This past week First Signal went to picture lock. This is a milestone in any film as it means that we are in the home stretch of post-production. The next steps in the process are color grading and sound mixing. We are still on schedule for a May completion. However, just as I was going to register for The Marché du Film (Cannes), the market was postponed until possibly late June.
Prior to this postponement, film festivals, sporting events, theaters and all forms of gatherings were being cancelled around the world. Countries were closing their borders, entire industries shuttering, tens of millions suddenly out of work. Companies instructing their employees to work from home. Financial markets all but collapsing overnight. The stock market losing trillions every time the bell rang. The military called up. Elected officials instituting never to be believed powers. The Department of Justice looking to suspend Constitutional rights. No, this isn’t a movie this is reality on planet Earth.
The existence and livelihood of 7 billion people is being threatened by a virus that has a worldwide case count of 318,000 and 13,000 deaths. Another statistic that is only now getting discussed is how many have recovered — 96,000. The question that begs to be asked is how long can this go on before the worldwide economy is permanently broken? A scientist friend remarked to me this week “that a good economy isn’t much good if everyone is sick.” My response was simple, “The sick need a good economy to get better. If we don’t switch it back on, there won’t be the capital to fix this problem.”
Yes, we certainly have some sort of new virus that needs to be sorted. Yes, people will die from it. But equally in the affirmative are the number of people that are recovering. The CDC states that from October – March 38,000,000 had the flu with 17,000,000 doctor visits, 390,000 hospitalizations and 23,000 deaths (these are all on the low end). Odd, I don’t recall the United States and world economy being shut down over this. But for some reason this new virus is going to “overwhelm” our hospitals. Who came up with that narrative? But one thing is a fact, this new virus has brought out the worst in humanity.
I’ve talked to a variety of people around the country and the world. None of them can believe we are in the present situation. We saw how fast governments and elected officials closed the world. We saw how fast the media (particularly cable news) and social media fed this frenzy. We saw how fast they stirred the world population into hysteria. We now see how civil liberties and constitutional guarantees are being threatened. I’m not a conspiracy theorist, but for those of us that think, one does need to question what happened. Why now? What truly is the reason behind this?
For the few I know that have lived through World War II, the country was never like this. Yes, food was rationed, certain products just weren’t available and forget buying a car. But for some reason, this virus calls for a worldwide economic collapse. In general the world, particularly the United States, was enjoying a solid economy with record low unemployment. In a week, that ended.
At some point, hopefully soon, it will need to be decided to switch back on the economy. Because one thing is truly certain, people, companies and governments will run out of cash either during the shutdown or when the unemployment ranks swell into the tens of millions when those less fortunate will need government services such as food and housing just to survive.
It’s time for common sense.
Sorting through the numerous business cards and materials I gathered at AFM, I began my follow ups a few days after I arrived home. The return correspondence has been very encouraging. For obvious reasons I won’t publish the names of the companies I’m talking with, but suffice to say things are moving in a positive direction for two of my projects. The devil is in the details of course, but as filmmakers we are used to countless details.
As I begin to ramp up pre-production for First Signal with a May production start date, I was talking to a fellow filmmaker the other day about the importance of insuring there’s a market for our projects after we wrap production. There’s simply too much time and money involved to wind up on a shelf which translates to holding up a return on investment.
I’ve talked about this subject before when I was marketing Justice Is Mind. It was vital to me that Justice was introduced in a theatrical setting. While many submit to film festivals at considerable expense and wait for an acceptance (a practice that was frowned upon at AFM unless it’s an A level festival with potential buyers in attendance), I pushed for a theatrical run. The result was a limited run of 14 theatres, box office revenue, an international premiere on an ocean liner and substantive media placements. If I worked for years to get my film off the ground the last thing I’m going to do is pay $$$ to a second tier film festival. Then wait weeks (if not months) for a decision by a committee, then, if accepted, be at the mercy of a programmer to place my film in a time slot convenient to the festival, ceding box office revenue (filmmakers don’t receive a cut from festivals) and sharing in their public relations efforts with other films. As you can imagine, the public relations and release strategy for First Signal is already in the planning stages.
