Archive for the ‘Uncategorized’ Category

Sundance wrap-up

January 31st, 2010

Sundance. That time when half of Los Angeles shuts down, and goes into summer camp mode. Except we’re all wearing heavy coats, and keep not understanding why our iphones don’t respond to our touch (hint: gloves)

This year I did not have a film showing. I debated whether or not I should go. We looked at the calendar, pushed things around, and decided yes. I should.

Now, I have parts of Sundance I love. I’ve been coming to Park City since, I guess, 2004. Of course, in 2004, I only came here mistakenly. I was in Salt Lake City shooting a film (Go Figure), and on a weekend, we decided to head up to Park City to ski. Now, at the time, I was bound and beholden to the House of Mouse, so things like Sundance weren’t on my everyday radar. But, low and behold, I drove to Park City on Saturday morning, got stuck in the traffic, and stayed and played with friends all weekend.

Now 2008 and 2009 I didn’t go. My business partner and I have been so all consumed with the day to day running of the business that taking a week in another city…even when it was work…seemed unfathomable.

So this year, I was back. In the couple days leading up to leaving, my asst and I spend time everyday making sure I’m on all the party lists I need to be on, and planning out my schedule. Now to those of you who don’t do this, what you have to know is that doing the party scene at these festivals is 1. necessary and 2. exhausting Especially if you are like me, and want to go to films in the morning too.

So, a typical Sundance day goes something like this: Up, showered ready and primped for the whole day by a 9am screening, noon screening, lunch meeting, afternoon cocktail party, second afternoon cocktail party, often a third afternoon cocktail party, late afternoon movie, dinner meeting, drinks meeting, sometimes an evening movie, premier party, event party, house party.

did I mention it’s exhausting?

but my favorite part is the films. The fact that I get to spend a week seeing 3-4 films a day is a film geeks dream come true. Were they all good? No. Were there enough that were good to make it satisfying? Absolutely.

So, as I came home, drained….but having reconnected with colleagues and friends from around the world, I can say that the lost sleep and exhaustion was worth it. Being surrounded by a group of people passionately pursuing their dreams is enough to recharge me.

Oh, and it’s super pretty, too.

This Is Not a Review

December 23rd, 2009

So, I’m not terribly interested in reviewing films, overall. There are plenty of people out there, and y’all can figure out whose opinions you trust, and who will lead you into or out of the theater. I’m not interested in doing that. However, this is about Avatar. And as such, I feel like I first need to give my overall opinion of it.

Meh *shrug*

There we go. Now, with that out of the way, I want to progress into the real reason for this blog, which is that there are a TON of reasons to actually be interested in Avatar as a movie. And as a studio movie. I’m only going to touch on my top two, but there are so many…

Interesting thing #1:
Fox isn’t banking on this as an opening weekend hit. I get “the lowdown” on what is going on in the marketing department there, and they are far more concerned with what the drop-off is going to be between weekends, and what the online chatter is (92% positive after seeing the movie, FYI) They are looking at this as being a longevity hit in the theater, rather than opening and making huge numbers.
Why it’s interesting #1:
In the independent world, this is something that we constantly struggle against with our distributors. How do you build a word of mouth that translates into a return in the box office? Because of what Avatar is, Fox is willing to bank against what we always tell distributors about a film…if people like it, your box office will follow. So, if a big budget justifies that strategy, how do we convince them that on smaller budgets, the same leap of faith is a good bet on small movies.

Interesting thing #2:
Avatar is at 84% on rotten tomatoes. Out of those, most of them talk about the spectacle, and put the story at (as best) pedestrian and previously done.
Why its interesting #2:
The split between independent and studio movies is becoming wider and wider. Studios can absolutely do things that independents can’t. The technology invented to film Avatar is certainly one of them. However, independent film has to find where the holes are in the studio system, and create product to fill those holes. and that should begin with story. Independents need to raise their own bar in regard to telling stories that are new, compelling, driven, and told creatively. We need to become more vigilant in only producing movies which have a script behind them which is flawless, and demand performances that illuminate those ideas. I have heard repeatedly from independent producers “well,the script is better than XXX XXX, which made $YYY YYY” That doesn’t matter! The script has to be better than good. It has to be amazing! We are plugging a hole here. You don’t do it with putty, you do it with cement.

I think with any movie that studios put out, we, as independent producers need to look at it with an eye towards what it says about the business and the audiences. Just enjoying it as a film is not enough.

Job posting

November 4th, 2009

Please email resumes to info@secrethandshake.com (NOT TO ME!)
One of our amazing staff editors just got a writing fellowship, so is headed to Oklahoma…and we need to replace him. Great opportunity for him, sucks for us, maybe good for you! We are a small company that has had a consistent rate of growth for the past 2 years, and we are looking for someone who wants to grow with the company.

Avid and Final Cut Pro Editor :

Editor must be proficient in technical aspects of editing including: logging, capturing, efficient use of keyboard shortcuts, project archiving and media management, mastering to tape/file/disc, and authoring DVDs. Editor should have a strong knowledge of media compression workflows and have some experience working with compression software such as Apple Compressor and Sorensen Squeeze. Editor should be proficient with leading NLE software – Avid Media Composer and Final Cut Studio Pro – experience with Mac hardware and software (Apple Motion, DVD Studio Pro and Color) a plus.

