Posts Tagged ‘film’

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.

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.

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

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!

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.

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.

Hey You! Lady in the Back!

August 3rd, 2009

A couple days ago, I went to the “Not a Premiere Because You Can’t Call It a Premiere If You’re Sending It To Festivals, So Let’s All Dress Up And Call It a Cast, Crew and Industry Screening” of a film which two of my friends have been working on for quite a bit of time. It’s her first foray into producing, and his directing debut. The setting was pretty standard. Everyone showed up at the appointed time at the fabulous Rialto Theater, milled about the lobby making small talk, filed into the theater, watched, and then afterwards the cast and crew went up on stage for a short Q&A.

Things were going along nicely, with them discussing how they had to run and gun a lot of scenes (this was an ultra low budget, so luxuries like permits weren’t used), how they did the research for the bio-pic part of it, etc. Then some lady in the back stands up.

“Uhm, I just had a comment about the scene in the park. There are some modern cars driving behind you.”

Oh, yeah, did I mention that the filmmakers made a period piece? A no budget period piece? A no budget period piece set in the 1920s? Where the producer and director were also acting as m/u, hair, wardrobe, and countless other hats?

So, were did a couple of modern cars drive through the way background in one scene? Yes. But the point, I think, is much bigger than that.

Shut the f&*k up.

I have heard people make statements like this, and ask loaded questions to try to throw filmmakers at every level of screening. Why is it, that in a Q&A situation, people lose simple human kindness? It’s as if the schadenfreude of person asking the question can’t stand the fact that the people on stage completed a project, and has to find a way to tear them down. Up on the stage were six people who had put countless hours, their own money, and a ton of creative energy into a project that, overall, looked good. But, even if it HADN’T looked good, the time and place to bring up errors isn’t here. This was to celebrate their work.

Look, was the film perfect? no. Do the filmmakers think it’s perfect? no. But what good does pointing out that car do? The budget isn’t there to digitally take it out. It’s there, it’s in the background, it’s going to stay.

So, how about we all agree that if you need to tear someone down just to tear someone down, you stay out of the artistic community? We’re all fighting every day to create work we’re proud of, and that’s just not helping anyone.

By the way, rude lady, I don’t see you having a “Not a Premiere Because You Can’t Call It a Premiere If You’re Sending It To Festivals, So Let’s All Dress Up And Call It a Cast, Crew and Industry Screening” today. So enjoy this one.