Speaking of planning stages, I had the opportunity today to visit the American Heritage Museum in Hudson, MA at the Collings Foundation. Some of you may remember my trips to the Collings Foundation for their World War II reenactment event “Battle for the Airfield” or their “Wings of Freedom Tour” around the country.
Although they are in “preview” until their Grand Opening in April of 2019, what I saw today was truly outstanding. The museum represents the history of war in America. Although it starts with the Revolutionary War all the way to the War on Terror, the primary focus is generally on World War I and World War II.
The tour starts in the orientation theatre and then proceeds to two immersive experiences before advancing to the main exhibit hall. The first is the World War I exhibit complete with a trench you can walk through. From there you proceed to the World War II exhibit which features a Mercedes-Benz W31 and Panzer 1A. Click this link to learn about all the tanks, vehicles and artifacts that will be part of the museum when it reopens in the spring. Of course, as a filmmaker, their use of archival film to enhance the static displays was brilliantly done.
A few months ago I came across a casting notice for a book trailer. The name of the book was Heil Hitler, Herr Göd by A.P. Hofleitner and was based “on true-life memoirs” around a family in occupied Austria at the end of World War II. As this period of history has always been of interest to me, I submitted for the part of Herr Göd.
Shortly after getting cast, I started my research. When we think of the European conflict of World War II, generally we look at Germany and what was going on in Berlin. But how many times do we think of the average family just caught up in it? That was the genesis of the book.
Once I arrived to set I met director Rob Gooding and author/producer “Andy” Hofleitner (who, as fate would have it, I actually met earlier in the parking lot). Andy presented each of the actors and crew a signed copy of his book. It didn’t take long to realize the passion behind this project. Not only are the accounts in the book true, but the family in Austria is Andy’s. The author of the memoirs was his grandfather. The “props” used in the book trailer were the actual ones from the story with one piece signed by Hitler himself. The gravity of the story suddenly became real. To know that you are not only recreating moments in history, but are actually touching it.
A few days after the shoot I started to read the book. From page one Hofleitner brings the reader back in time to a family caught in the crossfire of war. The family is far from idyllic and this is what Hofleitner does so well. His words create real world, conflicted and complicated characters facing the impossible. But through it all they persevere under the most trying of circumstances. Hofleitner’s masterful way of setting up scenes and bringing the characters in had me riveted to the last word. There is an escape scene from a factory that was so brilliantly written it had this reader in the center of the conflict. To know as I was reading each word that each one of these moments really happened, one wonders how such atrocities could have happened in the first place. But they did and that’s why we must never forget lest history be repeated.
For me the most engaging character was Max. His voice from being on the front and witnessing the horrors of the war, brought reality home when he would recount stories in the seemingly quiet village the family resided. Imagine you are sitting in your back yard enjoying a drink and hearing horrors so far away they must be fictional…right? But then, in a moment, the roar of Allied bombers destroy the tranquility of the moment.
Book trailers are a smart marketing tool. To quote from C. Hope Clark’s latest email newsletter, “Whether you are traditional or indie published, it’s about reach, connection, and sales.” And that’s exactly what a book trailer does. It visualizes the story you are about to read.
One thing I’ve often talked about is testing. Whether it’s a screen test prior to a theatrical screening or testing equipment prior to a live event, I’m adamant about testing prior to production or going live.
I still remember to this day, that despite testing equipment the day before, a major live event I produced years ago ran into a major technical problem during the show. What happened? Someone behind the scenes decided to “think” and change the program without consulting anyone. The result? A total screw up. Thankfully the embarrassment was resolved in short order and the venue credited us $14,000 for their mistake.
