Posts Tagged ‘business’

big sports

August 21st, 2010

It’s Saturday morning, and as I’m writing this, I’m on a conference call which will probably go on for hours. This upcoming week, we are shooting our big money scene where we are shooting in the Toledo Mudhens stadium, doubling it for a Major League stadium, and shooting a Home Run Derby which is the climax of the entire film. For a little movie like ours, this is a major undertaking.

We are shooting and crewing out of Detroit, and now we have logistically pick up the entire cast, crew, and equipment, move them to Toledo, shoot in a minor league stadium to double for a major league one, shoot half of the third act in 3 days, then pick back up and move back to Detroit. If that sounds like a logistical nightmare, you would be correct.

Baseball is hard to shoot for many reasons. A major one being that your players on the field are so spread out that coverage is a big issue. Now most of the baseball we are shooting is on Little League fields, which are sort of containable. But on a minor league field, it’s huge. So shot lists, storyboards, and a huge amount of planning is the only way we are going to get all of the story points we need to.

So we wake up, get on calls, and keep working through the weekend. Will it be successful? I think so. I wouldn’t be making this if I didn’t think it was going to be.

Feet on the Ground

June 16th, 2010

So yesterday was my feet on the ground day. Which means I landed in a state I’ve never been to before to live and work for the next 4 months. Now, before I have feet here, I already have eyes here…meaning I have hired my line producer/UPM, POC, APOC, local casting director, etc before I’m here, and I land to an office that is already up and running.

You always hope when you land and walk in that the crew you have hired are as pleasant as they seem to be on the phone, since you’ve hired sight unseen, based on recommendation, resumes, and phone calls. So far, so good….everyone seems to be what I thought they were.

So far, the challenges on this film are not normal ones. In indie film, finance is usually your largest obstacle, and you are constantly shifting pay dates, or contract sigs, or deposit schedules to fit around when the finance is coming in piece by piece by your 17 sources that are coming in to put the movie together. This one, on the other hand, went in fully financed. Even stranger, the financier didn’t want to give the money on a cash flow schedule, he just wanted to turn it over to production. So, we have the cash in the bank to make the picture.

Here’s where it gets weird. Michigan’s rebate can not be applied for until you are financed. So, once we were financed we put the application in. However, you can’t spend any money until it goes through the treasury and gets the official stamp of approval. Which can take up to 3 weeks. Now, we have people on the inside getting it approved much quicker, but we still don’t have the official stamp. Which means we can’t spend money.

However, we are on a strict production timeline. This is a movie which involves a ton of kid actors. And kid hours get far more limited during the school year, so we have to shoot out before school starts (at least all the kid parts) There is no pushing dates. It would make the movie unshootable. So, we have money, and can’t spend it. But need to spend it. So, this has become a mess of extra paper work having everyone start working without actually “starting working” Production office space, living arrangements, everything. We can escrow monies, just not draw down on the escrows.

Making a film always feels kinda like getting onto Platform 9 3/4 at Kings Cross. You close your eyes, run as fast as you can, and believe the obstacles will go away when you need them to.

methods of contact

May 11th, 2010

Now let me just say that as a production company, it is not unusual for us to get emails or calls that people want us to forward on to actors that we work with. People often think that we might be the easiest way for them to get through to people who often have layers of protection between them and the public. If people write fan letters, we will pass it on to the manager or PR person…as long as it’s not crazy.
So you can imagine my thoughts as Iron Man 2 opened. I just knew that somewhere out there, someone would get obsessed with Mickey Rourke, and try to contact him through us.

Email 1: (name and location redacted…not a terribly unusual email)
To Whom It May Concern,
Would you please kindly forward this to Mr. Mickey Rourke – thank you so much.
Hi Mickey!
It’s (name redacted) from (location redacted). Saw your performance tonight in: Iron Man 2 – you were great!
I love seeing you back on the silver screen Mickey – you have such a gift…God Bless You with continued success and keeping “in touch with Him.” Sincerely, (redacted)

Ok, ok…not bad. Until the follow up was email #2:

To Whom it May Concern,
Would you please kindly forward this p.s. email to Mr. Mickey Rourke…thank you so much.
Hi Mickey,
It’s me (name redacted) from (location redacted) with a p.s. to my recent email I sent you.
I just read you’re going to do a movie called, “St. Vincent.” Interestingly enough thats the name of the church I go to at least for now. We had a deeply devoted priest named (redacted) who recently was moved “elsewhere”. A number of folks were upset – someone even wrote to the editor of our (name of local paper redacted). I wrote to our Archibishop (name redacted) stating how wonderful his homilies were. Perhaps the latest priest brought to St. Vincents wanted “the show” himself – who knows. Anyways if Father (name redacted) turns up at another church near by I’ll probably switch. Personally, I don’t buy everything about the Catholic church but I do love receiving the Holy Eucharist weekly…
Anyways, I also wanted to mention if you’re not involved with someone and would care to meet – my phone number is: (number redacted). I’d even understand if we met and you felt more comfortable with wearing a “disguise” – fine as long as I know who you were and you’re not hiding under some blanket… Have a great day Mickey – if you’re in town you know the weather is going to be cold tonight. – (name redacted)

and that, my friends, is the definition of awesome-sauce.

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.

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.

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.

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.