A few months ago I thought seriously about attending the American Film Market (AFM). Aside from the fact that I’m due for a visit to Los Angeles to catch up with friends and colleagues, there’s no question that networking opportunities at AFM are important to anyone in the industry.
Before I spend some thousands of dollars to attend (or on anything), one does have to be practical about it. Will there be a return? In my view, “Hollywood” is a year round industry and “pitching” isn’t married to a film market. But markets are something I’ve been tracking for several years and when The Hollywood Reporter starts its day 3 daily with the headline, “AFM Dealmakers in Revolt! ‘There’s Nothing for Us’”, I’m glad I didn’t make the trek.
I predicted that when Hulu came online that VOD would be the future for independent film. Now in 2017, Amazon and Netflix are the saviors of independent film. Television, whether terrestrial, cable or VOD, has taken so many A and B+ actors out of the independent film world to the more lucrative TV industry. So what’s left? Well, to quote from The Hollywood Reporter’s day 3 daily, “A lack of big-name, must-have projects is leading to plenty of grumbling at the market, with some buyers wondering if this year marks the ‘death knell’ for the indies. Says one frustrated insider: ‘It’s B-, C- and D-quality stuff’”.
If you read the dailies from the film markets you know the hundreds, if not thousands, of films that are looking for some sort of home. Something to recoup the investment that has been put up for someone’s dream. This is an industry of dreams envisioned and dreams realized. It’s important, for obvious reasons, that we keep the dream alive.
In my view the dream will be kept alive with a good story. Plain. Simple. To the point. Star driven independent films only do one thing, drive up the cost of the film with no guarantee of return at the box office. That’s fact, not fiction.
When I wrote Justice Is Mind my goal from day one was to produce it myself (with investors of course). Sure, I presented it to some production companies, but the feedback was unreal. There is this assumption that after you do all the hard work you somehow need their help. Here is a recent email I received from a production company, “I didn’t had the chance to look in details at the project as they seem to be in too early stage for us. Don’t hesitate to keep us posted when you will have a budget, cast, financial plan.” Putting aside the horrid grammar, the question begs to be asked, “And I need you why after I’ve done all this work?” The answer is simple, I don’t need you.
Producing a film is not rocket science. You just need a good script and capital. Done. Yes, it is that simple. The “rocket science” comes up if you’ve never produced because there are countless details you need to know, particularly when it comes to post-production (sound engineering anyone?). It also can get involved if you decide to use a named actor and have to deal with the myriad issues around that. Seriously, at the end of the day a filmmaker just wants to see their dream come to life. Having produced four films (3 shorts and 1 feature) and seeing them come to life on the silver screen is a feeling like none other.
Tomorrow I start to write this new feature with the same production aim as Justice Is Mind. The title of this new feature may have the word First in it, but thankfully it will be the fifth.
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.
No the title of this week’s post isn’t a new TV series, but a character I introduced in Justice Is Mind that is greatly expanded upon in the sequel In Mind We Trust. And with EFM (European Film Market) currently underway in Berlin, Germany, it seemed particularly fitting.
Today marks one year since I wrote the first draft of the sequel. Yes, there have been some tweaks since then, but more of a decision on where to take the project. While Justice Is Mind was produced as a feature film, the next logical direction for the project is to present it as a TV series. I must have had that “in mind” when I wrote the sequel as it sets up the established characters from Justice Is Mind with new characters in a world where mind reading technology has permeated our way of life from the judicial system to immigration to employment and national security.
With Justice Is Mind released to positive reviews and In Mind We Trust written, I’ve been working on the story “bible” for the last couple of weeks. I’ve been down the TV series pitch process before with certain studios and production companies when my agent took out a series I conceived called Frozen Assets. It was essentially Dynasty meets figure skating and I worked with a leading writer of that famed TV show to shape the series. Being in pitch meetings is an interesting process and you really need to have your pitch rehearsed. I knew the sport, but this writer knew the industry. The show wasn’t picked up (figure skating was dying in the TV ratings at the time), but the experience was a real learning curve for me. On a side note my agent almost killed me when we pulled up to the Paramount gate and I said from the back seat of her car, “Jonesy! Hey, Jonesy!”