Production is time and money. If you don’t set aside time to rehearse, test and think things through, the results can be disastrous if not embarrassing. In the past two weeks I have witnessed two major meltdowns with camera equipment during auditions. How does that happen in today’s day and age? And why don’t you have a backup system ready to go at a moment’s notice? It’s called preparedness.
As for preparedness, I attended the Memorial Day services at Battleship Cove last Monday. Not only does this museum do a wonderful job in organization and presentation, it’s the location itself that brings forward the meaning of this national holiday. When you are standing on the deck of a battleship that fought in World War II, it doesn’t get any more real than that.
I’ve been to Battleship Cove on a several occasions. There’s always something new to learn and discover. When so many are engaged in the here and now, it’s important that we take the time to never forget how and why well over 50,000,000 perished in World War II.
With less than two weeks to go until First Signal’s table read, pre-production continues on a variety of fronts. At this stage of the production it’s more waiting to hear from certain parties for confirmations, etc. I will say the DJI Spark continues to perform well for the required drone shots.
As a screenwriter one of the things I do prior to writing any story is research. In SOS United States the fictional ocean liner in that story is called the Leviathan and is based on the famed ocean liner SS United States. But during this research I came across the MV Aurora and have been following this find ever since.
Anyone that knows me, or follows this blog, is aware of my passion for ocean liners (past and present) along with preserved navy ships. For me the preferred way to holiday has always been by cruise ship or ocean liner. So when I learned that Christopher Willson was restoring a cruise ship from the 1950s, I naturally had to learn more about the Aurora. And let’s be clear, restoring a cruise ship is a project!
The Aurora was launched in 1955 as the Wappen von Hamburg. When you consider that she was the first cruise ship built by West Germany since World War II, that fact alone secures her place in history. After her launch the ship passed through a variety of cruise lines and operators until a literal ad on Craigslist caught the attention of Willson. The ship at that point was in a sorry state, but it was a calling for Willson to restore her to glory.
Through the years I have been following this project, I continue to be amazed at the progress he and an army of volunteers have made in restoring this iconic piece of maritime history. Such efforts are a unique passion and should be applauded and supported by anyone that comes across such dedication.
Restoring a cruise ship from the 50s is not like restoring a house from the same time period. We’ve all seen the ridiculous modifications from the 60s and 70s in houses that have been thankfully done away with in the 21st century. But a cruise ship is different. Over her years the Aurora has had numerous, shall we say “changes” to her original design. But learning about Willson’s drive, ambition and progress bringing this ship back to life must be promoted.
While I certainly applaud the efforts to eventually restore the United States, Willson and his team are restoring the Aurora. One weld, one paint stroke at a time, the ship is returning to take her place alongside such historic liners as the Queen Mary and Rotterdam. In the case of those two liners from days past, someone had a vision to see that those vessels were saved from the fate of breakers or worse (remember what happened to the Queen Elizabeth?). But unlike those liners, there’s no hotel chain or municipality assisting in funding and promoting. It’s just Willson, his volunteers and related capital efforts to continue this important work.
All of us have seen the restoration of iconic buildings in our towns and cities. Nothing is grander when you see an old building restored to glory. Restoring a cruise ship from the 1950s is no different. In fact, it’s even more important. A ship, unlike a building, calls to you. Ask anyone who owns a boat or captains a ship and they’ll share their story. It’s clear the Aurora was calling Willson to save her. It knew her place in history and what it had to offer future generations. Personally, I’d rather sail on history than read about it in a book.
To the captain and crew of the Aurora, may the wind be at your back.
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The booking came through last week. I was cast as a NAZI officer in the upcoming feature film The Man Who Killed Hitler and then The Bigfoot. Other than the aforementioned designation, I didn’t know much about the part itself or even the film. Researching the film was easy enough, but the part remained elusive until I arrived on set.
