So Denis McGrath calls me out and asks, "What are the D2DVD flicks worth watching?"
Get ready, folks...
The following movies are at all different budget levels, production value and distribution. Some premiered on cable, but they really are D2DVD's because those deals are negotiated before or at the same time as the cable sale. The one thing that separates these from the rest of the D2DVD pack is the fact that - Yes, they may be cheesy. Yes, they do have their faults, but for whatever reason - YOU HAVE TO KEEP WATCHING.
So, in no particular order:
ALIEN ABDUCTION - creepy horror/sci fi from The Asylum. Ultra low budget.
BEING RON JEREMY - need I say more?
KING OF THE ANTS - Stuart "Re-Animator" Gordon directs Kari Wuhrer (and Denis, you know what that means)
CURSE OF THE KOMODO - cheesy creature feature. Fulfills that Harryhausen addiction within.
DEATH VALLEY: REVENGE OF BLOODY BILL - ultra low supernatural slasher.
DRACULA II/ III - D2DVD sequels to DRACULA 2000. Stylish and fun.
GLASS TRAP - DIE HARD with giant ants.
FRANKENSTEIN REBORN - reimagining of Shelley's classic.
HIDE AND CREEP - redneck zombie comedy.
JOLLY ROGER - killer pirate from beyond the grave.
MANSQUITO - Man. Fucking. Skeeto. Need I say more?
RELATIVE EVIL - drug drama with Jennifer Tilly who won a DVDX Award.
SNIPER 3 - good action flick from Tom Berenger. He goes back to the 'Nam.
SCREAM BLOODY MURDER - schoolgirl slasher comedy. A little old, but still good.
TOOLBOX MURDERS - remake from Tobe Hooper. Gore. Gore. Gore.
SIDE FX - drug turns kids into vampires.
WAKE OF DEATH - the Van Dammer!
DOG SOLDIERS - a little old (2.5 years?), but really cool werewolf flick. Had a theatrical overseas, but premiered on DVD here courtesy of Blockbuster.
PTERODACTYL - dinosaurs on the loose killing college students.
SPECIES III - sequel to the theatrical movies. Lots of nudity and creature slime.
COMIC BOOK: THE MOVIE - winner at last years DVDX awards. Mark Hammill directs (and he's good at it).
---------------------------
Coming Next week - 8MM 2 starring Johnathon Schaech and Julie Benz.
That's it for now. I AM forgetting a lot more gems hidden on the shelves between the multiple copies of the latest Meg Ryan tearjack.
I am sure you folks out there will remind me.
(Sorry, I kind of blew that top five deal didn't I?)
Tuesday, November 15, 2005
Aaaah Yes, That Is Better!
To those of you newcomers who have crossed over to the DISContent side of town from the white picket fences and manicured lawns of the Kung Fu Monkey...
Glad to have ya join us. The more the merrier.
(I didn't think there was going to be this many of you or else I would have bought more beer. Honest. I'll know better next time)
If this is your first time here, let me say this - we talk a lot about the movies you see on the video store shelves every weekend when you walk into Blockbuster.
Monster movies.
Shoot'emups.
Erotic thrillers.
Techno thrillers made with footage from every airplane/sub/battleship pic you've ever seen.
Urban movies about rappers with a gun and a key of coke.
The movies that, deep down you really want to see because the cover art looks cool and it stars that the guy from (insert whatever TV show, cable movie or rap concert that applies), or that other guy who should probably be in traction by now, but somehow still gets hired to go out and kick badguy ass.
These are the movies you don't see at the theater any more because the Drive-ins and the Grindhouses are all gone. You only see these on DVD; which is kinda' cool because you can rent it, slip it under your coat, and watch it later after the kids have gone to bed.
So find yourself a seat, get some popcorn and don't be afraid to speak up. Think of us as your local drive-in or grindhouse where you can shout back at the screen.
Isn't that half the fun?
Glad to have ya join us. The more the merrier.
(I didn't think there was going to be this many of you or else I would have bought more beer. Honest. I'll know better next time)
If this is your first time here, let me say this - we talk a lot about the movies you see on the video store shelves every weekend when you walk into Blockbuster.
Monster movies.
Shoot'emups.
Erotic thrillers.
Techno thrillers made with footage from every airplane/sub/battleship pic you've ever seen.
Urban movies about rappers with a gun and a key of coke.
The movies that, deep down you really want to see because the cover art looks cool and it stars that the guy from (insert whatever TV show, cable movie or rap concert that applies), or that other guy who should probably be in traction by now, but somehow still gets hired to go out and kick badguy ass.
These are the movies you don't see at the theater any more because the Drive-ins and the Grindhouses are all gone. You only see these on DVD; which is kinda' cool because you can rent it, slip it under your coat, and watch it later after the kids have gone to bed.
So find yourself a seat, get some popcorn and don't be afraid to speak up. Think of us as your local drive-in or grindhouse where you can shout back at the screen.
Isn't that half the fun?
Monday, November 14, 2005
Post Expo Scribosphere Gathering
Well, last night was the big event at the Figueroa Hotel and your favorite pulpster went out on the town to meet and greet his fellow scribes.
The veranda bar was quite nice and the whole of downtown LA was far cleaner than I expected: Well lit, no trash, no smells.
To all of you - Warren, Fun Joel, John, Awful Writer, Trish, Andie, Kira, Shawna, Rose (aka Writergurl who didn't hang long enough to let me buy her a drink), Matt, Josh (who I didn't get a chance to really talk to, but want to talk further), Sarah and whomever else was there that I'm forgetting:
Thanks!
I had a good time and it was good to get away from the desk, have a few drinks and relax.
Warren has plenty of pics on his site here.
(Yes gentlemen, the girls are as cute as they appear in the photos! Cuter even.)
Sincerely,
Mr. Bill
Your bald new voice in screenwriting...as evidenced by the pictures!
The veranda bar was quite nice and the whole of downtown LA was far cleaner than I expected: Well lit, no trash, no smells.
To all of you - Warren, Fun Joel, John, Awful Writer, Trish, Andie, Kira, Shawna, Rose (aka Writergurl who didn't hang long enough to let me buy her a drink), Matt, Josh (who I didn't get a chance to really talk to, but want to talk further), Sarah and whomever else was there that I'm forgetting:
Thanks!
I had a good time and it was good to get away from the desk, have a few drinks and relax.
Warren has plenty of pics on his site here.
(Yes gentlemen, the girls are as cute as they appear in the photos! Cuter even.)
Sincerely,
Mr. Bill
Your bald new voice in screenwriting...as evidenced by the pictures!
In2TV
AOL and Warners announced their new internet television streaming venture In2TV
What's really interesting is the following quote from the article:
There's no guarantee consumers will go for it. Decades-old shows such as "Chico and the Man," "Alice," "Lois & Clark: The New Adventures of Superman" and "Eight is Enough" may not prove to be big draws among younger people.
"A lot of people might latch on to these shows that didn't see them for the first go-round," said Craig Leddy, analyst for research firm Points North Group. "But how do you grow this beyond a novelty?"
You do that by providing new programming as well, dummy!
How studios could not be contacting their own low-budget / indie divisions and saying, "Make us some new, exciting, different type of programming to go along with this new, exciting, different type of channel," is beyond me. Use this outlet as a testing ground for eventual broadcast! Tell everyone, "We're not giving you a lot of money, but we are giving you control," and then see what happens. It worked wonders for the Cartoon Network which developed Dexter's Laboratory and Powerpuff Girls using the same model.
Think outside your colon, guys!
What's really interesting is the following quote from the article:
There's no guarantee consumers will go for it. Decades-old shows such as "Chico and the Man," "Alice," "Lois & Clark: The New Adventures of Superman" and "Eight is Enough" may not prove to be big draws among younger people.
"A lot of people might latch on to these shows that didn't see them for the first go-round," said Craig Leddy, analyst for research firm Points North Group. "But how do you grow this beyond a novelty?"
You do that by providing new programming as well, dummy!
How studios could not be contacting their own low-budget / indie divisions and saying, "Make us some new, exciting, different type of programming to go along with this new, exciting, different type of channel," is beyond me. Use this outlet as a testing ground for eventual broadcast! Tell everyone, "We're not giving you a lot of money, but we are giving you control," and then see what happens. It worked wonders for the Cartoon Network which developed Dexter's Laboratory and Powerpuff Girls using the same model.
Think outside your colon, guys!
More Tales From The Shadows
To get the word out early, I want to point all fans of pulp fiction heroes here.
Tales of the Shadowmen Vol. II - Gentlemen of the Night is being assembled by our stalwart editors-in-chief J.M. and Randy Lofficier. This volume features more pulpy, mysterious fun you've come to expect from french fictional heroes like: Fantomas, Doc Ardan, The Nyctalope, Racombole, Sar Dubnotal and Arsene Lupin.
While many of you are familiar with American pulp heroes like Doc Savage or The Spider, these characters are their French cousins who are often much more ambiguous (and bloodthirsty) when it comes to their motivations and activities. I'm sure you'll get a kick out of all of them.
I am honored to again be included in the roster of authors contributing to this series. This is something that's really fun to do, and stretches the creative muscles. I can't wait to read all of these stories, and I know you'll want to reserve your copy today (shameless sales pitch).
If you want to know more, check out the Black Coat Press link in the sidebar.
Pulp on!
Tales of the Shadowmen Vol. II - Gentlemen of the Night is being assembled by our stalwart editors-in-chief J.M. and Randy Lofficier. This volume features more pulpy, mysterious fun you've come to expect from french fictional heroes like: Fantomas, Doc Ardan, The Nyctalope, Racombole, Sar Dubnotal and Arsene Lupin.
While many of you are familiar with American pulp heroes like Doc Savage or The Spider, these characters are their French cousins who are often much more ambiguous (and bloodthirsty) when it comes to their motivations and activities. I'm sure you'll get a kick out of all of them.
I am honored to again be included in the roster of authors contributing to this series. This is something that's really fun to do, and stretches the creative muscles. I can't wait to read all of these stories, and I know you'll want to reserve your copy today (shameless sales pitch).
If you want to know more, check out the Black Coat Press link in the sidebar.
Pulp on!
Sunday, November 13, 2005
Scribosphere Gathering
Well, I'm not attending the Screenwriting Expo (blew my wad on AFM), but I am going to the after party hosted by our friendly Fun Joel and Warren (of Screenwriting Life) over at the Figueroa Hotel bar.
I look forward to hoisting a few drinks with the clan, and hearing what everyone is up to.
I'll report back tomorrow.
I look forward to hoisting a few drinks with the clan, and hearing what everyone is up to.
I'll report back tomorrow.
Saturday, November 12, 2005
Brand New World
So I scooted down to Santa Monica the other day for the AFM. While there, I shook a few hands, picked up a few magazines and walked around.
Then I got the hell outta there to get back to work. The reason?
Well, in looking at all of the posters and sell sheets and talking to a few of my friends at various companies, I discovered a few things.
There has never been a better time to launch films into the marketplace. With more and more digital outlets opening up, DVD taking hold across the world, tax incentives and exchange rates - it's a marketplace where you can get a film made and move it around the world fairly quickly. With financing in place, you can make a dozen movies and move them around the world fairly quickly. Opportunity is in the air - it's a brand new world.
But Bill, I'm just a screenwriter. All I need to do is write.
Wrong. (well, not so much "wrong" as "yes and no")
But Bill...
Yes and No.
See, we're living in a brand new world.
We can't be Bartleby the Scrivener anymore (look it up). We can't just sit back and write, not thinking about how and where our writing is used. You can't just be a TV writer. You can't just be a comic book writer. You can't just be a feature writer. The needs of the marketplace, not to mention the needs of our individual bank accounts, demand that we as writers become... more.
You and I need to become brands.
For movies and TV and Games and all sorts of media and merchandising - branding is important. Branding steps right up, gets in your face and says, "This is who I am, and this is what I have to offer."
Why do you think Hollywood is making so many sequels and remakes right now? Why do you think they're buying so many comic book, video game and toy properties?
Why do you think there are several TV writers who now write comic books as well?
Yep - branding. Hollywood is taking recognizable properties and squeezing as much juice out of them as they possibly can: Bewitched, Pirates of the Carribean 2 & 3, Blade: The TV series, Serenity, Soul Calibur, etc...
We have the Marvel brand, The DC brand, the Mtv brand, the Capcom brand...
We also have brands that are individuals: Stephen King, J.K. Rowling, Tom Clancy, Robert Ludlum, and in a new deal signed with New Line, Danielle Steel has a line of D2DVD movies coming out. Brands all.
And people with financing in place tend to back brands - distinctive properties with a certain look and appeal that have an immediate connection with their intended audience. It's a way of limiting the risk of investing in a film, because they're betting on a track record and not just a great story. They're betting that the audience that embraces the property will embrace the movie made from that property. Brands are marketing and PR gold.
As creators though, branding comes with a certain amount of responsibility:
It means control.
It means investment in your work and the time needed to complete it.
It means networking opportunities in other media in order to get your brand out there (and those opportunities mean hard work, learning new skills and bringing your A-game to the process).
It also means saying, "No", when the deal isn't right. This is, after all, your brand - you have to protect it.
It means building an audience, and letting them know what you're doing.
It's a brand new world.
What's your brand and what are you doing to get it out there?
Then I got the hell outta there to get back to work. The reason?
Well, in looking at all of the posters and sell sheets and talking to a few of my friends at various companies, I discovered a few things.
There has never been a better time to launch films into the marketplace. With more and more digital outlets opening up, DVD taking hold across the world, tax incentives and exchange rates - it's a marketplace where you can get a film made and move it around the world fairly quickly. With financing in place, you can make a dozen movies and move them around the world fairly quickly. Opportunity is in the air - it's a brand new world.
But Bill, I'm just a screenwriter. All I need to do is write.
