July 20, 1969. The 49th anniversary of the Apollo 11 mission – “we came in peace for all mankind.”
Although at 4 years old, I was too young to remember the historic event of the Eagle landing on the Moon, I fondly recall the later Apollo missions in the early 1970s. Those grainy black and white pictures being transmitted from the Moon to our television sets was a remarkable achievement. Indeed, it truly was “one small step for man, one giant leap for mankind.” In those days the world watched in wonder as the impossible was achieved, not once, but several times.
When you think of the new technologies, sciences and discoveries that resulted from the space program of the 1960s and 70s, it’s clear that a giant leap was achieved on numerous levels. You can’t bring together that many scientists and engineers and focus them on a single end goal without achieving breakthroughs that were literally out of this world. Of course, another result of the space program was the motivation it gave to so many.
In my case, I developed an interest in astronomy which led to my passion for science fiction. When I combined these interests and wrote First World in 2006, I had no idea where that journey would take me. In the film world it led to the production of the short film version of First World in 2007, followed by Evidence and my first feature film Justice Is Mind. In the real world, I have been fortunate to see the space shuttle Atlantis land at Edwards Air Force Base, Discovery and components of the Apollo program at Steven F. Udvar-Hazy Center, the Enterprise at The Intrepid Sea, Air & Space Museum and Freedom 7 at John F. Kennedy Presidential Library and Museum.
In the world of entertainment, two of my favorite TV series that involved the Moon are UFO and Space: 1999 with my favorite sci-fi movie being War of the Worlds (1953). But over the last several years “Hollywood” has produced some excellent must see films. I could list many, but my two recent favorites have been Hidden Figures and Arrival. Two completely different films, but with compelling messages of the possible when faced with the impossible.
As for possible, progress continues on First Signal. With Daniel Elek-Diamanta designing our first promotional poster, the look of First Signal is beginning to take shape. With more location scouting planned over the next several days, I have no doubt that the right location will soon present itself. When a launch is planned, all the conditions need to be right. I don’t want to settle on a substandard location just for the sake of keeping a schedule. Not only do I need to be excited as a director, but I want the actors and crew to feel equally motivated with their surroundings.
This past week was another busy one as pre-production moves along for Serpentine. But today was a visit to The Collings Foundation production of “Battle for the Airfield”. To quote from their website, “There will be over 300 re-enactors representing several branches of Allied and Axis military participating in an amazing re-enactment.” The event did not disappoint.
Although it was raining, the announcer reminded us all that wars are not always fought on warm sunny days. Indeed, it was like watching a conflict in real time. Unlike a movie set with constant calls of “action” and “cut”, there was no stopping once the action did start. When the tanks started to roll the re-enactment was just as good if not better than any Hollywood production. The filmmaker in me wished I had cameras recording it for some upcoming production. All I could think of was the battle scene in 1953’s War of the Worlds!
Just prior to the start of the battle, the national anthem was played. I’ve heard our anthem played in many venues, but there’s something special to hear it against a military backdrop with veterans present. When I think of the tens of millions that have sacrificed themselves for this country, this American proudly stands and turns to honor our flag and all those that have defended it.
Speaking of old glory, the flag will be part of the set dressing for our FBI conference room scene at The Verve, Crowne Plaza. On Thursday I visited the hotel for a site visit. The room looked just as great in real life as it did in the pictures I saw prior to my visit.
A site visit is another one of the critical components to pre-production as there are usually things that need some sort of adjustment or that may have changed. In this case, a couple of posters to cover up artwork on the opposite wall and a movie screen has replaced the TV screen. Actually the movie screen is better as it gives us more room in post-production for images that our VFX specialist will put in. A special thank you to Lynne Luongo, The Verve’s General Manager, for the personal tour!
Earlier in the week I was reading the script again for other creative components. One scene has a character leaving in a car—a car that will be getting a fair amount of screen time. As this character comes forward to sponsor a skater in the story, I wanted something high end that said wealth.
Although there are countless dealerships in the area, there is only one luxury dealer I wanted to approach to see if they might be interested in working with us. When I visited Foley Motorsports website, I was thrilled to see that they have direct staff contacts, including owner RJ Foley. After his review of my presentation, I’m delighted to report that Foley Motorsports will be providing a luxury vehicle for Serpentine. Now, here’s fate for you, his daughter used to be a figure skater and will be appearing as an FBI Agent at The Verve!
As for figure skating I visited Northstar Ice Sports again this week to work out some additional details on our upcoming shoot and to skate again. Yes, I’m getting the skating legs back underneath me to assist in the production when we start to shoot the on ice scenes. It is interesting being back in a rink again and on the same ice as my first coach Denise Marco, who is not only the Executive Director of Northstar but will be playing Elizabeth Rogers in Serpentine.
It’s been just over a year since I completed my political thriller SOS United States. Like all my screenplays, I revisit them after some months for various edits. Part of the general premise revolves around a cyber-attack on the nation’s power grid that also cripples military satellites. Imagine my response when Emmy and Peabody Award winning journalist Ted Koppel’s book “Lights Out” was released last week. As Koppel stated on CBS This Morning, Centcom Commander General Lloyd Austin had told him, “It’s not a question of if, it’s just a question of when.” Needless to say, Koppel’s book will now be part of my “general” pitch with SOS United States.
As American’s we like to think we are number one, that we are an invincible. Sure, we lead in many areas, including our military capability, but unless you are truly living off the grid we all remember the Sony Entertainment hack and one drive down most streets in our nation says – fix me. It’s always a positive when a journalist like Koppel shines a light on something we take for granted – electricity. Remember 1953’s War of the Worlds when the phone went dead after the initial alien attack took out the power lines? “That’s funny the phone isn’t on the same circuit as the lights.”
As for film, the American Film Market (AFM) starts next week. Their website boasts, “2,000 new films and projects”. You should see the catalogs of sales agents and the hundreds and hundreds of films that are represented. One does have to truly wonder how to stand out in the crowd. But stand out we must. Because, let’s be honest, it’s our project first before someone else’s.
It should be interesting to see how AFM resonates after Toronto’s tepid market. There’s no question that the recent box office troubles of Steve Jobs, Burnt and Our Brand is Crisis will be over analyzed and discussed. As filmmakers we are told by the “experts” that you need to attach stars to pre-sell into foreign markets, raise capital and secure distribution. But how many times do we see the absence of the consumer equation in this formula? It doesn’t matter what star you have in your film if the story isn’t there audiences won’t buy it.
Case in point I watched Marathon Man yesterday. Now there is a film that has stars and story. Imagine seeing the legendary Sir Laurence Olivier bring a film to life with the incomparable Dustin Hoffman along with the great Roy Scheider and the, what I believe, was the American debut of Marthe Keller. Watching the DVD special features, the passion of all involved truly made this film resonate at the box office in 1976, a film which still holds up today as a classic crime thriller.
This industry is a marathon. It’s easy to read about this great deal and that great deal, but we very rarely get the entire back story of the years it took to get to that point. By example, just this past week, two years after our initial release, a distributor in one of the world’s largest film markets, reached out to me about Justice Is Mind for VOD. It’s all at the preliminary stage, but it proves that long term marketing and promotion is effective.