Whether it’s a film of my own or one I’m cast in, I always arrive early. For me I like to get the lay of the land and get oriented to the surroundings, cast and crew. I knew this part was going to involve some sort of action when I found myself in hair and makeup getting a 1930s haircut. After being outfitted, I then learned what my part entailed.
For reasons of confidentiality I can’t divulge specifics. But let me just say this, my studies of World War II history, and in particular the rise and fall of The Third Reich, helped enormously. I only had to be told what the scene entailed and I understood what was involved with my character. I knew from that moment the mindset I had to find myself in and play it accordingly. There is no half way of playing a character like this, it must be 110% for authenticity. That moment of character happens when you put the uniform on to understand what it represented. At the end of the day we must never forget the atrocities of history dare they be repeated in the future.
As a filmmaker I was particularly impressed with the level of detail the director brought to this scene. He probably knew that certain details wouldn’t be seen on camera. But my guess is it wasn’t about that, it was about the actors believing they were in the moment. It is that type of detail that places directors like Robert D. Krzykowski above so many. It’s directors like this that you want to work with and give a performance that’s worthy of the efforts of so many on both sides of the camera. When the scene wrapped he thanked us all for being part of it.
When this scene was being produced I naturally couldn’t help but thinking of the time I directed Vernon Aldershoff in Justice Is Mind when he played a NAZI officer. I remember to this day the countless details from the uniform I ordered along with the action of the story itself. You only know if you got it right after it premieres. It was after the international premiere on Cunard Line’s Queen Elizabeth when a few Jewish women came up to me after the screening to comment positively on how I struck the balance between that moment in history and the conclusion of the film.
The entire process of filmmaking is designed to provoke emotions. We either enjoy a film or we don’t. It’s called free will. Like we don’t burn books, we don’t ban movies. When Deadline reported that Gone with the Wind, in which Hattie McDaniel won an Academy Award, was pulled from a theater in Memphis, TN because it was deemed insensitive, it’s clear that this theater and its patrons don’t want to understand history or the signal their action sends. Once you start going down this slippery slope, a return can be next to impossible.
By example I find, with the exception of Brokeback Mountain, most gay films to be ridiculous. It’s the same stereotypical story film after film after film. So you know what my answer is? I don’t watch them. There’s no mandate that because I’m gay I have to watch and support gay films. We either watch films that interest us or don’t watch. But the last thing we do is ban and sensor. Because there is one thing I do want–
Ever since I was a kid I’ve been fascinated with flight. Growing up in the 70s the Boeing 747 and Concorde were all the rage. But my first glimpse of the United States military came from the 1980 film The Final Countdown starring Kirk Douglas. That film was a brilliant combination of a narrative science fiction drama with the U.S. Navy and Air Force demonstrating real world capabilities. With this interest you can well imagine my excitement when I learned the Westfield International Air Show was returning to Massachusetts.
From the “static” display of a C-5 Galaxy to the F-16 U.S.A.F. Thunderbirds, the air show programmers really outdid themselves this year. The show was appropriately titled “A Century of Airpower” as it featured such planes as a restored Douglas C-47 and B-25 bomber. In fact there was a whole cadre of planes from World War II.
What was particularly moving for me was watching the C-47 perform the same mission it did 73 years ago when it dropped troops in the invasion of Normandy. Watching this reenactment I can only imagine what it was like during the height of the war itself. It’s almost impossible to comprehend the sheer bravery of everyone involved in that mission.
But mission is what the United States military does better than any nation on this planet. One only has to attend one of these air shows to see the demonstration of these great aircraft and the men and women that make it all possible.
Yes, as an American, there is a great sense of pride seeing this all in action. But to be honest, it’s also about national and world security. Sure that last sentence may sound a bit over the top, but there needs to be a military superpower to insure that such global travesties like World War II never happen again or at minimum are contained. As President George H. W. Bush would ask when our security was threatened, “Where are our aircraft carriers?”
With a reported 50,000+ people attending over a two day period, of course I had to know someone at the show. In the early morning hours on Sunday I ran into Monty Lyons. Monty was featured in both Justice Is Mind and Serpentine: The Short Program. Great seeing you Monty!