Wrong. (well, not so much "wrong" as "yes and no")
But Bill...
Yes and No.
See, we're living in a brand new world.
We can't be Bartleby the Scrivener anymore (look it up). We can't just sit back and write, not thinking about how and where our writing is used. You can't just be a TV writer. You can't just be a comic book writer. You can't just be a feature writer. The needs of the marketplace, not to mention the needs of our individual bank accounts, demand that we as writers become... more.
You and I need to become brands.
For movies and TV and Games and all sorts of media and merchandising - branding is important. Branding steps right up, gets in your face and says, "This is who I am, and this is what I have to offer."
Why do you think Hollywood is making so many sequels and remakes right now? Why do you think they're buying so many comic book, video game and toy properties?
Why do you think there are several TV writers who now write comic books as well?
Yep - branding. Hollywood is taking recognizable properties and squeezing as much juice out of them as they possibly can: Bewitched, Pirates of the Carribean 2 & 3, Blade: The TV series, Serenity, Soul Calibur, etc...
We have the Marvel brand, The DC brand, the Mtv brand, the Capcom brand...
We also have brands that are individuals: Stephen King, J.K. Rowling, Tom Clancy, Robert Ludlum, and in a new deal signed with New Line, Danielle Steel has a line of D2DVD movies coming out. Brands all.
And people with financing in place tend to back brands - distinctive properties with a certain look and appeal that have an immediate connection with their intended audience. It's a way of limiting the risk of investing in a film, because they're betting on a track record and not just a great story. They're betting that the audience that embraces the property will embrace the movie made from that property. Brands are marketing and PR gold.
As creators though, branding comes with a certain amount of responsibility:
It means control.
It means investment in your work and the time needed to complete it.
It means networking opportunities in other media in order to get your brand out there (and those opportunities mean hard work, learning new skills and bringing your A-game to the process).
It also means saying, "No", when the deal isn't right. This is, after all, your brand - you have to protect it.
It means building an audience, and letting them know what you're doing.
It's a brand new world.
What's your brand and what are you doing to get it out there?
Friday, November 11, 2005
Jeff O'Brien Comes Out of a Pitch Meeting with John Curtis
You gotta love a guy that sticks with it.
Side note: I'm posting links to respect your right to not look and to not blow out the pic restrictions from Blogger.
Side note: I'm posting links to respect your right to not look and to not blow out the pic restrictions from Blogger.
Jeff OBrien In His Apartment Seeking Inspiration For His Next Script
Those of a weak constitution shouldn't look here.
Halloween Producer Killed In Jordanian Bombings
From today's Screen International:
11 November 2005
The producer of the Halloween films, Syrian-born Moustapha Akkad, was confirmed today as one of the victims of the hotel bombings in Jordan.
Los Angeles-resident Akkad, who also directed the epic Anthony Quinn-starrers Lion Of The Desert and The Message, died this morning from wounds sustained in Wednesday’s attack in Amman.
His daughter, Rima Akkad Monla, was also killed.
Akkad had most recently been working on the ninth installment of the 27-year Halloween series.
11 November 2005
The producer of the Halloween films, Syrian-born Moustapha Akkad, was confirmed today as one of the victims of the hotel bombings in Jordan.
Los Angeles-resident Akkad, who also directed the epic Anthony Quinn-starrers Lion Of The Desert and The Message, died this morning from wounds sustained in Wednesday’s attack in Amman.
His daughter, Rima Akkad Monla, was also killed.
Akkad had most recently been working on the ninth installment of the 27-year Halloween series.
Thursday, November 10, 2005
Kaiju Smackdown!
It is on, Magnificent Iguana Beee-otch!
Jeff O'Brien, Vancouver screenwriter took offense of the pic of good old "Spidey-sack" (Thanks, John!), so he challenged me by posting a "Supergirl" pic on his site. (not much of a challenge really as I thought it looked good).
But of course, the gauntlet has been thrown.
Well we've decided to have a bit of fun tomorrow and try to out-do each other in the disgusting pics department. Nothing in the Warren Ellis debauchery category, but genre pics poking fun at one another. You guys get to judge and make comments.
I'm so sorry.
Jeff O'Brien, Vancouver screenwriter took offense of the pic of good old "Spidey-sack" (Thanks, John!), so he challenged me by posting a "Supergirl" pic on his site. (not much of a challenge really as I thought it looked good).
But of course, the gauntlet has been thrown.
Well we've decided to have a bit of fun tomorrow and try to out-do each other in the disgusting pics department. Nothing in the Warren Ellis debauchery category, but genre pics poking fun at one another. You guys get to judge and make comments.
I'm so sorry.
Wednesday, November 09, 2005
Grammar Lesson
Have you guys been watching Commander-In-Chief ?
I know Denis McGrath has been watching for multiple reasons, but I wanted to get an opinion on what you think of the captions that come up in the show telling us who everyone one is, the time period, etc..
It's as if Rod Lurie and company are realizing that they only have so much time and so many pages to get the story out, so they caption it to make it as info-dense as possible.
I can see the need for it with all of the senators, generals - there's a lot of players on the board - but with the flashbacks it makes little-to-no sense. They already visually tone the image letting us know that it's a flashback. Do we need more? Do we want more?
Is this now part of our accepted visual grammar?
I'm going through The Skull again, and looking for ways to make it as info-dense as possible, without raising the budget. Giving more story - or at least the appearance of more story - as well as framing it within the context of a comic book styled movie. I liked the caption motif with the old Wonder Woman show - it fit there - but does it fit with The Skull?
And you know me, I want to keep it simple - but I also want to give people their money's worth of story. This may allow both unless it's intrusive.
I know Denis McGrath has been watching for multiple reasons, but I wanted to get an opinion on what you think of the captions that come up in the show telling us who everyone one is, the time period, etc..
It's as if Rod Lurie and company are realizing that they only have so much time and so many pages to get the story out, so they caption it to make it as info-dense as possible.
I can see the need for it with all of the senators, generals - there's a lot of players on the board - but with the flashbacks it makes little-to-no sense. They already visually tone the image letting us know that it's a flashback. Do we need more? Do we want more?
Is this now part of our accepted visual grammar?
I'm going through The Skull again, and looking for ways to make it as info-dense as possible, without raising the budget. Giving more story - or at least the appearance of more story - as well as framing it within the context of a comic book styled movie. I liked the caption motif with the old Wonder Woman show - it fit there - but does it fit with The Skull?
And you know me, I want to keep it simple - but I also want to give people their money's worth of story. This may allow both unless it's intrusive.
Tuesday, November 08, 2005
My Inner Theme Song
My good buddy up in Vancouver, Jeff O'Brien (he of Magnificent Iguana infamy) reminded me today that I have had the Jonny Quest theme up on my audio clip for quite awhile. Well, change is a good thing and I want to give you folks an idea of the kind of music to which I've been listening.
Ladies and gentlemen, I give you "Tank!" by Yoko Kanno. It is better known as the opening theme to the Cowboy Bebop TV show, but around these parts it's what I have been inspired by as I've been rewriting The Skull.
Just head over to my profile, click it and find the audio clip. Sit back, close your eyes, and imagine an opening credits sequence similar to the Teen Titans (or Batman Beyond), but featuring our skull-faced horror and this theme music. Now click and...
Enjoy!
Ladies and gentlemen, I give you "Tank!" by Yoko Kanno. It is better known as the opening theme to the Cowboy Bebop TV show, but around these parts it's what I have been inspired by as I've been rewriting The Skull.
Just head over to my profile, click it and find the audio clip. Sit back, close your eyes, and imagine an opening credits sequence similar to the Teen Titans (or Batman Beyond), but featuring our skull-faced horror and this theme music. Now click and...
Enjoy!
Indie Consolidation
First Look buys DEJ for $25M
First Look Studios has agreed to purchase DEJ Prods.--Blockbuster Entertainment’s production, acquisition and distribution company--for $25 million in cash.
(from our good friends at Video Business)
First Look Studios has agreed to purchase DEJ Prods.--Blockbuster Entertainment’s production, acquisition and distribution company--for $25 million in cash.
(from our good friends at Video Business)
Monday, November 07, 2005
Thick-Headed
Been working my brain to the bone...
Finished 2nd draft of The Skull today. Ninety-three pages of pure pulp. Five locations. Lots of weirdness. It's one of those stories that's simple, yet told with it's own unique style that once you accept you really get into. It has a lot of the same visual grammar as anime or manga, which will not be especially easy to pull off at this script's budget level.
Aw well, anyone with money can do it - it takes genius to pull it off for no money.
I have another post coming up on delivery items, don't I ?
All right, back to work.
Sunday, November 06, 2005
Coming Attractions:
As promised, here's a small list of some of the movies that will probably debut on cable and DVD in the future. As I go through my copies of BUSINESS OF FILM, SCREEN INTERNATIONAL, VARIETY and HOLLYWOOD REPORTER, I'm going to point out various films of interest. There's a lot of material here to study and make projections for 2006.
Shochiku Films from Japan has HORROR THEATER coming out which is six hourlong episodes from various Japanese directors of horror.
Tube Entertainment from Korea has a new horror flick out called CELLO featuring a young woman beside a tied up cello case which drips blood from the inside.
Media Asia has the new Johnny To film EXILED in pre-production which features HK actor Anthony Wong. They are also releasing INITIAL D - the live action film from the japanese manga and anime series.
Horizon Entertainment has two new installments from the TOMIE series (which I worked on when it debuted on DVD here in the states) - TOMIE: BEGINNING and TOMIE: REVENGE.
My friends over at Fabrication Films have CONVERSATIONS WITH OTHER WOMEN coming out starring Helena Bonham Carter and Aaron Eckhart. I saw an early cut of the film and it is great. It will win awards and get a limited theatrical release. It was shot digitally in a new "dual-screen" format (not exactly split screen).
Mandarin Films has an adaption of a Chinese manga (mahn-wa) DRAGON TIGER GATE.
(Note: The Koreans and Asia in general are out in full force at this AFM. Lots of product. Lots of horror product)
Roger Corman's New Concorde-New Horizons has CRY OF THE WINGED SERPENT (from our friend Jim Wynorski) and BLOODFIST 2050 (but not starring Don "The Dragon" Wilson)
American World Pictures has RAIDERS OF THE DAMNED, THE HUNT and THE CONDEMNED.
Hollywood Wizard (where do they get these names?) has HORRORS OF WAR, MY DEMON WITHIN, THE SURVIVOR, XENY: SPACE WARRIOR, PREMONITIONS and CIRCUS ISLAND (featuring Audrey and Judy Landers) .
Cine Excel has two D2DVD winners with THE ABOMINABLE and AXEGRINDER (based on a true story!). Both are truly cheesy pieces of art.
There will be more posts later, but I would like all of you to think about one thing:
Have any of you heard of these companies before? (well, we've all heard of Roger Corman, but seriously, have you?) There are people in the motion picture industry who work steadily and make a living - and never, ever work for the studios. In fact, speaking in terms of sheer volume of sales, more business is done outside the studio system than within it...
And those companies need good, marketable films. Check out the links in this post and see what I'm talking about.
I'm saying this to let you know there are more opportunities out there than you think, and just because the studios don't want your film or script, doesn't mean you can't sell it or produce it. Film isn't limited to just the studios. Film is international, and the key to breaking in is persistence, knowledge and talent. Don't limit yourself.
Shochiku Films from Japan has HORROR THEATER coming out which is six hourlong episodes from various Japanese directors of horror.
Tube Entertainment from Korea has a new horror flick out called CELLO featuring a young woman beside a tied up cello case which drips blood from the inside.
Media Asia has the new Johnny To film EXILED in pre-production which features HK actor Anthony Wong. They are also releasing INITIAL D - the live action film from the japanese manga and anime series.
Horizon Entertainment has two new installments from the TOMIE series (which I worked on when it debuted on DVD here in the states) - TOMIE: BEGINNING and TOMIE: REVENGE.
My friends over at Fabrication Films have CONVERSATIONS WITH OTHER WOMEN coming out starring Helena Bonham Carter and Aaron Eckhart. I saw an early cut of the film and it is great. It will win awards and get a limited theatrical release. It was shot digitally in a new "dual-screen" format (not exactly split screen).
Mandarin Films has an adaption of a Chinese manga (mahn-wa) DRAGON TIGER GATE.
(Note: The Koreans and Asia in general are out in full force at this AFM. Lots of product. Lots of horror product)
Roger Corman's New Concorde-New Horizons has CRY OF THE WINGED SERPENT (from our friend Jim Wynorski) and BLOODFIST 2050 (but not starring Don "The Dragon" Wilson)
American World Pictures has RAIDERS OF THE DAMNED, THE HUNT and THE CONDEMNED.
Hollywood Wizard (where do they get these names?) has HORRORS OF WAR, MY DEMON WITHIN, THE SURVIVOR, XENY: SPACE WARRIOR, PREMONITIONS and CIRCUS ISLAND (featuring Audrey and Judy Landers) .
Cine Excel has two D2DVD winners with THE ABOMINABLE and AXEGRINDER (based on a true story!). Both are truly cheesy pieces of art.
There will be more posts later, but I would like all of you to think about one thing:
Have any of you heard of these companies before? (well, we've all heard of Roger Corman, but seriously, have you?) There are people in the motion picture industry who work steadily and make a living - and never, ever work for the studios. In fact, speaking in terms of sheer volume of sales, more business is done outside the studio system than within it...
And those companies need good, marketable films. Check out the links in this post and see what I'm talking about.
I'm saying this to let you know there are more opportunities out there than you think, and just because the studios don't want your film or script, doesn't mean you can't sell it or produce it. Film isn't limited to just the studios. Film is international, and the key to breaking in is persistence, knowledge and talent. Don't limit yourself.