As for the industry, attention is on Berlin, Germany this week. Unlike Sundance which has turned into a showcase for studio productions and, in my view, lost its purpose as a haven for independent filmmaking, EFM is a unique film market to follow. It presents films from concept to completion. I might add that The Hollywood Reporter does a terrific job with their daily reports.
Reading the reports you can clearly see how the industry has changed the last couple of years. Sales agents want completed films and stars don’t guarantee any sort of success. I think Marc Gabizon of Wild Bunch said it perfectly when he stated in this article, “You see, film is a great business. It’s fascinating, but it’s also dangerous. You can’t forget about the risks, even when you’re successful — maybe especially then. There’s always a risk, but you have to make sure that if you have a flop, it doesn’t topple the whole company. Don’t bet the house on one or two titles.” By flop he was referring to Bradley Cooper’s Burnt.
While nothing is more exciting than announcing a new project, it does come down to risk. As a producer my job is to project a path of realistic profitability. As a director I need to deliver a solid and marketable project.
One trend I see coming out of EFM are the interesting political thriller type projects. This has been a consistent trend over the last couple of years and bodes well for SOS United States.
Last Monday I finished the first draft of the sequel to Justice Is Mind. By the early reports from those that have read it, they really enjoy the story. Certainly as a first draft there are edits, but all in all, I’m happy with it. It’s a continuation and expansion of the original story.
I think in the back of my mind I always had the idea for the sequel and planted clues all along the way in Justice Is Mind. Now with the sequel completed, it is also set up to continue as a pitch for a TV series.
When I first started to contemplate the sequel there were a variety of things that I knew would encompass a continuation. First, the sequel would start where the original left off. With a sequel you have to assume that some won’t see the original so you need some background to carry it forward. As I’ve publicly stated, Henri Miller has not been killed. It’s his resurrection that bridges the world of science and mysticism. From intelligence agencies, to secret courts, to scientific companies and the exploits of the Miller family, the story concludes at the Supreme Court of the United States.
The majority of the characters from Justice Is Mind return, but it’s in the sequel where we learn more about them and their various motivations. Combining the original characters with a variety of new voices, brings a new story to life that travels from New England, to Washington, DC, to Germany, Russia and Italy. From Senator Caraway leading the congressional investigation into pre-life memories to General Blair of Joint Special Operations Command on terrorism in Washington, DC to the President of Reincar Scientific. But through all this, the story centers around the Miller family. From the horrors of World War II to the present, the secrets of the Miller family are revealed in vivid detail.
In all my writing and research over the years, I can’t remember tackling something as involved as the sequel to Justice Is Mind. From past life regression, to intelligence operations, to the secretive FISA court, to Germany in World War II and studying case law and procedure for the Supreme Court of the United States. Personally, that’s one area of writing I enjoy – the research. You wind up learning things that you would probably never know unless you experienced it personally or actually wrote about it. While a satisfying experience, it is a labored one. This is why I’m such an advocate for laying the foundation with a complete and vetted script. The last thing I want to think of during production is the story, I just want to shoot.
While Justice Is Mind has 42 speaking parts (not including extras), the sequel has 61 with Margaret and Henri Miller leading in the number of dialogues and scenes. In so many ways the production of Justice Is Mind was a proving ground in terms of what was possible to accomplish. The sequel takes it up a deserving few notches – Margaret, Henri and Cast of Hundreds. Yes, a slight turn in title to a book about the making of my favorite film of all time –Gone With the Wind. For those that love that movie, I highly recommend Scarlett, Rhett, and a cast of thousands: The Filming of Gone With the Wind.
Those that follow me know me well enough that I’ve already started the process of developing the sequel for production. But that being said, a few observations of the New England entertainment market. We need a TV series in the region that incorporates a diverse set of talent – both known and unknown. As Justice Is Mind proved, talent on both sides of the camera need not be a household name for success.
What’s next? Synopsis.