Archive for the ‘A Little Help’ Category

When your money actually matters

July 16th, 2011

As I’m sure all of you who know me are well aware, July 22 is a pretty big day. A film I produced, A Little Help, is opening up in 12 cities, and 13 more on July 29, for a grand total of 25 cities that we are guaranteed to open in. Is it a big opening? Well, it’s certainly not the smallest I’ve been involved in…nor the biggest…but it is truly one that I am personally asking each and every one of you to find time in the first weekend it’s in your city to go see.

Now for those of you who aren’t in the film world (or even some of you who are), you may not realize exactly what it takes to get a film out there. Most “independents” that you see come out in theaters (Juno, Black Swan, Little Miss Sunshine) are backed by an indie division of a major studio. Actually in all three of those cases, it’s Fox. So even if the production budget was relatively low, there is a ton of money thrown at the marketing and distribution.

Now with a truly independent film, like A Little Help, first we raised the production finance. No small task. It took us 18 months, and 3 separate collapsed deals to finish of the finance of the film. After the film was shot and posted, our sales agent started shopping it to domestic distributors. Did they like it? Very much so. Enough that we got a couple of offers on it. The problem? The offers sucked – taking most of the upside from our investors, and not advancing enough to make it a worthwhile proposition. They were the kind of offers that make investors in independent films get burned. Where the movie could have made 20 million in theaters, and the investors still may not have been made whole. So, while having these offers in play, we did the other thing that can be done in today’s film marketplace. We raised our own P&A (Prints and advertising, the money spent to distribute and market a film) Our investors saw the difference in what the upside would be if we did NOT give away the majority of the film to one of the offers that had come in.

So, we now have a limited bucket of money to put the film out there, and promote the film. I’m super grateful we’ve been able to figure out how to still be effective over those 25 markets, but the fact is, there’s no way to afford a media blitz. We’re buying 1 primetime commercial instead of the 8 Sony can buy. Our street teams are out, our promo videos are launched, our press day interviews are going to print…but it’s never going to be the kind of saturation a studio can buy. So part of what we rely on is word of mouth. Me asking you (yes, you) to go. And you going. And then telling people if you liked it.

See, with this kind of independent finance, sometimes the film can keep going as long as it’s making financial sense to the investors. So if our weekend per screen averages are high, will we go into more markets? Super probable. More screens in the markets we’re already in? Highly likely.

When you go to the theater, it’s easy to think that you are just handing money off to large corporations where it doesn’t make a difference. But with this, you can help have a direct effect on the success of the movie. And honestly, you’ll have a direct effect on the success of my business. Happy investors = more investment = making more films = good business.

And it’s a good film. But don’t just trust my word on that, go see it for yourself.

Here’s where you can find where it’s playing: http://alittlehelpthemovie.com/theatres/

and here is the Jakob Dylan music video with one of the original songs he wrote for the movie:

Do you believe in the universe?

January 16th, 2010

I certainly do. I was raised by crazy hippies…so I am the sort of person that believes that the universe provides…and I have lived my entire life by that mantra…and yet it always shocks me when I am part of that happening for someone else.

Yesterday, we were trying to finish up our plan for the sales posters for A Little Help. I have had someone in mind for quite some time to shoot them. However, today was the day we were finally locking down what we want to do. So, I called the photographer I wanted to shoot the poster and started talking to him.

We started out with the basics, me telling him what I wanted, and him giving me his availability, but I could hear a bit of strangeness in his voice. Now, keep in mind, he is someone that I am friends with socially , so I could talk to him in a way that you can’t with just simply business contacts. So I asked him why there was a hitch in his voice.

It turns out that just that day, while on the treadmill, he had sent out “a voice” (his words…) into the universe. He and his wife are about to have a baby, and he said “today, I need to find a way to $XXXX” Well, strangely, that was the base amount I was able to talk about for shooting.

Or, is it strange? I have repeatedly found that when I put something into concrete terms, it occurs. It’s the concept behind the highly successful “Best Year Yet” book and groups. Be specific, and put your effort behind it, and it will happen.

He had spent the day knocking down other doors trying to make that amount happen. And I happened to be the universe’s messenger that could tell him that was exactly how to operate.

Sundance update

December 2nd, 2009

We did not get in.

While disappointing, a festival is not the endgame on this film…theatrical distribution is.

And so we forge on.

12.5 hours left

December 2nd, 2009

So, I don’t expect to sleep tonight. Nor do I expect to be able to concentrate for the morning tomorrow. Tomorrow, at 1pm, we find out about Sundance.

Now, for those of you who don’t know…for the past 5 or 6 years, if you were in Sundance (as a feature), you knew a week or two before. Calls were put out, and you were asked not to tell anyone, so you didn’t tell anyone except the publicist you were hiring (who immediately started positioning you for feature articles), your sales agent (who began positioning you to distributors), your principal cast and all their reps (so they could make plans to be there), and your principal crew. So, essentially…everyone. The couple weeks before the official Sundance announcement it was an open secret about who was going and who wasn’t.

but now, with the big push to take Sundance back to an independent festival, and keep it out of the hands of the agencies and studios…no one knows. A couple of things have gotten out. From what I know, 2 features know they are in, a couple filmmakers who have had films there before have gotten the gentle “no thank you” call…and that’s it. The rest of us will ACTUALLY find out when the rest of the world does.