Friday, November 04, 2005
American Film Market
is going on in Santa Monica right now and I will be reviewing all the literature (sell sheets and magazines) from it and talking about several movies that will be of interest to D2DVD heads around here.
The AFM is a haven for indie and D2DVD types from around the world as well as the bigger theatrical blockbusters. DVD is making its presence felt in the world market and changing a lot of what we "know" about film and audiences. I wish I could be down there every day and report (hmmm...next year?), but I have more work to do here at the secret mountain HQ.
From what I've seen so far, there's some interesting films out there...
The AFM is a haven for indie and D2DVD types from around the world as well as the bigger theatrical blockbusters. DVD is making its presence felt in the world market and changing a lot of what we "know" about film and audiences. I wish I could be down there every day and report (hmmm...next year?), but I have more work to do here at the secret mountain HQ.
From what I've seen so far, there's some interesting films out there...
Who are You?
Denis McGrath has a great post today that dovetails a conversation I had with my father last week when I was heading to the Augusta, GA airport to return here to LA.
Now to put this in context, Dad and I were talking about the trip and how good it was to see each other - the sort of review you do before you have to step through the metal detectors and head for the gate to catch your flight. In this case we were driving to the airport along the fields of the CSRA (Central Savannah River Area), and Pop comes up with something out of the blue:
"You know that I know nothing about what you do. You didn't get any of that creative stuff from me. That's just not my world, but I have to respect the fact that you went out there and are doing it on your own without any help from your old man..."
WOW. It kind of hung in the air there, held aloft by its own power. Then after the shock wore off, and I thought of something to say, 'cause you can't leave something like that alone, and I stammered in that little boy voice that all men use with their fathers in these kinds of moments:
"Well, you and I aren't so different Dad. You put together financing plans for companies. I put together blueprints for producers and directors."
Then, in a moment of utter brilliance (okay, maybe not sooo brilliant), I said:
"It's not what we do so much as who we are."
I think he understood.
-------------------------
I cannot see myself doing anything else with my life.
Writing and producing and all of the associated stuff that I do with film and DVD is who I am. I have to see the whole thing through to the point where that DVD is put in your player and you can sit back, relax and enjoy it. Everything I do is so I can reach that point in the process, and it is sooooooo worthwhile it makes up for all the gut-wrenching phone calls, faxes, emails, politics, financial woes and lack of a personal life.
What gets you excited? What makes you want to jump in headfirst and swim in its cool clear water? What is worthy of your sacrifices?
Who are you?
Now to put this in context, Dad and I were talking about the trip and how good it was to see each other - the sort of review you do before you have to step through the metal detectors and head for the gate to catch your flight. In this case we were driving to the airport along the fields of the CSRA (Central Savannah River Area), and Pop comes up with something out of the blue:
"You know that I know nothing about what you do. You didn't get any of that creative stuff from me. That's just not my world, but I have to respect the fact that you went out there and are doing it on your own without any help from your old man..."
WOW. It kind of hung in the air there, held aloft by its own power. Then after the shock wore off, and I thought of something to say, 'cause you can't leave something like that alone, and I stammered in that little boy voice that all men use with their fathers in these kinds of moments:
"Well, you and I aren't so different Dad. You put together financing plans for companies. I put together blueprints for producers and directors."
Then, in a moment of utter brilliance (okay, maybe not sooo brilliant), I said:
"It's not what we do so much as who we are."
I think he understood.
-------------------------
I cannot see myself doing anything else with my life.
Writing and producing and all of the associated stuff that I do with film and DVD is who I am. I have to see the whole thing through to the point where that DVD is put in your player and you can sit back, relax and enjoy it. Everything I do is so I can reach that point in the process, and it is sooooooo worthwhile it makes up for all the gut-wrenching phone calls, faxes, emails, politics, financial woes and lack of a personal life.
What gets you excited? What makes you want to jump in headfirst and swim in its cool clear water? What is worthy of your sacrifices?
Who are you?
What's That You Sayin'?
A dialogue list is part of your delivery to the distributor. What a Dialogue list does is let everyone know who's saying what onscreen. It's extremely important for any international sales of the film as they use the DL to generate subtitles. They also use it to generate subs for the domestic DVD release (usually spanish subs, but maybe french as well as they want sales in Quebec).
Now you can pay around $500 to have a professionally done DL (with Timecodes and very clean formatting, etc...) or you CAN do it yourself.
Here's how:
1. Take the script for the movie and remove all unnecessary actions in it leaving just the scene sluglines and the dialogue. If there's a confusing action sequence going on you may want to keep a few action lines in there for reference.
2. Take a timecoded window-burn-in copy of the film on VHS, along with a copy of this new dialogue list and watch the film.
Now you can pay around $500 to have a professionally done DL (with Timecodes and very clean formatting, etc...) or you CAN do it yourself.
Here's how:
1. Take the script for the movie and remove all unnecessary actions in it leaving just the scene sluglines and the dialogue. If there's a confusing action sequence going on you may want to keep a few action lines in there for reference.
2. Take a timecoded window-burn-in copy of the film on VHS, along with a copy of this new dialogue list and watch the film.
A. For every NEW SCENE, mark the timecode on your script. IT MUST BE EXACT.
B. Change the dialogue on the DL to MATCH EXACTLY what each character is saying. AGAIN, IT MUST BE ACCURATE.
3. After you do this, go through the DL again and make sure this all matches up with your final cut of the movie.
4. Be aware that you must do this AFTER you have your ratings certificate from the MPAA. You do not want to this, get a bad rating which means re-editing your picture, and then have to go back and re-do the dialogue list with all new timecodes and dialogue.
5. If your film uses a lot of slang that is very specific (i.e. Bee-otch instead of Bitch, drug slang, or specific racial or cultural slang), you may want to prepare a second dialogue list with exact english language in place. It will help the translators choose the appropriate words to convey the meaning you intend if not the specific words.
Tuesday, November 01, 2005
The Envelope please...
Everyone one of us watches entertainment industry awards shows. Most of us go to parties on Oscar night and bet with our friends who will win this or that award. Most of us lose our ass in the betting pool.
Well, the project I've been working on for the past month or so is going to make that guessing game a whole lot easier.
Ladies and Gentlemen, The Envelope please...
The Envelope is a new website from the fine folks at The LA Times featuring all sorts of blogs, podcasts, photo galleries, video, hard news stories and over 80 years of exclusive archives from The Times. It is, quite literally, everything about awards and award shows.
My business partner and I have been generating press for the site which launched today. This website is going to be an essential resource for everyone in the industry - movies, music, stage and television - domestic and international. If there's an awards show about it - this site will cover it.
So go over to The Envelope and check it out. Let them know what you like and what you dislike, and tell them who sent you.
Well, the project I've been working on for the past month or so is going to make that guessing game a whole lot easier.
Ladies and Gentlemen, The Envelope please...
The Envelope is a new website from the fine folks at The LA Times featuring all sorts of blogs, podcasts, photo galleries, video, hard news stories and over 80 years of exclusive archives from The Times. It is, quite literally, everything about awards and award shows.
My business partner and I have been generating press for the site which launched today. This website is going to be an essential resource for everyone in the industry - movies, music, stage and television - domestic and international. If there's an awards show about it - this site will cover it.
So go over to The Envelope and check it out. Let them know what you like and what you dislike, and tell them who sent you.
Sunday, October 30, 2005
Master Your Master
When dealing with your master tape for delivery to a distributor there's one rule to follow:
It has to be perfect.
That means no flash frames, color shifts, timecode drops, audio drops, contrast shifts, tape hiss, pops or anything else that says, "Bad Filmmaking". You guys know what I mean. There's nothing worse than being pulled out of the moment by some technical glitch that seemed minor when you saw it on the tape, but is magnified a thousand-fold by the DVD video compression process. Bad sound and picture says, "cheap."
The best way to ensure a great master is keep reviewing everything during post production, and make sure it's correct. In other words:
Extreme Attention To Detail.
Have your lab doing a comprehensive QC review of the master, which should cost you around $500. You do this so that you have written backup as to everything going on with your master. If someone gets a bad dupe, you can trace it back.
Audio should be configured as follows: Channel 1 - stereo composite left, Channel 2 - stereo composite right, Channel 3 - stereo left fully-filled Music and Effects, Channel 4 - stereo right fully-filled Music and Effects. This is the same audio configuration you'll use for your trailer.
Because you're working Direct to DVD you don't have to worry about making a workprint or anything else. This saves you money. If you shot on video you still have to transfer it to Digibetacam or Hi-Def tapestock- whatever your distributor prefers. The point is again, it has to be perfect because they are going to use the master to create the DVD.
This covers points 1 & 3 of Delivery.
Friday, October 28, 2005
I Don't know About You...
But I'm heading to Mars.
Be sure to click on the trailer and watch the forgotten fun of the fifties that is Destination Mars! This is a spectacular example of filmmakers who overcame their budget limitations and created an endearing tribute to fifties Sci-Fi.
They are now at work on a serial called Monarch of the Moon (the poster of which you can see on the website).
Enjoy!
Be sure to click on the trailer and watch the forgotten fun of the fifties that is Destination Mars! This is a spectacular example of filmmakers who overcame their budget limitations and created an endearing tribute to fifties Sci-Fi.
They are now at work on a serial called Monarch of the Moon (the poster of which you can see on the website).
Enjoy!
4GM is Here?
www.video.google.com is here.
I just saw the post by Denis here and I'm amazed. This is a bigger step than the IPod.
Upload your digital files. Charge people to download them (or not).
Take the responsibility and reap all of the benefits.
Distribution has been placed in the hands of the people.
God help us all.
(Excuse me, I have to go. The barbarians are storming the studio gate)
I just saw the post by Denis here and I'm amazed. This is a bigger step than the IPod.
Upload your digital files. Charge people to download them (or not).
Take the responsibility and reap all of the benefits.
Distribution has been placed in the hands of the people.
God help us all.
(Excuse me, I have to go. The barbarians are storming the studio gate)
Thursday, October 27, 2005
Can You Deliver? - D2DVD Film School
C. Powell recently emailed me while I was on vacation, regarding the numbers behind the D2DVD game. I take it to mean how much money he thinks he can make if he releases his movie. So, in between beers I thought about what I should reply.
The short answer is no, I'm not going to get into a numbers game because, quite frankly, they change too often. Not only from genre to genre, but from company to company. Every deal is different. Every deal is new.
What I am going to do is give you an idea of the things that occur behind-the-scenes at a distribution company once they purchase your film, and prepare to release it. I'm hopefully going to give you a real clue as to how much hard work goes into making your film look sellable. In this way, you'll be better prepared for a) the realities of filmmaking and b) how to make a better deal that ensures you get paid more quickly.
The short answer is no, I'm not going to get into a numbers game because, quite frankly, they change too often. Not only from genre to genre, but from company to company. Every deal is different. Every deal is new.
What I am going to do is give you an idea of the things that occur behind-the-scenes at a distribution company once they purchase your film, and prepare to release it. I'm hopefully going to give you a real clue as to how much hard work goes into making your film look sellable. In this way, you'll be better prepared for a) the realities of filmmaking and b) how to make a better deal that ensures you get paid more quickly.
*** Disclaimer: these notes I'm giving you are based on my personal experience, and as such don't reflect all experiences within the industry. Different companies have different procedures, strategies and tactics. These are all not hard-and-fast rules. Also, I am not a lawyer, nor am I qualified to act as one. Before negotiating any distribution contract, engage the services of a lawyer and understand you are always signing a legally-binding document ***
Special Delivery:
When you sell a film to a distributor you're not only selling them the physical film, you're selling them the right to replicate and re-license the film. What that entails is a little thing called "Delivery" - the legal documents and materials that allow them to distribute your film. This includes things like:
1. A master tape of the film with the sound configured properly, and a quality control report from a lab identifying any and all defects in the master.
2. A dialogue list.
3. A copy of the trailer with a like qc report and proper sound configuration.
4. A proper chain-of-title documentation including (but not limited to): a writer's agreement, copyright documents from the Library of Congress showing the writer's copyright assignment of the script to the producer, a copyright form on the film itself, any and all producer agreements with the financing entity as to who owns the copyright of the picture, any director's agreements with the producer, any composer agreements with the producer and any actors' agreements with the producer regarding using their likenesses.
5. A complete timecoded and ASCAP approved music cue sheet.
6. A set of at least 50 color slides or jpeg format photos of high resolution.
7. A one-paragraph synopsis of the picture.
8. A credit block
9. An original insurance certificate covering errors and omissions for a period of three years.
10. Five 1/2-inch vhs copies of the movie.
11. A lab access letter so that the distributor has access to the lab. This must be signed by all three parties - distributor, producer and lab.
12. A license agreement for the film.
13. An MPAA rating certificate.
14. A digital copy of the key art of the film.
15. Any and all behind-the-scenes material on the film including (but not limited to) : audio commentary, features, stills and interviews.
A lot of this will be unfamiliar to some of you, and I will go into more detail later on in this series. What I'm trying to impress upon you is the fact that you won't get paid until you deliver all of the above to the satisfaction of the distributor. If you don't do your job - you don't get paid. That's why it pays to have all of this stuff ready to go before you shop for a distributor. It will mean you get paid that much more quickly.
When you sell a film to a distributor you're not only selling them the physical film, you're selling them the right to replicate and re-license the film. What that entails is a little thing called "Delivery" - the legal documents and materials that allow them to distribute your film. This includes things like:
1. A master tape of the film with the sound configured properly, and a quality control report from a lab identifying any and all defects in the master.
2. A dialogue list.
3. A copy of the trailer with a like qc report and proper sound configuration.
4. A proper chain-of-title documentation including (but not limited to): a writer's agreement, copyright documents from the Library of Congress showing the writer's copyright assignment of the script to the producer, a copyright form on the film itself, any and all producer agreements with the financing entity as to who owns the copyright of the picture, any director's agreements with the producer, any composer agreements with the producer and any actors' agreements with the producer regarding using their likenesses.