If you haven’t attended an air show I encourage you to do so. We see and hear so much about what the military does but don’t generally have the opportunity to see it up close in such a setting. Of course the actual air show itself is something to see, but it’s the static displays where you can really learn and experience something new. From lectures on their technical capabilities to what they do on missions. Yes, some of this research has wound up in my screenplays such as First World and SOS United States.
In summary a special thanks to the 104th Fighter Wing and organizers of the Westfield International Airshow for another spectacular event. But more importantly it’s to the men and women that serve in our armed forces, the veterans and those that have made the ultimate sacrifice, that have protected this nation and our way of live from its inception. Without them there is no United States.
Today is Independence Day in the United States. We refer to it as the Fourth of July. 241 years ago the United States declared its independence as a sovereign nation from the British Empire. As we know, the United Kingdom has been one of our strongest allies for over a century and is referred to as the “special relationship” between the two countries.
As for the United States and United Kingdom, this past weekend I traveled to the Maritime Museum in Fall River, MA (the museum is now part of Battleship Cove). After seeing the 1953 movie Titanic, I learned that the model from the movie was on display at the museum. And as Battleship Cove had some new exhibits, it was time for another visit.
It’s impossible not to learn about the many joint cooperative efforts between our countries over the centuries. The United States connection to the Belfast built RMS Titanic is well known along with the numerous campaigns during World War I and World War II. The USS Massachusetts participation in Operation Torch in November 1942 was a joint United States-United Kingdom invasion of French North Africa. And, yet, for all the reasons our countries have fought side by side for democracy against tyranny, both nations are facing internal political turmoil that is testing the very fabric of our respective constitutions.
As an American citizen I won’t opine on events across the pond, but here in this country today it is as much a celebration as it is a contradiction. Oh sure there’s the requisite barbeque or the spirited trips to the beach, but top of mind of the majority of Americans is the direction in which this country is going. Like the RMS Titanic’s inferior rudder that made the ship very hard to turn in a crisis, the United States is most certainly heading towards an iceberg that represents the internal strife we are experiencing. While on the surface it looks like we can avoid it, like an iceberg, the menace is what lies below the waterline.
As I have been a member of both parties, I consider myself a moderate. Put simply, I believe in equal rights, not special rights. I believe in a strong military administered by the federal government, but that government has no business regulating my personal life. The current crisis isn’t so much about political party but extremists on both sides that are locked in a tug of war to win. In earlier years, it was the moderates that kept the ship on an even keel. Sadly extremists often don’t want to understand the other side. But understanding is the first step in diplomacy in reaching an accord. A democracy is not about winning your point, it is about moderating it.
Perhaps the time has come to look at our friends across the pond for some lessons. In the United Kingdom, France and Germany they have a multi-party political system. Is it perfect? No, of course not. But for too long in the United States there has only had two choices (this one or that one). Sure we have a nascent third party in this country, but it has about as much direction as the SS Californian did the night the RMS Titanic sank.
But the one thing we do know is the United States is built on a solid foundation of laws and guiding principles. Sometimes we waiver and falter, but at the end of the day we know what this nation stands for and what it represents. Today is a tribute to the founding fathers of this country and what they laid down over two centuries ago that resonates even more today.
When I was living in New York City in the 1980s there was ship docked a couple of avenues away that I would sometimes notice. In those days it was a dawn walk down 10th avenue in the morning on my way to Sky Rink before I went to work at Time magazine. That ship was the aircraft carrier USS Intrepid.
Last week I traveled to the city to spend the day at The Intrepid Sea, Air & Space Museum. I’m not sure if there is another museum in the world that offers an aircraft carrier from World War II, the Concorde, the Space Shuttle Enterprise and the Galileo shuttle from the famed TV series Star Trek. Needless to say among the array of exhibits there’s plenty to do!
