After dealing with a massive snowstorm the day before, the first day back at the Naval Justice School went well. As this is my fifth time doing the program, these are like class reunions between the actors and staff. But with every new class, we have new actors join the program.
I can’t speak for other regions, but in New England the acting community really is about six degrees of separation. While I may not have worked directly with some of the new actors, the other actors have or are familiar with their work. What struck me interesting with one of the new actors was him telling me about a project of his own that he’s putting into production himself. Sound familiar?
While any actor, screenwriter, cinematographer, etc., wants to be hired, there’s nothing more satisfying than creating your own work. It truly is magical watching your performance, your words and your images come to life. But one does not magically snap their fingers to get a project off the ground. In the end it’s about partnering with good people that believe in bringing the project to life.
In addition to the casting notices going up this week for First Signal, location searches will also begin in earnest. As I mentioned to someone already involved in the project, the way I approach a location is to trade the opportunity to shoot with a mutual public relations and marketing plan. I’ve taken this approach with the films I’ve produced and, with the exception of $100 to shoot in church for Justice Is Mind, it has worked.
The last thing you do as an “independent” filmmaker is ask what their rate or how much they would charge. I promise you, you’ll get frustrated when you hear numbers that are impossible to meet. Worse, you meet them and go broke in the process. You want to work with people and companies that are excited about the project. But that excitement is not without responsibility.
On a set I am the first to arrive and the last to leave. Why? Because it’s my responsibility to insure that I leave a location the same way I found it. Case in point was the conference room we used in Serpentine. In the film, the location was at the FBI in Washington, D.C. In the real world that was the Aquarius board room at The Verve Crowne Plaza in Natick, MA.
That room worked out great in the film, but it needed to be dressed. I purchased Washington, D.C. images to cover up the posters on one wall and added The Brandenburg Gate during the Cold War era to highlight a certain moment in the story (it was also an Easter Egg for Justice Is Mind). How did the viewer know they were at the FBI? Stock footage the moment before that showed the exterior of the FBI. What’s interesting about that footage is that one of my favorite shows, Madam Secretary, has also used that same clip.
With the script breakdown for First Signal almost complete, look for a casting notice in the coming days. And that military exercise I mentioned last week? Looks like that contract is coming through.
In every film there is the inciting incident. That moment (or moments) that drives the story in Act 1 from the established world of the characters to a turning point when the characters have to “act” to drive the story in Act 2. In Justice Is Mind it’s when Henri Miller collapses on his property. In SOS United States it’s when we learn there is a nuclear bomb on an ocean liner. In First World it’s when we learn what Apollo 11 discovered on the Moon. In the sequel to Justice Is Mind it’s when….sorry can’t reveal that yet!
There is one area of Justice Is Mind that has resonated universally well with audiences and those were the courtroom scenes. In the United States I live in a country of perpetual congressional hearings. I swear they should have their own network! In Justice Is Mind we learn that there were congressional hearings that approved the FVMRI procedure. In the sequel, a new round of congressional hearings is now underway. As a writer it will be interesting to explore this process and how it works. Much like I had to do with the courtroom scenes in Justice Is Mind, it comes down to research. In addition to how congressional hearings are administered, I’ve also been revisiting fringe science in terms of mind-reading and DNA sequencing. Suffice to say it’s been an interesting journey so far.
With a few investor conferences scheduled this week, it should be an interesting one for SOS United States and First World as well. A screenplay, in my view, is like an architectural drawing. There it sits while one proposal after another is submitted to secure funding to break ground and build something new. Indeed, that’s the way Justice Is Mind was built. And really is this process any different from that of an actor going on an audition? Like an actor wanting to secure a part in a solid production, the same thing holds true with securing an investor for a film. It’s more than just talent and capital, it’s about long-term partnerships.
I read an article in one of the trades some months ago where a producer mentioned something along the lines of “do I want to be in business with these people for five plus years”. That really is what this industry comes to…a long tail approach. Sure, you have your “premiere” but the business continues long after that. Just this past week I had a couple of conversations with schools that may be interested in screening Justice Is Mind and there are more VOD platforms coming online soon. Building your new architectural wonder may be the fun part, but then you have to have it occupied.
Speaking of building, that’s what I’m doing with the sequel to Justice Is Mind. When it’s completed I’ll have a slate of three films ready for production. I’m writing the sequel not only because I want to, but because some people have queried me on a sequel. Why not have something at the ready or at least in the works?
But like a building, a screenplay just can’t be thrown together. It has to be carefully constructed. And like the original story in Justice Is Mind, the sequel isn’t just an addition it has to tower on its own.