5. A complete timecoded and ASCAP approved music cue sheet.
6. A set of at least 50 color slides or jpeg format photos of high resolution.
7. A one-paragraph synopsis of the picture.
8. A credit block
9. An original insurance certificate covering errors and omissions for a period of three years.
10. Five 1/2-inch vhs copies of the movie.
11. A lab access letter so that the distributor has access to the lab. This must be signed by all three parties - distributor, producer and lab.
12. A license agreement for the film.
13. An MPAA rating certificate.
14. A digital copy of the key art of the film.
15. Any and all behind-the-scenes material on the film including (but not limited to) : audio commentary, features, stills and interviews.
A lot of this will be unfamiliar to some of you, and I will go into more detail later on in this series. What I'm trying to impress upon you is the fact that you won't get paid until you deliver all of the above to the satisfaction of the distributor. If you don't do your job - you don't get paid. That's why it pays to have all of this stuff ready to go before you shop for a distributor. It will mean you get paid that much more quickly.
Filmmaking is a job, and as such it includes paperwork. Once you deliver all of this material and paperwork and it's approved - that's when the distributor can get to work...
And that's when the business gets really crazy.
Highlights of the Week
My big brother Reuben Ridgeway has a beer with fellow Pi Kapp Chip Holly and Chip's lovely wife Carol.
This is approximately 1 pm on Saturday.
Charles Sweat and his lovely wife Diane.
(Sorry guys, the flash didn't go off)
People lined up far and wide to hear me speak about the D2DVD industry (yeah, right!).This is approximately 3 pm (and much BBQ and fried foods) later...
All leading to the end of the evening and The League of Extraordinary Bald Gentlemen you see before you...
Can you believe all these guys are (now) responsible citizens -- Bankers, PHD's, Nurses, Army officers, Executives and Teachers?
And in the center - your pulp screenwriter.
Monday, October 24, 2005
Not in work mode, yet...
Had a great weekend at Presbyterian College in Clinton, SC. I wasn't in work mode yet I still managed to snag a few leads on work. It's really a small world we work in, and if the word screenwriter or producer pops up, people seem to take notice even if they don't exactly understand what it is we do.
I'll be flying back to Los Angeles on wednesday, in the meantime I'm stuffing my waistline with "deep fried" stuff.
I'll have a more detailed report later in the week.
I'll be flying back to Los Angeles on wednesday, in the meantime I'm stuffing my waistline with "deep fried" stuff.
I'll have a more detailed report later in the week.
Thursday, October 20, 2005
In Transit
Travelling today.
Heading to (soon to be) swampy South Carolina. The forecast is rain for the weekend, so there goes the Homecoming football game. Thank you, Wilma.
I may post from SC, but if not...
Keep writing.
Heading to (soon to be) swampy South Carolina. The forecast is rain for the weekend, so there goes the Homecoming football game. Thank you, Wilma.
I may post from SC, but if not...
Keep writing.
Wednesday, October 19, 2005
Warner Bros. Has Case of Blu...
Warner Bros. announced today it is embracing the new Blu-ray format of high-def DVD.
This leaves Universal the only studio to ally with the Toshiba HD format (at present).
The only profession not from in this format war are the replicators who must retool and replace current equipment in order to accept the Blu-ray format. Announcements have not been officially made regarding pricing of the new format and the cost to the consumer.
I'm not paying $500 for a new DVD player only to have to add a $35.00 disc in order to play it. If this is the scenario then that disc better be jam-packed with every bell and whistle the DVD authoring house can muster. At this kind of pricing, consumers will want more bang for the buck and will not accept inferior discs released quickly with a follow up director's cut.
This leaves Universal the only studio to ally with the Toshiba HD format (at present).
The only profession not from in this format war are the replicators who must retool and replace current equipment in order to accept the Blu-ray format. Announcements have not been officially made regarding pricing of the new format and the cost to the consumer.
I'm not paying $500 for a new DVD player only to have to add a $35.00 disc in order to play it. If this is the scenario then that disc better be jam-packed with every bell and whistle the DVD authoring house can muster. At this kind of pricing, consumers will want more bang for the buck and will not accept inferior discs released quickly with a follow up director's cut.
Tuesday, October 18, 2005
Never a Dull Moment Pt. 23,451
Having a rough day today, and by the looks of things I'm not the only one.
I'm going on vacation starting this Thursday, and won't be back until the 26th. I'm going to my 20th college reunion! Until that time I'm trying to get as much work done as possible so I won't have to carry work with me on the plane.
Uh uh. Not gonna happen.
I'm going to be taking work with me on the plane, spreading it out before me and bothering the poor soul who has to sit next to me on the flight to Atlanta (I don't work on the short hop from Atlanta to Augusta. By the time the prop plane is up in the air, we're already on approach.) I don't do the laptop thing in the air either, so I bring a script and plenty of red pens.
This time, I'm bringing three scripts and plenty of pens.
THE SKULL - yes, I'm still rewriting it. Thank God, it's a spec or else I'd have blown twenty deadlines by now. Because it's a spec I could not bring it with me, but that isn't right either. Inspiration could hit, and I could solve the story's problems right away. It's funny how the simple ones you design to just crank out, somehow get mired in the mud.
THE KNIGHTMARE - Thanks to notes from Fun Joel, I have about seven or eight pages to cut out of this and five to add. That'll give me 110 pages of good serial-styled superheroics. The character was a product of Poverty Row's Titan Studios, which burned down in the early forties near Silverlake - Echo Park and the old Mack Sennett stages. Unfortunately, not a lot is known about Titan because they stored their negatives and business documents on the lot and everything went up in flames. From what little I've been able to research, Titan had a business plan of creating B-movie versions of bigger studios productions. If Universal released FRANKENSTEIN or THE MUMMY then Titan released PATCHWORK and SARCOPHAGUS to the little midwest and southern theater syndicates that couldn't afford Universal's rates. THE KNIGHTMARE, as far as I can tell was their only original creation, and the only serial in their (destroyed) library. If anyone has heard anything overseas about Titan Studio productions (apparently in the late thirties some prints were sent over on ships during Germany's blockade of Great Britain) then please let me know.
WOLFSBANE - my werewolf action script that was originally co-written with Jeff Miller. There's a producer swirling around this one and about to strike. I want to go over it to make sure it's ready. A tweak here. A sharpening of a claw there.
Welcome to the life of a pulp screenwriter. There's always something going on!
I'm going on vacation starting this Thursday, and won't be back until the 26th. I'm going to my 20th college reunion! Until that time I'm trying to get as much work done as possible so I won't have to carry work with me on the plane.
Uh uh. Not gonna happen.
I'm going to be taking work with me on the plane, spreading it out before me and bothering the poor soul who has to sit next to me on the flight to Atlanta (I don't work on the short hop from Atlanta to Augusta. By the time the prop plane is up in the air, we're already on approach.) I don't do the laptop thing in the air either, so I bring a script and plenty of red pens.
This time, I'm bringing three scripts and plenty of pens.
THE SKULL - yes, I'm still rewriting it. Thank God, it's a spec or else I'd have blown twenty deadlines by now. Because it's a spec I could not bring it with me, but that isn't right either. Inspiration could hit, and I could solve the story's problems right away. It's funny how the simple ones you design to just crank out, somehow get mired in the mud.
THE KNIGHTMARE - Thanks to notes from Fun Joel, I have about seven or eight pages to cut out of this and five to add. That'll give me 110 pages of good serial-styled superheroics. The character was a product of Poverty Row's Titan Studios, which burned down in the early forties near Silverlake - Echo Park and the old Mack Sennett stages. Unfortunately, not a lot is known about Titan because they stored their negatives and business documents on the lot and everything went up in flames. From what little I've been able to research, Titan had a business plan of creating B-movie versions of bigger studios productions. If Universal released FRANKENSTEIN or THE MUMMY then Titan released PATCHWORK and SARCOPHAGUS to the little midwest and southern theater syndicates that couldn't afford Universal's rates. THE KNIGHTMARE, as far as I can tell was their only original creation, and the only serial in their (destroyed) library. If anyone has heard anything overseas about Titan Studio productions (apparently in the late thirties some prints were sent over on ships during Germany's blockade of Great Britain) then please let me know.
WOLFSBANE - my werewolf action script that was originally co-written with Jeff Miller. There's a producer swirling around this one and about to strike. I want to go over it to make sure it's ready. A tweak here. A sharpening of a claw there.
Welcome to the life of a pulp screenwriter. There's always something going on!
Monday, October 17, 2005
Is it Me?
-- or did the Pate Bros. take E.T. , CLOSE ENCOUNTERS OF THE THIRD KIND and JAWS; throw them in a blender and come up with SURFACE?
-- or does it make no sense to rebuild inferior homes in New Orleans when the levees haven't been repaired, the ground is inundated with all sorts of bacteria, viruses and waste, and there are no plans yet to realign the streets, power lines, sewer systems and any other public utilities so that this doesn't happen again?
-- or does it make no sense that pilots of TV programs aren't available for download from the source studios' websites so that we can vote on which shows we'd like to see? Shows like GLOBAL FREQUENCY or LA CONFIDENTIAL?
-- or is it about time Lions Gate got off their ass and remastered the Republic serials so that we can have the kind of DVDs these masterpieces deserve? They have a whole library of superhero titles in their vault just sitting there gathering dust.
-- or isn't it about time we started waging an economic battle in Iraq? Teaching people to cure hunger and disease and homelessness and you win over hearts and establish independence. Business over bullets?
-- or was LA looooong overdue for the good shower we had today?
-- or have comic books become way too expensive? So expensive that every time you look at the cover of a book, you wonder if you're going to get your money's worth?
-- or does the theme of MEDIUM sound like a Hitchcock movie theme?
-- or does it make no sense to rebuild inferior homes in New Orleans when the levees haven't been repaired, the ground is inundated with all sorts of bacteria, viruses and waste, and there are no plans yet to realign the streets, power lines, sewer systems and any other public utilities so that this doesn't happen again?
-- or does it make no sense that pilots of TV programs aren't available for download from the source studios' websites so that we can vote on which shows we'd like to see? Shows like GLOBAL FREQUENCY or LA CONFIDENTIAL?
-- or is it about time Lions Gate got off their ass and remastered the Republic serials so that we can have the kind of DVDs these masterpieces deserve? They have a whole library of superhero titles in their vault just sitting there gathering dust.
-- or isn't it about time we started waging an economic battle in Iraq? Teaching people to cure hunger and disease and homelessness and you win over hearts and establish independence. Business over bullets?
-- or was LA looooong overdue for the good shower we had today?
-- or have comic books become way too expensive? So expensive that every time you look at the cover of a book, you wonder if you're going to get your money's worth?
-- or does the theme of MEDIUM sound like a Hitchcock movie theme?
Saturday, October 15, 2005
Beer Eye for the Pulp Guy
Josh Friedman is again dispensing invaluable advice to writers and wannabes regarding what to do in a pitch meeting. This week he tackles Writer Fashion Sense:
" But here at Josh Planet we are all about monkeys. Throwing our shit, howling at the top of our lungs while we hang our red ass out of the cage and masturbating in front of the tour group."
" But here at Josh Planet we are all about monkeys. Throwing our shit, howling at the top of our lungs while we hang our red ass out of the cage and masturbating in front of the tour group."
(Josh obviously caught my pitch meeting for The Sound, but he forgot the tearing off of limbs and the jumping up and down on the Director's chest cavity)
He brings up a lot of cool points in his own humorous style. He's one funny fucker that Josh. We aren't jealous of him one bit...not a bit...at all.
You always want to project a certain attitude when you pitch (your take on) a project. If they want a comedy, you better have them laughing. If it's a dark comedy, they better be giggling and looking around to see that all the sharp objects are put away. If it's a horror project it doesn't hurt to wear a dark jacket and a shirt with an image of Charles Manson on it.
You want to come off as being cool, confident and creative. After all, this is the only time we writers are "on stage" so we should at least dress the part, right? We've got to give 'em a show, and that means the right costuming.
All this is especially true if the people you are meeting have never met you before. I once wore a Misfits T-shirt to a meeting with a German production company, and I ended up explaining who they were, and who the skull-faced guy was on the shirt. The Germans seemed to be impressed that I was - a) an edgy American writer, and b) a student of film history. The Producer could reference an old title out of his ass and it wouldn't throw me. Ultimately they went with a German writer for tax reasons. Bastards.
(If you don't know who The Misfits are then Google the image then smack yourself on the back of the head. Twice.)
If you're meeting executives you've worked with before, wear what they are used to seeing you wear. Then dazzle them with your brilliance, and make them glad they called you into the meeting. Solving problems they have with the story or concept is a surefire way to get hired. They are already comfortable with you, know your work habits, etc...but need to make sure you've nailed it.
I like to wear black to meetings. Not because it's slimming (okay, maybe), but because it projects authority. By mixing that with a cool shirt that says "creative" you're establishing yourself as the "Creative Authority" in the room. That makes them sit up and listen if you have something cool to say and they can see the dollar signs floating before their eyes. If not, then you aren't giving them the show they are asking for - you're just a schmuck in a stupid shirt.
You also have to remember that sometimes they don't want to take a meeting, but just send you the script or concept they are having problems with (story doesn't work, need the script next week, sending the script to talent and it needs a dialogue polish). They simply want your input on what problems you see and if you can fix them (by Tuesday). No face-to-face whatsoever.
For those kinds of (non) meetings I wear a smile.
Friday, October 14, 2005
DVDX Honcho Hettrick Weighs In
Scott Hettrick, Editor-in-Chief of Video Business and DVD Exclusive gives us his perspective on the new Apple IPod as well as the PSP and Echostar systems.
What Would Stan Do?