When I was researching and writing both First World and SOS United States there was so much at the museum that touched on these stories. Not only do both involve aircraft carriers, the basis for First World is the 1960s space program and the return of the Concorde in SOS United States as Commonwealth One for the Prime Minister of the UK. It’s one thing researching a subject, it’s entirely another to experience them in real life.
Of course, being a Star Trek fan, I know the museum is getting a Star Trek exhibit in July. What I didn’t know is when I walked into the Space Shuttle pavilion I would see the Galileo shuttle from the TV show! I had just watched a documentary on the group of fans that saved this storied piece of TV history from a piece of discarded junk to a restored prop of broadcast quality. Yes, it was a total geek out moment seeing this iconic prop.
As for history, I remember seeing the Space Shuttle Enterprise on TV when it did its atmospheric tests in the 70s. Although I saw the Space Shuttle Discovery some years ago at the Steven F. Udvar-Hazy Center, the way the museum has the Enterprise displayed along with its related history and exhibits made the pavilion one of the highlights of my visit.
When I was at the museum I took two guided tours, Pacific War: USS Intrepid in WWII and Concorde a Supersonic Story. For the respective price of $15 and $20, they were wonderfully informative and were essentially private tours. For WWII it was another guest and myself. The tour was all the more interesting as the other guest was a veteran of the Korean War. If it wasn’t for those brave men and women that serve in our military, we would be living in an unrecognizable world today.
Having always been a fan of the Concorde, I saved what turned out to be a private tour until the end of the day. If you grew up in the 70s the Concorde was all over the news. Simply put she was so far ahead of her time that just to see the plane was a cool experience. I first saw Concorde in 1985 on my first trip to London as she was taxing at Heathrow. As I understand it from the terrific guide I had, this is one of the few Concordes in the world that you can actually go into. When I was sitting in the passenger seats I was just thinking to myself about the amazing conversations and deals that went down in the cabin during her time in service.
As for time, I met up with my former business partner Lois Elfman for a wonderful dinner at Bistro Citron (highly recommended!). I first met Lois during my days in New York City at the offices of the Ice Theatre of New York (for insiders Moira’s loft). As many know we went on to launch a newsmagazine for the sport of figure skating that we proudly built into the world’s largest with an “intrepid” team.
Speaking of building, I just completed the second act of the political thriller I’m writing around the sport of figure skating “If she skates the way she did at sectionals she’s going to worlds. And the Federation can’t stop it.”
Having grown up in the 1970s and 80s there was an entertainment medium called the mini-series that produced some terrific programming. When I attended WWII Weekend yesterday, I was reminded of The Winds of War and War and Remembrance. Perhaps it was these two great mini-series that got me interested in the Second World War. For those that follow me on social media or this blog, you know I often tour museums like Battleship Cove or attend events like WWII Weekend. When I was in Albany, New York a couple of week ago I toured the now museum ship USS Slater.
For those of you that may be interested, I highly recommend WWII Weekend. This was my first time attending this event and I have to say they did a masterful job. To quote from their website, “WWII Weekend is one of New England’s premier living history events, providing the public with an interactive, educational and fun WWII experience that is difficult to come by. Participants will have the chance to examine and learn about multiple different kinds of World War 2 vehicles and weapons, as well as how the soldiers of that era lived, by walking through Allied and Axis encampments and interacting with the reenactors.”
First, I believe it’s important to take the time to occasionally experience one of these events or attend one of these museums. Even though our present world is currently gripped with a variety of regional conflicts, I think it’s important to remember that at two points in the last century nearly every country in the world was engaged in a world war. For me personally, it’s about learning something new and inspiration for my writing.
When I brought Justice Is Mind back to World War II, the amount of research I did was on the same level as that of the courtroom scenes and experimental science behind mind reading technology. It was after our international premiere on the MS Queen Elizabeth that several guests came up to me and complimented how we handled that element of the story, particularly the very end. Although that area of the screenplay was pretty well vetted, it only matters how it’s received by the public after it’s produced. With a film, there’s generally only one chance to get it right. To quote Bill Sampson in All About Eve after a film is released “You’re in a tin can.”
