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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.

Week 1 wrap-up

April 6th, 2009

So, pre-production officially began on Monday. We have hired production staff, started location scouting, begun casting sessions for the non-principals, finished contracts, started contracts, and put the production offices together. 

 

And again, I keep coming back to what is the most important thing to do. Hire a good line producer. A good line producer knows everything about the place you’re going to shoot in, when you know nothing. they know the people to bring in, and the people to keep out. They know where, in that city, are the places you need to spend your budget, and where you can NOT spend budget. 

 

Now, this can be a tricky situation. We hired our line producer before ever meeting her. And often, this is the case. You hire your line producer after a series of phone conversations, a ton of calls to the last people they worked with, some recommendations, and your gut feeling. That gut feeling can never be dismissed. Get in tune with your gut. 

 

Because of our line producer, we have been able to bring on an amazing AD. Now, I know what you’re thinking…if you know all the agents…it should be easy to find an AD. But, this guy wasn’t represented, so no one was pitching him to us, and the only reason he came on our radar as available for a non-studio movie was because of our line producer. She brought us a viable option for a key location (outside of also bringing us a fantastic locations manager)

 

 In short, this is not the place to try to save a couple pennies, because a good line producer will save you hundreds of thousands over the course of a shoot. 

 

And now, let’s see what Week 2 brings.

Cin-Cin!

April 2nd, 2009

 

Something you have to be aware of when traveling to a city to work in film is how to drink in that city. Not that anyone actually has to drink while working on a film, but the fact is relationships are formed, deals are done, and schemes are hatched over a couple vodka martinis or a few glasses of syrah. As all of you that already work in this business know, “work drinks” happen at least 2-3 times a week, often with people you’ve never met before. 

 

So, when you travel to a city to work, one of the things to know is the quirks of having drinks in that city, so you don’t look like a total fool when meeting business contacts. I mean, you’re already going to get lost on the way to your drinks meeting…so when you get there, you should really know that in Salt Lake City you have to “buy a one night pass to a private club” instead of paying a cover charge…or that the local place for business drinks in Toronto may well be a strip club.  

 

Now, heading to NY, I didn’t figure there was anything I needed to know. After all, we’re talking about a place where you can stumble into bars practically at dawn and still get served one last drink. And yet, one of the quirks here tripped me up. Thankfully, I was headed to a social situation, and not a work one.

 

The other night, I headed up to Park Ave to see a college friend, and wanted to grab a bottle of wine for us to enjoy on the way. As I got off the subway about 4 blocks from his place, I thought for sure I would be able to pop into a storefront, grab a nice pinot noir, and be on my way. 

 

Imagine my surprise when storefront after storefront had none. I walked into small grocers, delis, and pretty much all storefronts along my walk thinking that perhaps…just perhaps….the last store simply didn’t have the space for wine. I mean, real estate is at a premium here, right? Overriding my knowledge of the industry, I convinced myself that perhaps the markup on wine didn’t justify the shelf space, and the next store would have made space for a couple bottles.

 

Now, to reveal one of my neurosis, having spent so much time traveling, living, and working in different places…I hate admitting to any local that I don’t know something that should be common knowledge. So it took me 4 storefronts before I finally shoved my ego out of the way. “Do you have any wine?” “Beer, even cold!” 

 

This was information I already knew, having scoured the store for a good 5 minutes before asking (sidenote: stores here are tiny. 5 minutes is plenty of time to scour) 

 

“do you have any wine?” I asked again, thinking maybe I just looked like the beer drinking type, and he was trying to help. “We have food!” Now, having gotten the previous answer, I assumed that the cashier was just, once again not answering my question. Little did I know that this time, he was ACTUALLY answering my question. Apparently, in NY, you can not buy wine or hard liquor in any place that sells any sort of food. 

 

That’s right people. No cheese with your wine. No olives with your martini. No pretzels with your beer. 

 

Unless you go to a bar…where you can get shitfaced, snacks, and play pool until 4 in the morning.

 

Makes total sense to me.

Hello all!

March 19th, 2009

So, welcome, relax, stay a while and enjoy. I’ve been blogging for the past four years under a name that few people know is me. In the past couple of months, I’ve had a bit of a desire to expand and connect my actual name and identity to some of my experiences and thoughts. 

 

So, now I’m coming up on leaving for an adventure for the next couple of months. What better time to launch this site? 

 

So check back often as I let you in on the absurd details that make up my life. And let’s see what the next couple months bring.