So we all know by now that Marvel Entertainment has half a billion in cash from Merrill Lynch to make movies, as well as a Paramount distribution deal.
So what movies from their library of characters should they make?
Here's my vote...
(And yes, we've talked about this before. I want Marvel input this time okay?)
*** And I forgot to add that I swiped this art from Dial B for Blog. Check out Robby's site for stuff that remains cool even after all these years ***
Apple of My Eye?
I woke up the other morning to discover Steven Jobs and his crew at Apple Inc. has once again re-imagined how we receive and enjoy our entertainment. Disney has jumped on the bandwagon and joined with Apple to provide content for the new IPod.
Here’s some random thoughts I have on this new IPod (some of these ideas are rather plebeian, but then again, so am I) :
This is a new distribution method and as such will have little impact on the content itself. After all, does your Tivo affect what you watch? No, it affects when you watch it.
This will be a great thing for commuters on trains and busses.
Ratings on this end of the media spectrum will be more accurate because Apple will know immediately who downloads what. This is good news for advertisers.
I’m wondering if the idea of commercials for IPod hasn’t been suggested. If I have to watch two or three commercials, but I get a download for half-price, then I’m going to think about watching those commercials.
This will cause a shift in revenue for theatrical, TV and DVD as VOD (Video-On-Demand) matures.
The technology end of this new distribution method – server farms, fibre optic cable, satellite, etc – will offer opportunity for investors to make some money. Comcast is very happy.
As John Rogers stated here, Apple has locked people using their video IPods into Quicktime which is not exactly conducive to putting the scope of media in the hands of the little guy. We need the ability to quickly upload content from a variety of formats – QT, Windows media, Bittorrent, etc...
We need more minds (from other than Apple) working on this new distribution method to explore its potential applications and implications. The fact is that distributors will still control everything. We need the entire model reworked in order for it to really affect the creators.
The networks are offering these programs after they premiere on television, which is a bit of the old “dragging of the heels” when it comes to launching a new distribution model. Original content for this method will be the mark of whether or not money can be made. That’s going to be awhile and it isn’t going to come from the studios.
I’m not sure if this IPod is the device we should be looking at, but rather the V-casting that we see on cell phones or some of the other devices like those mentioned in Roger's post. V-Cast seems to be more of a new media than this video IPod. It has internet, text components and applications to it that make it a slightly different experience.
There will be more thoughts, musings, drunken ramblings from me on this and how this is going to affect writers. Certainly there is a lot to think about after I do more research.
Stay tuned...or logged on...or whatever it is you kids say nowadays.
Here’s some random thoughts I have on this new IPod (some of these ideas are rather plebeian, but then again, so am I) :
This is a new distribution method and as such will have little impact on the content itself. After all, does your Tivo affect what you watch? No, it affects when you watch it.
This will be a great thing for commuters on trains and busses.
Ratings on this end of the media spectrum will be more accurate because Apple will know immediately who downloads what. This is good news for advertisers.
I’m wondering if the idea of commercials for IPod hasn’t been suggested. If I have to watch two or three commercials, but I get a download for half-price, then I’m going to think about watching those commercials.
This will cause a shift in revenue for theatrical, TV and DVD as VOD (Video-On-Demand) matures.
The technology end of this new distribution method – server farms, fibre optic cable, satellite, etc – will offer opportunity for investors to make some money. Comcast is very happy.
As John Rogers stated here, Apple has locked people using their video IPods into Quicktime which is not exactly conducive to putting the scope of media in the hands of the little guy. We need the ability to quickly upload content from a variety of formats – QT, Windows media, Bittorrent, etc...
We need more minds (from other than Apple) working on this new distribution method to explore its potential applications and implications. The fact is that distributors will still control everything. We need the entire model reworked in order for it to really affect the creators.
The networks are offering these programs after they premiere on television, which is a bit of the old “dragging of the heels” when it comes to launching a new distribution model. Original content for this method will be the mark of whether or not money can be made. That’s going to be awhile and it isn’t going to come from the studios.
I’m not sure if this IPod is the device we should be looking at, but rather the V-casting that we see on cell phones or some of the other devices like those mentioned in Roger's post. V-Cast seems to be more of a new media than this video IPod. It has internet, text components and applications to it that make it a slightly different experience.
There will be more thoughts, musings, drunken ramblings from me on this and how this is going to affect writers. Certainly there is a lot to think about after I do more research.
Stay tuned...or logged on...or whatever it is you kids say nowadays.
Wednesday, October 12, 2005
Monday, October 10, 2005
(Re)Production Update
After nine months of production (with five minutes of pre-production) we are pleased to announce that David Michael Latt and his producing partner Kim Little have premiered BRADY ZANDER LATT - 7 lbs. 14 oz.
This is their second production.
Father is a writer-producer-director (THE War of the Worlds, Scarecrow Slayer). Wife is an actress (Diagnosis Murder, Scarecrow Slayer).
We wish them boffo box office.
Saturday, October 08, 2005
Little Lessons
I've been doing alot of different kinds of writing work this week - marketing copy for a website, PR for a new website to be announced soon, PR for a DVD company, pitching a sci-fi feature, rewriting THE SKULL, writing notes for a colleague who's pitching a TV series based on a series of popular horror/mystery novels - a lot of different stuff that nevertheless had common elements that will be of help to those of us writing, pitching, getting notes and rewriting. These are some of the little lessons I've learned this week:
1. Development Executives are not the enemy. When they reject a story - it's for a reason. They actually want you to succeed because it makes them look good when you do.
2. If it doesn't work, it doesn't work.
(and that means you have to go back to the beginning and fix it)
3. A simple story told with a unique style is far better than an overly complex story told with no style.
4. Good notes come from everywhere. Just because you, the writer, didn't think of it doesn't make the idea suspect.
5. When pitching, say what you need to say then listen. Of the two - it's more important that you listen.
6. Don't ever think that just because someone requests your script it means they want to make it. The fact is they don't. They would rather have you work on their idea.
7. Don't respond to ads seeking writers unless you have exactly what they are needing. If they want to look at a sample script in a particular genre - it better be a script in that genre.
8. It doesn't matter at what stage you're asked to come in and write, just be glad you're getting off the bench and into the game. (Right Steve?)
9. There's a fine line between self-confidence and ego. Make sure your query letters come from confidence and don't come off as boastful.
(This particular note goes out to the guy in the OC who sent me a pitch document of all these "blockbuster screenplays" that he has written. The problem is that he said he will "accept bids on these scripts for a limited time" and that the scripts will attract "A-plus talents")
10. Ask questions. Even if they can't answer - their silence is saying something.
11. People know you by the last thing you did that they read or saw.
12. Be dependable. If it comes down to two talented folks, most companies will then look at dependability.
13. It's not a deal until you cash the check - even if it's printed in the trades.
(Per Denis McGrath - make sure the check clears...)
1. Development Executives are not the enemy. When they reject a story - it's for a reason. They actually want you to succeed because it makes them look good when you do.
2. If it doesn't work, it doesn't work.
(and that means you have to go back to the beginning and fix it)
3. A simple story told with a unique style is far better than an overly complex story told with no style.
4. Good notes come from everywhere. Just because you, the writer, didn't think of it doesn't make the idea suspect.
5. When pitching, say what you need to say then listen. Of the two - it's more important that you listen.
6. Don't ever think that just because someone requests your script it means they want to make it. The fact is they don't. They would rather have you work on their idea.
7. Don't respond to ads seeking writers unless you have exactly what they are needing. If they want to look at a sample script in a particular genre - it better be a script in that genre.
8. It doesn't matter at what stage you're asked to come in and write, just be glad you're getting off the bench and into the game. (Right Steve?)
9. There's a fine line between self-confidence and ego. Make sure your query letters come from confidence and don't come off as boastful.
(This particular note goes out to the guy in the OC who sent me a pitch document of all these "blockbuster screenplays" that he has written. The problem is that he said he will "accept bids on these scripts for a limited time" and that the scripts will attract "A-plus talents")
10. Ask questions. Even if they can't answer - their silence is saying something.
11. People know you by the last thing you did that they read or saw.
12. Be dependable. If it comes down to two talented folks, most companies will then look at dependability.
13. It's not a deal until you cash the check - even if it's printed in the trades.
(Per Denis McGrath - make sure the check clears...)
Monday, October 03, 2005
Keep Your Eyes Peeled
STUDIOS RAMP UP DVD PREMIERE MOVIE PRODUCTION
DVD EXCLUSIVE and VIDEO BUSINESS editor-in-chief SCOTT HETTRICK comments on the exploding DVD premiere movie business on CNBC’s new nightly business news program (7 p.m. ET / 4 p.m. PT on CNBC tonight, Monday, Oct. 3).
Scott is a friend and my boss on The 2005 DVD Exclusives Awards. People listen to him regarding DVD and its role in the marketplace. If you want to know more about the business of DVD then watch this guy. He will give you information that you can use to further your career - who's doing what, where the market is heading, and what this means for the consumer.
You may now resume your filthy activities on the net...
********* addendum *************
If you watched the show, then you know the score. With the average theatrical film costing $64M and only half the revenue coming from theatrical screenings and the rest from DVD, Cable, etc... finally the truth comes out. Something I've known for years, but people didn't believe me...
Theatrical film distribution is DVD's bitch.
DVD EXCLUSIVE and VIDEO BUSINESS editor-in-chief SCOTT HETTRICK comments on the exploding DVD premiere movie business on CNBC’s new nightly business news program (7 p.m. ET / 4 p.m. PT on CNBC tonight, Monday, Oct. 3).
Scott is a friend and my boss on The 2005 DVD Exclusives Awards. People listen to him regarding DVD and its role in the marketplace. If you want to know more about the business of DVD then watch this guy. He will give you information that you can use to further your career - who's doing what, where the market is heading, and what this means for the consumer.
You may now resume your filthy activities on the net...
********* addendum *************
If you watched the show, then you know the score. With the average theatrical film costing $64M and only half the revenue coming from theatrical screenings and the rest from DVD, Cable, etc... finally the truth comes out. Something I've known for years, but people didn't believe me...
Theatrical film distribution is DVD's bitch.
It's a Screamer!
SCREAMFEST LA Horror Film Festival (Oct 14 - Oct 23)
Event Venue: Loews Universal Studios Cinemasat Universal CityWalk.
Screamfest is a hoot, and those in the LA should attend. I will be out of town for the latter half of the festival, but I may be there opening night.
I'm sure Screamwriter will be there.
Event Venue: Loews Universal Studios Cinemasat Universal CityWalk.
Screamfest is a hoot, and those in the LA should attend. I will be out of town for the latter half of the festival, but I may be there opening night.
I'm sure Screamwriter will be there.
Friday, September 30, 2005
The List Keeps Growing
STEWIE GRIFFIN: THE UNTOLD STORY - 20th Century Fox Home Ent.
CARLITO'S WAY: RISE TO POWER - Universal Studios Home Ent.
AMERICAN PIE: BAND CAMP - U.S.H.E.
8 SECONDS pt. 2 - New Line Home Ent.
BUTTERFLY EFFECT 2 - New Line H.E.
HOUSE PARTY 5 - New Line H. E.
SINGLE WHITE FEMALE 2: THE PSYCHO - Sony
8MM 2 - Sony
3 BARBIE sequels - Lions Gate Home Ent.
LITTLE EINSTEIN SERIES - Buena Vista Home Ent.
BLUE COLLAR COMEDY TOUR SERIES - Paramount
And not to forget the MTV and NICKELODEON series coming D2DVD.
CARLITO'S WAY: RISE TO POWER - Universal Studios Home Ent.
AMERICAN PIE: BAND CAMP - U.S.H.E.
8 SECONDS pt. 2 - New Line Home Ent.
BUTTERFLY EFFECT 2 - New Line H.E.
HOUSE PARTY 5 - New Line H. E.
SINGLE WHITE FEMALE 2: THE PSYCHO - Sony
8MM 2 - Sony
3 BARBIE sequels - Lions Gate Home Ent.
LITTLE EINSTEIN SERIES - Buena Vista Home Ent.
BLUE COLLAR COMEDY TOUR SERIES - Paramount
And not to forget the MTV and NICKELODEON series coming D2DVD.
Thursday, September 29, 2005
Fire!
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I am watching the news wondering if this end of the country is going up in smoke. I'm fine and the Secret Mountain HQ seems pretty damn impervious. We have a 20' area around the fortress which is a really good firebreak. Plenty of sprinklers around the property and several means of egress.
But looking northwest into the hills we see smoke so ...
We'll be keeping an eye on the tube tonight.
We already have an earthquake / disaster kit down in the Lab. Bags packed with a couple of days worth of comfortable clothes. Canned goods and water at the ready. Hey, we live in earthquake and fire country ya know?
For those of you who have been told to evacuate - get the hell out! Don't think you are mightier than fire, or that you know better than the Fire Department. It's just "stuff" - it's not worth your life. The Firemen are doing one hell of a job, but they can't do it all. You and I have to help. We have to cooperate. We have to lend a hand.
Stay tuned.
Monday, September 26, 2005
Mondays are Always Like This...
Lots of stuff needs to be done and I have sand in my mental gears. Where does one start?A spec I wrote waaaay back in the day has received some interest from a production company. That has me excited on a couple of levels:
1. I had written it off as a lesson learned.
2. Even if they don't want to option or produce it, they want to see more from me (always nice to hear).
3. This company has a good track record - they get movies made.
I'll file this one under "To Be Continued."
-------------------------------------
I'm not overly enthusiastic about this season's TV offerings. The only standout for me has been Prison Break, which continues to schedule my Monday nights for me. The others haven't struck that chord with me that says, "watch me."
The last time I felt that was Battlestar: Galactica, which has gone on hiatus. I have to say they have ended on a high note though, and there are a lot of threads left dangling in the air - the carrot that will get me back in January.