Although the political thriller I’m writing around the sport of figure skating doesn’t go back to WWII, when I was looking at field communications equipment at the WWII Weekend yesterday, a certain angle occurred to me which I could take with this story. In this new story codes and encryption are a key element to the final act.
The one thing I enjoy the most about being a writer is the research. Whether it’s learning about historical events and how they can be woven into a particular plot or about certain technologies and how they shape a story. Who would have thought that a program on “thought identification” on 60 Minutes would have resulted in Justice Is Mind?
Of course, as a filmmaker, one of the exhibits I found truly fascinating was all the vintage cameras. In today’s world we simply hold up our cell phone and roll as much “film” as you generally want. In those days they may have had to deal with springs and cameras the size of large bricks, but filmmakers and photographers from that era produced groundbreaking work under often arduous conditions.
S.O.S. United States. The call went out by the SS United States Conservancy this week and was answered by media around the world. From The New York Times, to The Telegraph to CBS, the famed ocean liner SS United States may be auctioned by the end of the month and scrapped unless a buyer, developer or investors save America’s flagship. As the conservancy’s Executive Director Susan Gibbs stated to CBS, “We have never been closer to saving the ship and never closer to losing her”.
After World War II, the United States government realized the value ocean liners could bring when Cunard’s Queen Mary and Queen Elizabeth were converted into troop ships during the war. Partially funded by the government, the SS United States keel was laid in 1950 and was launched in 1951. A technological marvel, she projected American pride around the world and shattered speed records during her sea trials sailing through the ocean at 38 knots or 44 miles per hour. She won the eastbound and westbound Blue Riband for speed records in 1952 and still, to this day, holds the westbound title. So advanced were her propellers and steam turbine engines, they were classified Top Secret until the 1970s. In the event of war, she could quickly be converted to a troop ship for 15,000 soldiers.
Of course, with jet travel literally taking off in the 1960s, the SS United States along with the Queen Mary and Queen Elizabeth were withdrawn from service. While the Queen Elizabeth was lost in a mysterious fire in Hong Kong, the Queen Mary is still with us as a museum ship in Long Beach, California. I’ve had the opportunity to visit the Queen Mary on a few occasions. That liner still projects to this day a symbol of an era that should be remembered, not scrapped.
I have long wanted to write a story that revolved around an ocean liner. A story that also enveloped the complexities of world governments and the atmosphere of the Cold War, but set in the present. In SOS United States we learn that the “world’s fastest ocean liner” is heading to New York and may, or may not, have a nuclear device on board. Modeled after the SS United States, the ship is called the SS Leviathan. In the real world the SS Leviathan was originally called the Vaterland until it was seized by the United States government after World War I and became the flagship of the United States Lines; the same line that would eventually build the SS United States. It was maritime engineer William Francis Gibbs who renovated the Leviathan and who went on to design his dream ship the SS United States. Entirely self-taught, he devoted himself to this singular passion.
And now that same passion has been picked up by his granddaughter Susan Gibbs. Her tireless efforts, determination and commitment to save this ship reflects the best in America—pride.
Stated Gibbs, “It’s our shared history as a nation.”
SS United States
With the business plan for In Mind We Trust completed, work now begins again in earnest to market my slate of films for development, The one thing I have learned about this industry since I made First World, and during my time as a magazine publisher, is that investment can come from anywhere at any time. They key, as I learned with Justice Is Mind, is to be ready when the time is right.
Christopher Nolan said it best in the Hollywood Reporter a couple of weeks ago when talking about his career, “The thing that happens to a lot of people is that you get that opportunity, somebody says, ‘I really loved your film, what else do you have?’ And if you don’t have anything, or if you’ve just got vague ideas, it’s very difficult to take advantage of that moment, and that moment doesn’t come around again,” he said. “You’ve got to jump on it.” Obviously, I agree.
