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December 3rd, 2009Sundance update
December 2nd, 2009We 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, 2009So, 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.
Job posting
November 4th, 2009Please 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, 2009Earlier 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!
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.
So…what now???
November 2nd, 2009So, 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!
Hello baaaaaby!
August 27th, 2009So, 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.
Interview time!
August 20th, 2009When 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:
It was published in the July issue of POST Magazine, but for some reason, we just got our copies of it!
Rough Cut!
August 9th, 2009I 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.