I received a few things in my email box this weekend which have inspired a post. I am working on it in between the paying work.
-------------------------------------------------
I'm planning on travelling to the east coast (South carolina) at the end of October - to see the folks and go to my 20th College Reunion! God, I am old. It will be interesting to see people who knew me back then and always wondered where I would end up. The fact I have a California address is going to freak some of them out, and when I tell them what I do for a living they will give me that quizzical stare, and that polite nod that says, "I have absolutely no frame of reference for this."
Okay, Prison Break is on. Gotta go.
Stay tuned.
Friday, September 23, 2005
Just finished..
ALFRED HITCHCOCK AND THE MAKING OF PSYCHO by Stephen Rebello (Harper Perennial, ISBN 0-06-097366-8)
Wonderful book with an incredible insight into the craft of filmmaking. It should be on your "must read" list. This is my second time reading it, and it's still fresh the second go-round. Rebello does a great job covering all facets of this movie and the players involved.
Wonderful book with an incredible insight into the craft of filmmaking. It should be on your "must read" list. This is my second time reading it, and it's still fresh the second go-round. Rebello does a great job covering all facets of this movie and the players involved.
Tuesday, September 20, 2005
My Theory of More - A Discussion for the D2DVD Film School
I rewritten five pages of THE SKULL this morning so I'm doing rather well considering I got a late start of it, and I've been skooting around the web for awhile, dropping a few grenades here and there. As I've been rewriting the script, an informal rule seem to be applying itself to the process. Everyone who reads this blog knows of my desire for simplicity in writing, design, characterization, etc... it all falls under the umbrella of "pulp."
But as I've been editing this morning, It's becoming apparent (to me) that it's not about less...
It's about more and how those two things go hand in hand when it comes to low budget filmmaking.
With many of these low budget films you have a (very) limited amount of time and resources (money, crew, cast, locations) to produce the movie. You have less and are expected to produce more. Production value is the term.
But that's wrong isn't it?
The problem with this line of thinking is that More doesn't always equal Better. If you try to pile on MORE but have too few resources to do the job properly, then it's like slapping a glossy coat of paint on a house infested with termites. The holes show through and are even amplified by the paint.
But as I've been editing this morning, It's becoming apparent (to me) that it's not about less...
It's about more and how those two things go hand in hand when it comes to low budget filmmaking.
With many of these low budget films you have a (very) limited amount of time and resources (money, crew, cast, locations) to produce the movie. You have less and are expected to produce more. Production value is the term.
But that's wrong isn't it?
The problem with this line of thinking is that More doesn't always equal Better. If you try to pile on MORE but have too few resources to do the job properly, then it's like slapping a glossy coat of paint on a house infested with termites. The holes show through and are even amplified by the paint.
More will equal worse -- Martin Amis
The process then, from script through post, is not to get MORE, but to strengthen what you already have going for you - your core concept. In essence, you not only want the audience to feel satisfied by what they've been given, but to also bring something of themselves into the process. You give them LESS so they access it and are able to bring the MORE. It's very much like impressionism.
Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away -- Antoine de Saint-Exupery
Director Val Lewton is known for his film, CAT PEOPLE where there is not a killing that occurs onscreen. It's all done with mood and shadow, because if he were to actually show the creature then people wouldn't be half as frightened.
*** To learn more about Lewton, read about the new DVD collection here:
Film Noir lighting came about as a quick means to light sets, and to hide their deficiencies. Shadow became as important as light. Simple sets became places where evil men hide. Anything could happen in the dark, which ratchets up the tension level considerably.
Japanese manga is known for simple "moving" artwork (simple design indicating motion, limited backgrounds) featuring characters that deal with complex, adult issues.
Remember when you were a kid and your church or neighborhood had a potluck dinner? One or two families would set up the tables and get things organized, and everyone else brought their family's specialty dishes to the dinner - roast this, barbeque that, deep fried whatnot (I'm from the South. There's always a lot of deep-fried whatnot) . It allowed for a much richer, tastier experience then if you had laid out only what your family cooks. In fact, you couldn't have fed all those people yourself as it would have been too expensive.
In each of these examples, the audience fills in the blanks and brings their experience to the work, making it interactive. They bring the MORE to the equation.
Our job then, as D2DVD screenwriters is to make the characters and story accessible, show a little not a lot and allow the audience to bring the MORE. We can't afford to do it any other way.
A really good example of this is ASSAULT ON PRECINCT 13, John Carpenter's remake of RIO BRAVO set in an LA precinct overrun by gangs. That's a great concept isn't it?
A precinct overrun by gangs...
Except there were never that many gang members onscreen! You never saw more than four or five at a time, and yet you felt the characters inside the precinct were completely surrounded at all times. The audience brought the MORE. Carpenter crafted the movie so the audience would buy into the story and think there were dozens of bloodthirsty gang members out there.
In PSYCHO, everyone thinks they see Janet Leigh being stabbed while in the shower. If you look at it closely however, you see that at no time did a knife touch flesh. The audience fills in the blanks.
Something similar happened after SCARECROW. A kid emailed me saying he really liked the scene where the Scarecrow pulled the Sheriff's entrails out and danced around with them at the pool. I didn't have the heart to tell the kid that scene isn't in the movie. How do you break it to a kid there's no entrail dance when clearly he thinks there was one? (There was a sickle to the chest if I remember correctly)
The answer is you don't, because it may not have been in the movie we made, but it was in his movie. The movie he saw in his imagination. The movie that had plenty of MORE with it.
So by design, you can get the same effect in the audience's mind as if you had pulled out the Mac computer and went with full-on CGI. The problem with CGI is that it takes time, and the longer you dwell on it, the more artificial it becomes (not to mention it's expensive!).
Remember: Nothing beats an audience's imagination.
So that's the beginning of my Theory of More. Show (better yet, imply) just enough so that the audience brings their imagination to the table you've set, and then have a good potluck dinner.
After that, leave them wanting more. (which is a whole other post)
The smoking lamp is lit. Let's discuss it.
Rain, rain...
A rainy day today. Good day to catch up on some writing and get something out ahead of schedule.
But, as always something screws with you.
I woke up this morning at 4:30 to the sound of thunder and lightning right outside my window. This is one of the hazzards of living in the secret mountain HQ high above the rest of the city...you're closer to the storms.
Came out and checked around the house. Then went back to sleep at 5:00. It's now 9:30 and I'm 2 hours late on my day.
Wow, the lightning is so close you can almost touch it.
Monday, September 19, 2005
The Critics Weigh In
So, we're all watching the new shows for this fall season and wondering:
"Will this show be on next week?"
To help you answer that question, I'm going to recap what the critics of over eleven newspapers and magazines have to say overall about the fall's new shows that have been seen thus far. This is straight from Variety.
PRISON BREAK - 9 pro. 2 con. [prediction: Hit]
REUNION - 5 pro, 2 con, 4 mixed. [prediction:On the fence but will run 13 episodes]
THE WAR AT HOME - 7 con, 3 mixed, 1 pro. [prediction: Outta here]
BONES - 5 pro, 5 mixed, 1 con. [prediction: On the fence but will run a full season]
SUPERNATURAL - 6 pro, 2 con, 3 mixed. [prediction: Will run a full season]
HEAD CASES - 6 con, 3 pro, 2 mixed. [prediction: Dead in the water]
Anyone have a differing opinion?
"Will this show be on next week?"
To help you answer that question, I'm going to recap what the critics of over eleven newspapers and magazines have to say overall about the fall's new shows that have been seen thus far. This is straight from Variety.
PRISON BREAK - 9 pro. 2 con. [prediction: Hit]
REUNION - 5 pro, 2 con, 4 mixed. [prediction:On the fence but will run 13 episodes]
THE WAR AT HOME - 7 con, 3 mixed, 1 pro. [prediction: Outta here]
BONES - 5 pro, 5 mixed, 1 con. [prediction: On the fence but will run a full season]
SUPERNATURAL - 6 pro, 2 con, 3 mixed. [prediction: Will run a full season]
HEAD CASES - 6 con, 3 pro, 2 mixed. [prediction: Dead in the water]
Anyone have a differing opinion?
Read By Example
So I talked the other day about being a better reader in order to strengthen your writing. Mind you, it's not the only thing you need to do, but it's a start. What got me thinking about all of this was the fact I was purging old files, and I came across some old scripts that I had written before I really knew what a screenplay looked like.
(Sounds of pity echo across the scribosphere)
Yep, the scripts were that bad. So bad in fact I knew I had to get hold of a real one just so I could study it. Next thing you know I was at a comic convention in Columbia, SC and found a guy selling a few scripts. They were copies of BEAUTY AND THE BEAST (Not the Disney movie, but the Linda Hamilton, Ron Perlman TV show). Manna from heaven.
From there it progressed to buying script books and ordering copies via the mail. Now things are a lot simpler. I can log on, download a PDF of a particular script and go from there. All without killing any more trees than necessary.
So since I gave all of you homework for the rest of the year (at least reading homework, we haven't discussed viewing homework), I thought I would tell you what I'm going to be reading for the rest of the year:
FACE OFF by Mike Werb & Michael Colleary. Revision by Wesley Strick
THE LONG KISS GOODNIGHT by Shane Black
ALIAS ("Doppelganger") by Daniel Arkin
LA FEMME NIKITA ("Pilot") by Cyrus Nowrasteh
SEVEN DAYS ("Run, Parker, Run") by Alphonse Ruggiero
LAS VEGAS ("Untitled Vegas Project") by Gary Scott Thompson
NOW AND AGAIN ("Origins") by Glenn Gordon Caron
I'm also going to be throwing in:
THE BOURNE IDENTITY
THE BOURNE SUPREMACY
CELLULAR
Any script I can get from 24
and any reference books I can get my hands on regarding real CIA tactics and dirty tricks. I may throw in some more action thrillers to get me "in the mood", but I haven't narrowed it down yet. Any suggestions?
I watched the TV show SPY again last night, and I'm really liking this reality show as it teaches these normal contestants how to be spies. Taking ordinary folks and putting them to work, lying for a living. That has a nice ring to it.
All of this reading is for me to deconstruct what makes these spy shows / thrillers work, and to help me avoid any pitfalls these shows may have fallen into. This is the gasoline that will power my spy thriller engine for the next month or so.
So what's going to be running your engine for the next few months?
(Sounds of pity echo across the scribosphere)
Yep, the scripts were that bad. So bad in fact I knew I had to get hold of a real one just so I could study it. Next thing you know I was at a comic convention in Columbia, SC and found a guy selling a few scripts. They were copies of BEAUTY AND THE BEAST (Not the Disney movie, but the Linda Hamilton, Ron Perlman TV show). Manna from heaven.
From there it progressed to buying script books and ordering copies via the mail. Now things are a lot simpler. I can log on, download a PDF of a particular script and go from there. All without killing any more trees than necessary.
So since I gave all of you homework for the rest of the year (at least reading homework, we haven't discussed viewing homework), I thought I would tell you what I'm going to be reading for the rest of the year:
FACE OFF by Mike Werb & Michael Colleary. Revision by Wesley Strick
THE LONG KISS GOODNIGHT by Shane Black
ALIAS ("Doppelganger") by Daniel Arkin
LA FEMME NIKITA ("Pilot") by Cyrus Nowrasteh
SEVEN DAYS ("Run, Parker, Run") by Alphonse Ruggiero
LAS VEGAS ("Untitled Vegas Project") by Gary Scott Thompson
NOW AND AGAIN ("Origins") by Glenn Gordon Caron
I'm also going to be throwing in:
THE BOURNE IDENTITY
THE BOURNE SUPREMACY
CELLULAR
Any script I can get from 24
and any reference books I can get my hands on regarding real CIA tactics and dirty tricks. I may throw in some more action thrillers to get me "in the mood", but I haven't narrowed it down yet. Any suggestions?
I watched the TV show SPY again last night, and I'm really liking this reality show as it teaches these normal contestants how to be spies. Taking ordinary folks and putting them to work, lying for a living. That has a nice ring to it.
All of this reading is for me to deconstruct what makes these spy shows / thrillers work, and to help me avoid any pitfalls these shows may have fallen into. This is the gasoline that will power my spy thriller engine for the next month or so.
So what's going to be running your engine for the next few months?
Sunday, September 18, 2005
More Pulp for Your Pleasure!
I made some additions this morning. These are all sites where you'll get a healthy dose of pulp - the meaty, succulent part of this writing thing we do.
These additions include:
Dead Things on Sticks - Denis McGrath's blog on writing for Canadian TV amongst other things.
Bernie Dexter - because Bernie is Bernie. Nuff said.
Dial B for Blog - This is the fun stuff that infected my brain at an early age.
I Find Your Lack of Faith Disturbing - Josh Friedman's hilarious adventures writing movies you can actually see in the theater (though with someone else's name on them).
The Artful Writer - Craig Mazin's blog with a great Q&A format. It answered several of my questions and I'm not even in the union (yet).
Fun Joel - because he has insightful (or is that inciteful?) comments from the perspective of a studio reader and columnist. Besides, he's fun.
John August - Tim Burton's "go to" guy. Writes big movies. Knows the craft. Read and learn.
Screenwriter Bones - Philip Morton is a working writer. Again: read and learn.
Ink Slinger - TV writer and novelist Paul Guyot. Great advice, no bullshit.
Assistant Atlas - you want to get your foot in the door in Hollywood? Be kind to the assistants. Learn what goes on in the office after they request your script.
Alligators in a Copter - perspective from a studio reader. Learn what's wrong with your (and my) scripts, and what we can do to fix them.
Internet Script Database - No excuses now not to read cool scripts. This combined with Bill Martell's script library gives you a wide range of budgeted scripts to learn from. When I reference something, you can go to it, understand it and discuss it.
