asked if I would have done anything differently. Yes, there is one thing. I wouldn’t have wasted good money listening to “experts” about film festival submissions, I would have just planned a theatrical release from day one. Thankfully, I got wind of the festival world before our world premiere so I started working feverishly on our theatrical release in the summer of 2013. If you want to read an excellent article about the film festival world, check out this article. Bottom line, unless it’s a film market (Toronto, etc.), I’d much rather have my film screen in theaters dedicated to my film (with audiences paying for tickets) rather than having to play in a chorus with others. Sorry, I’m an “independent” filmmaker.
So as I continue to work on the final leg of the marketing and public relations push for Justice Is Mind’s second anniversary screening on August 18 at Cinemagic, I’m reaching the apex of the screenplay I’m adapting from the book Winds of Fall. Actually, that’s timing pretty good for a first draft to be finished by the fall.
The mission continues.
The Ashton Times 