And it’s killing me.

Sundance isn’t the be all, end all, on the festival circuit, but for a film like ours, it’s probably the best positioning. We are a truly independent production, funded through private equity, starring a great cast who fell in love with the project, and helmed by a first time feature director. It’s dark, and funny, and we have great response from the industry we’ve shown it to.

So, we would normally have heard by now. Either way.

Which, as much as I know the reality of the situation, and the fact that we won’t know until tomorrow (or Thursday if we’re selected for screening but not competition)…brings up the nervousness and insecurities that are just beneath the surface. What if the film isn’t good? What if the performances aren’t what we think? What if, in strategizing to keep it out of the hands of most people until we can announce our festival premiere, we have created an environment so insular we no longer can recognize what the film is?

What if everyone I know is lying, and they’ve all heard about every other film except this one? Or what if they’ve already heard bad news about this one, but don’t want to be the ones to tell us?

And so, I understand that tonight will be a sleepless night for me, with a useless morning until 1pm PST, when announcements are made.

Wish us luck.

So…what now???

November 2nd, 2009

So, after finishing shooting, we went directly into edit. I had some traveling to do, so it’s been a few months of out of town…

Aspen, CO —–>Central Colombia—–>Vegas, NV—–>Paso Robles, CA—–>back to NY—–>VT——> finally home for about 6 weeks!

So for the next six weeks, I will be catching up on everything, including the blog. After all, since I blogged last we have:

1. started the festival submission cycle with A Little Help

2. sold off a project to get it into production

3. gained a reality television agent

4. brought on a small budget film with Pierce Brosnan attached which we are putting the finance together for

5. begun to regroup and plan out our next few projects

Much has happened, and much is happening in the time coming up, so I need to get caught up. Finishing a film is always a time to reassess and come up with the best attack plan for the next year or so. Onward!

Interview time!

August 20th, 2009

When we were shooting, Ken McGorry from POST Magazine asked us for an interview about shooting on RED. This is the first feature I’ve worked on that wasn’t shot on 35mm. Here’s what we had to say:

POST Magazine Interview

It was published in the July issue of POST Magazine, but for some reason, we just got our copies of it!

Be careful what you want!

August 20th, 2009

There are things I love about what I do, and things that are just annoying. On the list of annoying is this time period after a movie wraps production, and your line producer and accountant are no longer employed, BUT it doesn’t yet make sense to bring a post accountant on. (because we are a post house internally, during the offline, there should be literally one check every two weeks to cut…and it doesn’t make much sense to pay someone to do that)

However, there is, invariably some problem with something that crops up that is more involved. And to be honest, I often have to make some value judgements on the worth of my time on if it’s worth fighting over or not. I am not only in the middle of finishing this project, but ramping up on others, and I only have so many hours in a day.

So, for the past few weeks, I have been dealing with one of our actors business managers. She is claiming her actor was underpaid for the two week period. (let me first of all say, she was not…) However, the difference in what the business manager was claiming, and the payment already given was about 800 dollars. I did a couple of calls, and quickly realized that, although I was correct in the payment given, this business manager was about to make my life hell with calls, emails, and trying to get SAG involved. Was it worth it? I came to the conclusion that no, the $800 payment was worth it to make her go away. So, I commenced the payment, and brushed off my hands, thinking it was done.

But, no. The business manager thought that the adjustment wasn’t right, and called our SAG rep to complain. Now, let me say, that we have a great relationship with the unions when it comes to payment. We do all step ups as soon as we are notified, we don’t miss P&H payments, we are responsive to anything that is an actual problem, etc.

So our SAG rep takes a look at everything…and determines that I should CANCEL the additional payment made. We were right in the first place on the payment, and don’t owe anything additional. (which I had told the business manager repeatedly)

Well, there you go. Your client has now lost $800 I was willing to give her, because you decided to escalate.

Happy?

I am, she’s out of my hair now.

Rough Cut!

August 9th, 2009

I am currently holding in my hands the only copy of the rough/director’s first cut of A Little Help. Dropped off at my door late Friday night, I spent Saturday immersed in work far less interesting on an upcoming film project, so I wouldn’t let myself watch it until I got that finished and out the door. Which happend at 4:30am.

So, now I sit, on Sunday afternoon, and get ready to put it in the DVD player. I haven’t seen anything since the assembly stage, letting the editor and the director get to this first cut without me in the room at all.