The Engine - Warren Ellis' forum for discussing the comics that don't involve a mask and a cape. Lots of script and story discussion with pros, semi-pros and Do-it-yourselfers.
Posterwire - the site that dissects movie posters and design both past and present. This will be helpful in the future when we discuss DVD casewrap artwork.
Atomic Pulp - the site for writer Christopher Mills. Loved the name. Like the site even more.
These sites are all deserving of our regular attention, and form a "faculty" of sorts for learning how to get into this business, improve your craft, and stay in this business for the long term.
I will be adding more links as the need arises (for discussions and projects I have boiling in my cranium).
These additions include:
Dead Things on Sticks - Denis McGrath's blog on writing for Canadian TV amongst other things.
Bernie Dexter - because Bernie is Bernie. Nuff said.
Dial B for Blog - This is the fun stuff that infected my brain at an early age.
I Find Your Lack of Faith Disturbing - Josh Friedman's hilarious adventures writing movies you can actually see in the theater (though with someone else's name on them).
The Artful Writer - Craig Mazin's blog with a great Q&A format. It answered several of my questions and I'm not even in the union (yet).
Fun Joel - because he has insightful (or is that inciteful?) comments from the perspective of a studio reader and columnist. Besides, he's fun.
John August - Tim Burton's "go to" guy. Writes big movies. Knows the craft. Read and learn.
Screenwriter Bones - Philip Morton is a working writer. Again: read and learn.
Ink Slinger - TV writer and novelist Paul Guyot. Great advice, no bullshit.
Assistant Atlas - you want to get your foot in the door in Hollywood? Be kind to the assistants. Learn what goes on in the office after they request your script.
Alligators in a Copter - perspective from a studio reader. Learn what's wrong with your (and my) scripts, and what we can do to fix them.
Internet Script Database - No excuses now not to read cool scripts. This combined with Bill Martell's script library gives you a wide range of budgeted scripts to learn from. When I reference something, you can go to it, understand it and discuss it.
The Engine - Warren Ellis' forum for discussing the comics that don't involve a mask and a cape. Lots of script and story discussion with pros, semi-pros and Do-it-yourselfers.
Posterwire - the site that dissects movie posters and design both past and present. This will be helpful in the future when we discuss DVD casewrap artwork.
Atomic Pulp - the site for writer Christopher Mills. Loved the name. Like the site even more.
These sites are all deserving of our regular attention, and form a "faculty" of sorts for learning how to get into this business, improve your craft, and stay in this business for the long term.
I will be adding more links as the need arises (for discussions and projects I have boiling in my cranium).
Saturday, September 17, 2005
D2DVD Film School pt. 4
This is a simple one pulpsters. So simple that it escapes everyone's notice:
If you want to be a better writer, then be a better reader.
This is your homework assignment for the rest of the year. Read one screenplay every two weeks. That's seven screenplays. They can be anything you want, but they have to have been produced.
But Bill, I don't have the time to read a screenplay!
Gee, then I guess a development executive doesn't either...
Screenwriting is one of those jobs where you always have homework. Always. It means reading and watching and absorbing, all on top of the writing you're already doing.
But I'm stuck here in the middle of (insert name of bumfuck town here). I can't get hold of scripts to read.
I guess you don't want to make a living writing screenplays. I was "stuck" in the small town of Aiken, SC (and this was before the age of the internet) and I managed to do it. You've got all sorts of resources on the web to download and read scripts. Take advantage of it. If you don't, the other guy will. (That would be the guy who's going to sell that script and/or make that film)
Think of all this as career development, the stuff you would be doing anyway if you worked on the line at the local plant. It's required for you to progress to the next pay grade in your job.
Now get back to work.
If you want to be a better writer, then be a better reader.
This is your homework assignment for the rest of the year. Read one screenplay every two weeks. That's seven screenplays. They can be anything you want, but they have to have been produced.
But Bill, I don't have the time to read a screenplay!
Gee, then I guess a development executive doesn't either...
Screenwriting is one of those jobs where you always have homework. Always. It means reading and watching and absorbing, all on top of the writing you're already doing.
But I'm stuck here in the middle of (insert name of bumfuck town here). I can't get hold of scripts to read.
I guess you don't want to make a living writing screenplays. I was "stuck" in the small town of Aiken, SC (and this was before the age of the internet) and I managed to do it. You've got all sorts of resources on the web to download and read scripts. Take advantage of it. If you don't, the other guy will. (That would be the guy who's going to sell that script and/or make that film)
Think of all this as career development, the stuff you would be doing anyway if you worked on the line at the local plant. It's required for you to progress to the next pay grade in your job.
Now get back to work.
Friday, September 16, 2005
News You Can Use
Just some facts and tidbits from the pages of DVD Exclusive magazine:
Title: / Box Office: / DVD Revenue:
The Incredibles / $261 M / $315 M
National Treasure/ 173 M / 196 M
Shark Tale / 160 M / 195 M
Meet The Fockers / 280 M / 183 M
Ray / 75 M / 169 M
According to DVDX's Editor-in-Chief, Scott Hettrick (who is both a gentleman and a scholar even though he roots for the Kansas City Royals every season) there is a trend developing amongst the studios to hold big premiere's for D2DVD releases and really push them. He also says the following:
"Consumers spend more than $3 Billion each year on movies premiered exclusively on DVD...and another $3 Billion on TV DVDs. (That's) more than two-thirds what is spent at the box office."
-------------
Title: / Box Office: / DVD Revenue:
The Incredibles / $261 M / $315 M
National Treasure/ 173 M / 196 M
Shark Tale / 160 M / 195 M
Meet The Fockers / 280 M / 183 M
Ray / 75 M / 169 M
According to DVDX's Editor-in-Chief, Scott Hettrick (who is both a gentleman and a scholar even though he roots for the Kansas City Royals every season) there is a trend developing amongst the studios to hold big premiere's for D2DVD releases and really push them. He also says the following:
"Consumers spend more than $3 Billion each year on movies premiered exclusively on DVD...and another $3 Billion on TV DVDs. (That's) more than two-thirds what is spent at the box office."
-------------
- Bruce Campbell will be taking his Anchor bay release THE MAN WITH THE SCREAMING BRAIN on his cross-country book tour.
- Actor Corbin Bernsen (no stranger to D2DVD movies) is creating a series of DVD premiere pictures aimed at target audiences.
- Marty Bregman has a DVD premiere sequel to CARLITO'S WAY coming from Universal and starring P. Diddy.
- Producer Ken Kragen is pushing his new project 12 DOGS OF CHRISTMAS to Wal-Mart retailers via a presentation to Andersen Merchandising and the SMU marching band. The retailers cheered and commited to $200,000 copies of the family film. The movie is based on a book and a line of plush dog toys.
- Tim Robbins has brought his play EMBEDDED- LIVE to DVD (via netflix and Cinema Libre) . This is Netflix first acquisition and they licensed it to Cinema Libre to take it wider into the market. My good friend, Arik Treston brokered the deal for CL.
- Artisan (the genre DVD arm of Lions Gate) is releasing JACK O'LANTERN, a horror movie that features a pumpkinheaded character with "Wolverine-like" claws.
For more information, go to the Video Business link to your right.
Wednesday, September 14, 2005
Hear that?
It's the sound of the rent being paid.
I received a confirmation email yesterday that Velvet Steamroller and the Director of THE SOUND liked the way I tied their notes into this last draft, and that a final check is on its way.
It's funny, because I initially fought the note, then sat back, relaxed and thought, "They want this. They really want this, so you got to make it work Bill."
Sometimes, you have to give them what they want to see, fulfill their expectations, and make it work for the story structure you've set forth. If this is a big payoff scene then you have to lead up to it. Do some reversals of expectations. Make it harder for the hero. Make the hero fail only to ultimately fix the problem by putting himself right into the thick of it. Make it personal.
So I printed the script, got my red pen out and went to work:
A cut there. A change here. An addition or five...and voila!
107 pages. Done.
AND the story works. Win / win.
Now onto next month's rent...
I received a confirmation email yesterday that Velvet Steamroller and the Director of THE SOUND liked the way I tied their notes into this last draft, and that a final check is on its way.
It's funny, because I initially fought the note, then sat back, relaxed and thought, "They want this. They really want this, so you got to make it work Bill."
Sometimes, you have to give them what they want to see, fulfill their expectations, and make it work for the story structure you've set forth. If this is a big payoff scene then you have to lead up to it. Do some reversals of expectations. Make it harder for the hero. Make the hero fail only to ultimately fix the problem by putting himself right into the thick of it. Make it personal.
So I printed the script, got my red pen out and went to work:
A cut there. A change here. An addition or five...and voila!
107 pages. Done.
AND the story works. Win / win.
Now onto next month's rent...
Sunday, September 11, 2005
Decompressing
It's 4 am here in LA and I woke up an hour ago from all the stuff whirling around in my head. I just made out my writing schedule for the rest of the year - setting some goals and factoring in how I'm going to pay for all those goals as well as accomplish them.
There's no way around it - there's a lot still left on my plate for this year.
------------
It's officially Sunday, Sept. 11th, 2005.
It was around this time 4 years ago, that I got a phone call from the east coast saying that a plane had hit the tower. I turned on the TV and saw the second one hit. I went into work that morning and turned on the TV. My boss, writer/director/producer/distributor Nico Mastorakis, was scheduled to leave the country that week, and fly back to Greece where he lives most of the year.
It wasn't going to happen.
I think he ended up spending an extra 2 weeks in LA, which at the time was good because he could work on .Com for Murder. I think he spent most of the time shopping.
Life is weird like that...
------------
It's quiet here at the secret mountain HQ. Nothing brewing down in the Lab. No rumble of traffic from the 2 and 5 freeways. No car headlights angling north or south along the freeway. No "Silent Bob" (our landlord's dog) barking at the squirrels.
I'm going to go turn on the Weather Channel and see if that will put me to sleep...
There's no way around it - there's a lot still left on my plate for this year.
------------
It's officially Sunday, Sept. 11th, 2005.
It was around this time 4 years ago, that I got a phone call from the east coast saying that a plane had hit the tower. I turned on the TV and saw the second one hit. I went into work that morning and turned on the TV. My boss, writer/director/producer/distributor Nico Mastorakis, was scheduled to leave the country that week, and fly back to Greece where he lives most of the year.
It wasn't going to happen.
I think he ended up spending an extra 2 weeks in LA, which at the time was good because he could work on .Com for Murder. I think he spent most of the time shopping.
Life is weird like that...
------------
It's quiet here at the secret mountain HQ. Nothing brewing down in the Lab. No rumble of traffic from the 2 and 5 freeways. No car headlights angling north or south along the freeway. No "Silent Bob" (our landlord's dog) barking at the squirrels.
I'm going to go turn on the Weather Channel and see if that will put me to sleep...
Friday, September 09, 2005
The Long and Winding Road...
Well, it's been a long one today. After my embolism over this whole Michael Brown affair we find that the administration is removing him from the FEMA office.
Done. Next!
Now we have to make sure that an independent inquiry is done in the whole Katrina fiasco and not a Bush led whitewash. Government should never investigate itself. Leave it to the people who have no stake in the final outcome.
Wrote some for a client this morning. Great stuff coming up with one-liners and factoids for their DVD, which will be out sometime later this year / early next year. I'll let you know the title when it comes out.
Also worked on THE SKULL which is good because I pitched the idea to a director and he wants to read it.
Still waiting on the final word on THE SOUND.
As MSNBC was on in the Secret Mountain HQ this morning, I saw a lot of devastation footage which of course sent me to the notepad to jot down some story ideas. As sick as this is going to sound, I think I have a good horror movie coming out of all this material. Something big that I'm going to have to pitch. I'm still putting it together, but I've come up with a bunch of scenes that I'd like to see, and more keep coming.
A friend called the other day and wants me to dust off an old concept I wrote a treatment for several years ago. I took a look at it and it's my take on a hi-tech espionage thriller TV series. I originally wrote it in 2002, and I can see all its faults now. Amazing thing that hindsight. I'm going to have to polish and retitle it in the light of all the stuff that has come out since then: 24, THE BOURNE IDENTITY / SUPREMACY, GLOBAL FREQUENCY (which I still have not seen) and a lot of historical and technological data I've been ingesting about the origins of today's Intelligence Agency culture. The truth is far stranger than the fiction. I've also started watching a show called SPIES, which takes a group of folks through spy school. Rather insightful.
Tomorrow is a cleaning day here. Still lots of files to go through and the traditional "weeding out of the crap." I also have some letters to write, resume's to send out, and phone calls to make. Also have to get some groceries and haul them up the mountain.
It's Saturday, and the cartoons will be on, but I will be working.
Done. Next!
Now we have to make sure that an independent inquiry is done in the whole Katrina fiasco and not a Bush led whitewash. Government should never investigate itself. Leave it to the people who have no stake in the final outcome.
Wrote some for a client this morning. Great stuff coming up with one-liners and factoids for their DVD, which will be out sometime later this year / early next year. I'll let you know the title when it comes out.
Also worked on THE SKULL which is good because I pitched the idea to a director and he wants to read it.
Still waiting on the final word on THE SOUND.
As MSNBC was on in the Secret Mountain HQ this morning, I saw a lot of devastation footage which of course sent me to the notepad to jot down some story ideas. As sick as this is going to sound, I think I have a good horror movie coming out of all this material. Something big that I'm going to have to pitch. I'm still putting it together, but I've come up with a bunch of scenes that I'd like to see, and more keep coming.
A friend called the other day and wants me to dust off an old concept I wrote a treatment for several years ago. I took a look at it and it's my take on a hi-tech espionage thriller TV series. I originally wrote it in 2002, and I can see all its faults now. Amazing thing that hindsight. I'm going to have to polish and retitle it in the light of all the stuff that has come out since then: 24, THE BOURNE IDENTITY / SUPREMACY, GLOBAL FREQUENCY (which I still have not seen) and a lot of historical and technological data I've been ingesting about the origins of today's Intelligence Agency culture. The truth is far stranger than the fiction. I've also started watching a show called SPIES, which takes a group of folks through spy school. Rather insightful.