Editor must have a strong sense of visual design. Candidate will be required to develop fresh and interesting “looks” for clients. Editor must also have an ability to quickly distill a large amount of footage into its best parts. The work is varied but a great personality is required as Editor will largely be working directly with clients (actors, directors of photography, directors) to create their show reels. Good communication skills necessary in order to work efficiently with clients and be able to deliver a product they are proud of.

WE NEED A SELF-STARTER WHO CAN WORK INDEPENDENTLY AND MANAGE THEIR TIME EFFECTIVELY.

Candidate needs to be passionate about growing in this role and learning new things and constantly looking for better ways to be efficient and creative. 2-3 years experience in TV or media production, promotion or trailer editing and/or Demo Reel/Show reel editing preferred.

Documentary premiere in NYC!

November 3rd, 2009

Earlier this year I co-produced a documentary that ended up getting a ton of media play this summer. Now the NY premiere is scheduled at a 330 seat theater, and we’re trying to fill the house!

IRA NYC Premiere

I Remember Andrea

When Andrea Wachner gets her invitation to the 10 year high school reunion, she makes the most logical decision she can come up with: send a stripper in her place.

Date:Thursday, November 19, 2009
Time: 6:00pm – 8:00pm
Location: Cantor Film Center
Street: 36 E. 8th St.
City/Town: New York, NY
Price: FREE

This spring we ended up getting a ton of media coverage on the doc, including CNN, ABC, The View, even Glamour UK.

Here’s the Reuters story

Hello baaaaaby!

August 27th, 2009

So, one of the reasons that I enjoy blogging is that I like having the opportunity to speak  my mind sometimes spontaneously about what is happening…and other times to give a bit more thought to it before I write it down.

And I like the option for all y’all to not know exactly which it is.

Right now I am thinking very deeply about being female in the industry, what that means, and what advantages it affords me.

You’ll notice I didn’t say disadvantages.

See, I don’t believe that there is a specific female disadvantage at anything (unless it is physically based. No, I can’t bench press what my male collegues can (but I can outrun them!)). It’s more that females refuse to understand their advantages, and use them to level the playing field.

I will say-unilaterally- you should always have (at least) one woman on the top level team. Why? Because it immediately breaks through the male dick wagging in a different way. It just…does. And if you’re going to call me sexist for saying that, well then so be it.

This is not my first industry I’ve been successful in. It’s not my first male dominated industry I’ve been successful in. It is, however, the first time I’ve been acutely aware of women crying out to be treated as equals. I don’t know if that is a difference in the industry, or in my awareness…I just know that I hear it now. And I hear it as grating nails on a chalkboard.

Wow! I get it! That sounds harsh!

Or, perhaps, it sounds just like most people hear those whinings.

See, I’ve never found any barriers based on that. But I’ve repeatedly seen women fall down because they won’t work 16 hour days for 10 years like men do. They have to take time out to put boyfriends in front of their work. And what is the dropout ratio of men vs women in the industry? Based just on my past experience with assistants and subordinates, I would always put my bet on men being in it for the long haul.

WAIT! Am I really being that harsh on women? Do I think we are destined to fail in the business world? No way. I just think we have to be realistic, because not being realistic hurts all of us.

Look around you at your 5 closest girlfriends. How many of them…honestly…if they married someone wealthy would want to leave the job they do? Or take it down to part time? or need to make some adjustments to schedule? Or take a lower paying job to do something more fufilling?  What about once they had a kid?

How would it change? Honestly? Not your idealized version of how it changes, but honestly.

We, as women, can stand here and say we are no different…but that’s a lie. It just…is.

These are realities that, as an employer, I deal with. And I have to place my bets on the people that make the most sense for me long term. Now, not that women don’t make sense to hire, but I (and they) have to understand the strategic advantages we afford.

Wait  a minute, Wait a minute, Wait a minute (as Eddie Murphy in Coming to America would say). Wasn’t this blog started out with the idea of “It’s more that females refuse to understand their advantages, and use them to level the playing field.”?

Why, yes! it was.

See, we have, overall, a way of breaking through barriers that men do not. A natural empathy that allows us to figure out other people’s needs. And, if you look at it, most of business is simply figuring out other people’s needs and meeting those needs. The cook that makes everyone forget they’re not eating steak because the stroganoff is so good is exercising the same skills that we can use in the boardroom.

And, women need to understand the dynamic we have with men. We are not the same. We can convince them, annoy them, press them, entice them, and beguile them in subtly different ways.

So, with all your intelligence and experience, take it and use it in your female way to get to the top.

Guys need you there.

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.

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.

Wow!

June 30th, 2009

Had two more photos picked up in the schmap guides…this time for Washington DC:

Capitol City Brewing Company

Hirshhorn Museum and Sculpture Garden

one more piece together!

June 17th, 2009

The photo section of the blog is finally up and running!

now to finish the About Me and Contact too….

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.