Last week I had the opportunity to submit In Mind We Trust as a pilot for a TV or Web series. As some of you know, In Mind We Trust is the sequel to Justice Is Mind. When I wrote the sequel a couple of years ago, I think the idea for a series was always in the back of my mind.
The question I had before I submitted was that the pilot might not make sense unless someone watches Justice Is Mind. The response back was pretty straight forward. “…to have a lot of unanswered questions at the end of a pilot script — it opens up the world any mysteries for the series.” Well if there’s questions they want, they’ll get it with this story!
It’s stories this industry wants and needs. Sure we read how the major studios are just focused on tentpoles (I loved Wonder Woman by the way), but the terrestrial networks and OTT services just continue to expand and need programming to fill their schedules. With Apple, Facebook, Vice and others actively moving to original series orders, the quest for stories continues.
The one piece of advice I was given when living in Los Angeles was to always have more than one project ready to present. I didn’t fully grasp it at the time, but it makes total sense. Some may love sci-fi but have no interest in political thrillers. Others may not want something sports related, but are looking for a drama. Well, the latter fit the bill with In Mind We Trust.
Personally, if I had my druthers, who wouldn’t want to see their concept set up at a Netflix or Amazon. When I see the production values of The Crown and The Man in the High Castle (two of my favorite shows), it’s just amazing where the industry has gone over the last several years. But like anything in this business, it’s about time and in the case of a series—staffing.
Unlike a movie that can be staffed pretty quickly, a series requires an unprecedented amount of personnel. Just take a look at the end credits of a show or their listings on IMDB. These aren’t just one off projects like a movie, these are, if the show succeeds, long-term commitments. But before any of this is even remotely considered, it comes down to the story itself.
When I think of the number of mind-reading, privacy and intelligence agency articles being published on a regular basis, I certainly think In Mind We Trust has as good a chance as any of getting a review. Thankfully, the concept has already gone through some market testing with Justice Is Mind. From a theatrical release to media coverage and VOD, anyone looking at this project can already see it’s more than just words on a page.
This past week I finished watching season one of The Man in the High Castle. Between the story, acting, production values and world building, it has to be one the best, if not innovative, shows I have ever seen. This groundbreaking series from Amazon yet again demonstrates that the streaming services have arrived. When you watch a “TV show” produced by and for a streaming service that exceeds the quality of cable TV, you can see how “cord cutting” has come into being.
But like so many TV series and films, it was interesting to learn that The Man in the High Castle was in development for years. It just demonstrates that persistence and patience is again the key to moving forward in this industry as nothing happens overnight. When Evidence, the short film version of Justice Is Mind, went live on Amazon in the US, Japan, United Kingdom, Germany and Austria this week, I was reminded by one of the actors that Evidence was five years old. Justice Is Mind was written in 2010, followed by the production of Evidence in 2011 and the feature film version in 2012. Since Justice Is Mind was released in 2013 the marketing has been ongoing. Why? Because the next goal is a TV series around the concept. When will that happen? In this industry, that would be anybody’s guess.
An editor from one of the industry trades recently posted the following to their Facebook profile, “The hardest part about this industry is even when you find your champions, so much of your success is out of their control. They can work their asses off to help you, but they’re still climbing Mount Everest while dragging a dozen anvils behind them.” The point is obvious, this is an industry that works on teams. All you have to do is look at the cast and crew lists on IMDb to see the staggering number of people involved. For Justice Is Mind that number was well over 100.
A friend of mine recently said to me, that I write what I can produce. That’s partially true. Justice Is Mind was written exclusively with the idea that I might be able to pull this off within my own network of contacts. Whereas a project like First World requires substantial resources with my political thriller SOS United States falling in the middle. Even the short film version of First World had a cast and crew of over 25.
Since First World and Evidence went worldwide on Amazon, it has been interesting to see new audiences discovering these projects. That is the glorious thing about streaming. Your project is discoverable. But in each of these projects, they had some sort of theatrical and exhibition push prior to their online premier. It’s this type of audience development that propelled them forward online.
The one thing I remember when writing Justice Is Mind is that I could visualize it happening. The same is holding true for this political thriller I’m writing around the sport of figure skating. Of course there are elements that raise the bar from my last feature, from filming on ice performances to “dressing” an arena to look like a “world championship”. But like the Justice Is Mind project, the plan is to first produce a short film version to not only generate interest in the project, but to develop a team that can see it through.