My feature length screenplay First World worked great to make the short film version in 2006. Yes, that project as a feature is years in development, but the short film version is in the market and the script award nominations have served as a great foundation. Just over the last couple of months, sales of the short film have tripled from this time last year and China is moving along at breakneck speed with their space program. Timing is better now to present. As this article on Hollywood.com shows, some projects just take time to develop.
The idea for SOS United States came to me when I was in the process of managing the theatrical release of Justice Is Mind. I’ve always loved the political thrillers made during the Cold War. The idea of developing a story that pits the President of the United States against the Prime Minister of the United Kingdom as they deal with a potential nuclear device on a commercial ocean liner bound for Boston, certain reflects the political and military tensions we see in the world today.
But it was the sequel to Justice Is Mind that called to me this past November. I always figured that, “someday I would write a sequel”. But I didn’t know it would develop so quickly. For me, when I get an idea I just need to run with it. The result is In Mind We Trust. With a story that reunites a number of the original characters from Justice with new characters against the world covert surveillance, government power, reincarnation and the horrors of World War II, the screenplay, like Justice Is Mind, is a demonstration of competing genres that I believe work well together. As Unsung Films said about Justice Is Mind, “Mark Lund’s film is a thriller-gone-courtroom-drama-gone-sci-fi. Such extreme shifts in genre should not work. But they more than work in this case.”
Through all this is the navigation of a changing industry and the needs, interests and wants of investors. As I learned from my original investor in my old publishing company, to my backers on Justice Is Mind, these things take patience and perseverance and being ready when the time is right. It’s about staying a course that is true to the projects and to never capitulate.
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.
I remember when I wrote my first script. It was in a creative writing class in junior high. I think I know where that script is. Somewhere in the basement with a century of family history. It was my grandmother who started taking pictures in the 1910s and then it was my grandfather who took 8mm films of various family outings. I actually used a picture from this family collection in Justice Is Mind and some of these old albums appear in the film with Margaret Miller. The album that Henri Miller was looking through actually contained pictures from some of my European travels. In Justice Is Mind the Miller family emigrated from Europe right after World War II.
This past week was a busy one, with Justice Is Mind shortly going up on four major VOD platforms, it was time to review a variety of sites. I did this for our VHX launch, but wanted to revisit again by adding some new trivia to our IMDB listing (more to come) and updating some areas of our website (never ending). For when we do start to appear on these additional VOD sites, a major public relations push will begin in earnest. On that note, check out our latest review on Film Trance.
To date, I’ve been very pleased with our coverage and related reviews. Each writer and reviewer looks at the film differently and it’s always amazing to me what resonates with who. In the case of Film Trance, I enjoyed their reference to the strong characters and statement, “It is a thinker with a psychological edge.” Justice Is Mind really isn’t a film you can watch just once. I designed it that way as those are the films I like to watch. The insertion of clues and moments building up to the end.
As for SOS United States and First World, I saw some progress on those projects this week. Both of these films have budgets far north of what I produced Justice Is Mind for and require a different approach to market.
When I’m pitching a project, I like to make my introduction via email first. In my view, it gives the recipient time to evaluate what I’m presenting. That being said, there’s always the initial call to present and to request an email address. Yes, I do have a script in front of me with various talking points as sometimes a cold call works out really well. I remember the great conversation about a month ago with a member of a production whose film did really well at the Academy Awards. Then there is the other side when a cold call can be downright chilling. It is what it is.
So while I work on a presentation for SOS United States that’s going out on Monday, I revisited a contact in China for First World to represent that project on that side of the world. When you consider the current state of world affairs, China’s space race in high gear along with the renewed interest in the Moon with the Apollo 11 anniversary, I believe the timing for both of these projects could not be better.
No time like the present.