This moment is a mix of excitement and terror. After all, this is the first look I get at a project which I have been working on for the past 2 1/2 years. I’ve been seeing this film in my mind for that long. Will it live up to the expectations that the dailies have set? Will the jokes and laughs hit as desired? Will it tonally be that fine line of comedy and pathos that we were trying for? The anticipation has made me a little queasy, and I’m writing to calm my stomach down before taking the leap into the next 2 hours. When you spend this much time, energy, and emotion trying to create a film, the idea of seeing a (semi)product is almost overwhelming. What if it’s really, really bad? What if it’s really, really good? Will I even be able to tell which it is after being so closely involved in every step?

It’s sitting in the DVD player as I write this, just waiting for me to finish up and hit play. Cross your fingers everyone…I know I am.

A little bit of wrap up on the production

June 30th, 2009

So, we finished. On time? No, one day over. On budget? sort of. This was a unique budget situation where the budget had a bit of play to expand or contract based on the look of the film. On creative point? absolutely.


I think there is always a lesson (actually more than one, but I think there is always ONE big one) that is invaluable to be learned from every shoot. I have been spending the past week or so contemplating what that one is from this shoot. I’ve been able to easily come up with the small ones (which all hold smaller stories which I will try to illuminate in  future blogs: all top level people need to have done physical production, make your financiers lock to a finite number before pre-production,check every actor’s reputation, if it’s the first time you’ve worked with your keys…be involved in the hiring of their staff also) but the one overarching lesson I should hve learned has been eluding me. and it’s why writing a wrap up blog about this production experience has been delayed.

Then, I woke up in the middle of the night with one phrase on my mind, “intersection of art and commerce”

hmmm…

now, this is a concept that has always been some thing I think is the crux of why I’m involved in the film process. I am essentially an artist who works in a commerce driven society. So, how do you do that? But beyond that, how do you do that responsibly.

My personal lesson on this film is, by making art. See, this film is, by all “industry standards” in subject matter, something that might be a long shot. It’s a mid thirites females lead. It’s not a genre film. It’s something that, when I read the script, I knew I HAD to get made, because it was just so real. And, because of that, as we went into production, the casting fell into place…which made it into a commercially viable project. We have a cast that has no huge names, but runs in good names very deep (Sam McMurray, James Rebhorn, Lesley Ann Warren, Ron Leibman….and that’s outside of our leads)

If you asked me, at the outset, what kind of movies I would be looking to produce, this, at script stage, wouldn’t have been one. But when I read the script, I knew it was something that could make this kind of magic.

So, I’m trying to, in a cynical industry, hold on to this as the lesson from this production. Believe in art. Believe in the writer. Believe your instincts.

p.s. I promise to get to the stories from the other smaller lessons in the next two weeks.

In which about 1/2 of you that don’t know me personally turn against me

May 25th, 2009

So, after the past few weeks, I thought I would take the time to blog about something that continously is coming up on set, and is something that I think everyone in the industry has to look at with an objective eye (which is often difficult to do) the topic? Unions. 

 

Now, before I start this entry, I feel like I need to give my general opinions of unions to put it in context. I think that, overall, the idea of unions came from a very good place, where there needs to be a certain level of protection for workers. And, I think that, in the film industry, unions are an important thing. They make sure that people have specific recourses and remedies in an culture that likes to work people 18 hours a day. While I personally believe in overtime and breaks on shoot days, be they union or non-union, I also know producers that would work people into the ground without recourse or compensation. 

 

BUT…I think that all production and creatives should know why people in my position often disagree with unions. And right now, I can give a specific example. The movie we are shooting is a Tier 1 shoot. That means it’s 2.5 million all in. Low budget. No one is getting paid a lot. You get the picture. But, I (fortunately) have some amazing people working on the movie, because they all think (as I do) that this is the kind of film that will be a breakout hit. All of my department keys are people who do much bigger movies than this, so no one is doing it for the money. But in this industry, if you are the key on a great breakout hit, you get launched up/nominated/etc. So, this little 2.5 mill movie is looking like a 15 mill. 

 

And yet we have a union problem. See, there’s a person who was PLACED on the film. One of our department heads couldn’t find a second who was union (due to the pay on these tier 1 movies) So, instead of letting him hire a non-union person, the union placed a person in the second position. 

 

Which could have been ok. Except that she’s terrible at her job. Due to her lack of performance, whole takes have been ruined, the director has yelled at her, the DP has yelled at her, I have taken her aside to speak to her (I don’t yell…mostly), and I have gotten to the point where I have told her key to fire her. 

 

Except that she’s a legacy. 

 

A legacy? She is fourth generation in this particular union, so her entire family in embroiled in it. So when I sat down with the union to speak with them about it, they told me, that regardless  of her performance, I was not allowed to fire her. No matter what. She could burn down my set…and I could not fire her.

 

This is not what unions were designed to do, and yet it feels indicitive of what they have become. They have gone past the point of protecting basic wage and labor practices, and have become a mafioso group who can force people in a free market economy to do things which are bad for business. 

 

So, now I’m in a position where I have to hire an additional person to do her job, and have banned her from set…so she can work on the trucks if her key so desires, but essentially, she’ll be doing nothing. 

 

Makes me wish we had gone non-union.