Tomorrow is a cleaning day here. Still lots of files to go through and the traditional "weeding out of the crap." I also have some letters to write, resume's to send out, and phone calls to make. Also have to get some groceries and haul them up the mountain.
It's Saturday, and the cartoons will be on, but I will be working.
Terrorists couldn't have done any better!
This audience knows I rarely get political on this blog. I usually leave that to better, more eloquent writers than myself. I am the "cheeseburger and fries" writer of the blogosphere. I stick to what I know well and leave the rest for other blogs to dissect.
But --
When I learn of the "behind-the-scenes" garbage that is going on nowadays, post-Katrina, I get really pissed off and have to give the "common man's" point of view. Take a look at this little bit of information below, and answer the question: How did this guy get his job?
http://aolsvc.news.aol.com/news/article.adp?id=20050909051609990011&ncid=NWS00010000000001
Michael Brown is a poseur, a charlatan. He couldn't have screwed the American people any harder than he has if he were a terrorist mole.
The people who hired him? Fire them.
The people who investigated his background and confirmed him? Fire them.
The people at Homeland Security who dealt with this bozo and said nothing? Fire them too.
When, oh when are people in society going to understand that it is our duty as Americans to yell at the top of our lungs, "The Emperor has no clothes!"
I'm not talking about reporting on your neighbor because he/she likes to get naked and run around their house. I'm not talking about reporting your neighbor because they are a Catholic or Jew, or Muslim, or Libertarian, or Democrat, or Republican or even Communist! I'm not talking about reporting people because they happen to disagree with your point of view.
I'm talking about not being a party to doing the wrong thing. I'm talking about pointing out the flaws so they can be fixed. I'm talking about doing the right thing before someone gets hurt or killed.
People at a variety of levels in our society knew Michael Brown wasn't qualified to be in his position. They knew he lied on his resume'. They knew.
And they did nothing about it.
I'm pissed about Brown getting to his position, but I'm even more enraged at those people who sat back and let it go by. They are the real criminals here. They allowed a man who was not qualified to send a memo the day before Katrina to ask for help from Homeland Security. People and resources should have been on alert and in place four days prior to landfall, and this guy was politely asking for help only a day before.
He was not prepared, not qualified, and yet responsible to the people. He has continued his inept behavior throughout this disaster by witholding resources from companies (Wal-Mart and others), other municipalities (several towns sent equipment to help, but were held back) and churches (again held back from delivering water and canned goods) as well as firefighters from around the world (who in a brilliant bit of solidarity refused to wear their FEMA t-shirts lest they be marked as the 'enemy').
I am looking forward to reading the complete TIME magazine investigation to find out who needs to be removed from office in our next election (or before).
Remember voters, the government is in your employ. Act accordingly.
But --
When I learn of the "behind-the-scenes" garbage that is going on nowadays, post-Katrina, I get really pissed off and have to give the "common man's" point of view. Take a look at this little bit of information below, and answer the question: How did this guy get his job?
http://aolsvc.news.aol.com/news/article.adp?id=20050909051609990011&ncid=NWS00010000000001
Michael Brown is a poseur, a charlatan. He couldn't have screwed the American people any harder than he has if he were a terrorist mole.
The people who hired him? Fire them.
The people who investigated his background and confirmed him? Fire them.
The people at Homeland Security who dealt with this bozo and said nothing? Fire them too.
When, oh when are people in society going to understand that it is our duty as Americans to yell at the top of our lungs, "The Emperor has no clothes!"
I'm not talking about reporting on your neighbor because he/she likes to get naked and run around their house. I'm not talking about reporting your neighbor because they are a Catholic or Jew, or Muslim, or Libertarian, or Democrat, or Republican or even Communist! I'm not talking about reporting people because they happen to disagree with your point of view.
I'm talking about not being a party to doing the wrong thing. I'm talking about pointing out the flaws so they can be fixed. I'm talking about doing the right thing before someone gets hurt or killed.
People at a variety of levels in our society knew Michael Brown wasn't qualified to be in his position. They knew he lied on his resume'. They knew.
And they did nothing about it.
I'm pissed about Brown getting to his position, but I'm even more enraged at those people who sat back and let it go by. They are the real criminals here. They allowed a man who was not qualified to send a memo the day before Katrina to ask for help from Homeland Security. People and resources should have been on alert and in place four days prior to landfall, and this guy was politely asking for help only a day before.
He was not prepared, not qualified, and yet responsible to the people. He has continued his inept behavior throughout this disaster by witholding resources from companies (Wal-Mart and others), other municipalities (several towns sent equipment to help, but were held back) and churches (again held back from delivering water and canned goods) as well as firefighters from around the world (who in a brilliant bit of solidarity refused to wear their FEMA t-shirts lest they be marked as the 'enemy').
I am looking forward to reading the complete TIME magazine investigation to find out who needs to be removed from office in our next election (or before).
Remember voters, the government is in your employ. Act accordingly.
Tuesday, September 06, 2005
To Our Friends In The Great White North - Thanks!
From the CBC:
In addition to help from other Louisiana and Alabama departments, a Canadian task force of firefighters and police arrived four days after the storm, St. Bernard Fire Chief Thomas Stone said.
"If you can get a Canadian team here in four days, U.S. teams should be here faster than that," Stone said, referring to Vancouver's Urban Search and Rescue Team, which has been working with the Louisiana state police in the St. Bernard Parish area, about 30 kilometres east of New Orleans.
However, if you read a similar article on AOL.com then the above paragraph will be mysteriously absent...
The Canadian story: http://www.cbc.ca/cp/world/050906/w090656.html
The AOL version: http://aolsvc.news.aol.com/news/article.adp?id=20050824033709990005&_ccc=1&cid=842
What's going on here?
How come we aren't getting the same news that our good neighbors came to help us out before we got off our own asses and did something on our own? Granted, there are references to the 82nd Airbourne in the AOL draft that I don't see in the CBC draft, but that's a bit different isn't it? I am talking early response.
I, for one want to know how Canadians from Vancouver got to the trouble spot before US rescue teams did. How could this happen? I thank the Canadians for their efforts and for stepping up to do the right thing.
Now for the kicker: The Canadian firefighter paragraph WAS in the AOL story not 20 minutes ago. IT HAS BEEN REMOVED.
In addition to help from other Louisiana and Alabama departments, a Canadian task force of firefighters and police arrived four days after the storm, St. Bernard Fire Chief Thomas Stone said.
"If you can get a Canadian team here in four days, U.S. teams should be here faster than that," Stone said, referring to Vancouver's Urban Search and Rescue Team, which has been working with the Louisiana state police in the St. Bernard Parish area, about 30 kilometres east of New Orleans.
However, if you read a similar article on AOL.com then the above paragraph will be mysteriously absent...
The Canadian story: http://www.cbc.ca/cp/world/050906/w090656.html
The AOL version: http://aolsvc.news.aol.com/news/article.adp?id=20050824033709990005&_ccc=1&cid=842
What's going on here?
How come we aren't getting the same news that our good neighbors came to help us out before we got off our own asses and did something on our own? Granted, there are references to the 82nd Airbourne in the AOL draft that I don't see in the CBC draft, but that's a bit different isn't it? I am talking early response.
I, for one want to know how Canadians from Vancouver got to the trouble spot before US rescue teams did. How could this happen? I thank the Canadians for their efforts and for stepping up to do the right thing.
Now for the kicker: The Canadian firefighter paragraph WAS in the AOL story not 20 minutes ago. IT HAS BEEN REMOVED.
Marvel-ous
Marvel is now Marvel Entertainment which reflects its recent influx of $525 Million to finance a slate of (up to) ten films to be distributed by Paramount.
This means that Marvel is becoming a vertically integrated company:
The comics develop the audience and the property.
They create toys and games based on the above.
They have complete creative control over how the films are made.
They reap the benefits of that control.
For the full story:
http://www.comicbookresources.com/news/newsitem.cgi?id=5858
This means that Marvel is becoming a vertically integrated company:
The comics develop the audience and the property.
They create toys and games based on the above.
They have complete creative control over how the films are made.
They reap the benefits of that control.
For the full story:
http://www.comicbookresources.com/news/newsitem.cgi?id=5858
BOO!
My friend Anthony Ferrante, who was the SFX supervisor on SCARECROW as well as the 2nd Unit Director, has his first film coming out in October - BOO!
DOG SOLDIERS producer David E. Allen is behind it, in what will hopefully be a line of low-budget horror films under the GRAVEYARD FILMWORKS banner. It also features Dee Wallace Stone who kept me up late at night when I was much younger in films like CUJO, THE HOWLING and "10"
Good Job Anthony!
Below are the specifics on the film:
BOO (2004)
Written/Directed by Anthony C. Ferrante
Producer: David E. Allen, Co-Producer: Brian Patrick O'Toole, Sheri Bryant
Cast: M. Steven Felty, Trish Coren, Rachel Melvin, Nicole Rayburn, Josh Holt, Happy Mahaney, Jilon Ghai, Michael Samluk, Dig Wayne, Dee Wallace Stone
Synopsis: In this atmospheric ghost story, a handful of college student become trapped in an abandoned hospital on Halloween and find themselves in the middle of a battle between two ghosts - a nurse and her psychotic patient.
DOG SOLDIERS producer David E. Allen is behind it, in what will hopefully be a line of low-budget horror films under the GRAVEYARD FILMWORKS banner. It also features Dee Wallace Stone who kept me up late at night when I was much younger in films like CUJO, THE HOWLING and "10"
Good Job Anthony!
Below are the specifics on the film:
BOO (2004)
Written/Directed by Anthony C. Ferrante
Producer: David E. Allen, Co-Producer: Brian Patrick O'Toole, Sheri Bryant
Cast: M. Steven Felty, Trish Coren, Rachel Melvin, Nicole Rayburn, Josh Holt, Happy Mahaney, Jilon Ghai, Michael Samluk, Dig Wayne, Dee Wallace Stone
Synopsis: In this atmospheric ghost story, a handful of college student become trapped in an abandoned hospital on Halloween and find themselves in the middle of a battle between two ghosts - a nurse and her psychotic patient.
Sunday, September 04, 2005
Edgar Stiles Rocks!
In a very smart programming move, influenced by the upcoming DVD release, A&E Network is broadcasting 24 in a 24-hour marathon broadcast.
So far this season:
1. Fox added a preview to the 3rd season DVD set, setting up the premise for this 4th season.
2. Fox also created additional content (Behind-the-Scenes) for streaming on the 24 website.
3. They broadcast the 4th season on Fox.
4. And instead of rerunning the program on Fox, they license it to A&E who maximize the value of thepurchase by running it as a marathon - the way people who buy the DVD set will be watching it.
5. Next, they will release the season 4 set with more content (commentaries, production diaries, etc...) and a preview of the upcoming season.
This is how DVD has influenced our viewing, and their programming habits.
Stay tuned. More influences will be felt across other media.
So far this season:
1. Fox added a preview to the 3rd season DVD set, setting up the premise for this 4th season.
2. Fox also created additional content (Behind-the-Scenes) for streaming on the 24 website.
3. They broadcast the 4th season on Fox.
4. And instead of rerunning the program on Fox, they license it to A&E who maximize the value of thepurchase by running it as a marathon - the way people who buy the DVD set will be watching it.
5. Next, they will release the season 4 set with more content (commentaries, production diaries, etc...) and a preview of the upcoming season.
This is how DVD has influenced our viewing, and their programming habits.
Stay tuned. More influences will be felt across other media.
Thursday, September 01, 2005
D2DVD Film School Pt. 3 - Is It Worth it?
So let's get one thing straight as we undertake this journey toward D2DVD production. It's important to understand because you are taking the steps from (possibly) talented amateur to professional. It's something that many people in this industry kid themselves about, and try to mask under self-important lingo and egotistical artistic illusion (delusion? Yes, delusion).
The most important thing to remember is:
You are doing this for the money.
(Deafening silence ensues...followed by shock, then outrage)
But Bill what about Shakespeare?
He did it for the money.
But what about guys like Robert Towne?
Money. The guy wrote and acted for Roger Corman for chrissakes!
How about...Scorcese, Copolla, Demme, Tarantino, Stone, Woo?
Money. The answer is money.
Professionals get paid for their work. Everyone mentioned above wanted to be paid for their work... And that's what you want too, isn't it?
People pay professionals for their expertise, talent, creativity, work ethic... and that's what you want too isn't it?
Professionals are responsible with the money they get to make a movie, and they are responsible about the money they invest (They don't give. Ever. They expect to be paid back and make a tidy profit besides). That's a reputation you want to have.
You want to be a professional? Then money comes into the equation in a big way.
You aren't shooting on weekends anymore with the school's film society. You aren't looking at the footage in the editing room and saying, "That doesn't look tooooo bad." You aren't looking at the manual as you use a Nagra for the first time. And when something doesn't work out you don't just say, "Oh well, sorry. My bad. " without there being consequences. You can't just let it go. There are no excuses that are acceptable.
Because if you screw up, it doesn't just affect you - it affects other people too.
You are making a film to sell. You are doing it for the money, so that you can make another film and make some money on that one too.
You are doing it so you can do it for a living. You are doing it to build a career. You are doing it so that audiences who look at your work feel they got their money's worth.
Money raises the bar quite a bit doesn't it?
That also means you're going to fail every now and then (and deal with that). It means that you're going to have to suck it up and keep going. It means you have to give it your best every time. Because this is how you make money. This is how you feed your family. This is how you pay the rent...the insurance...the car payment. Just because you are doing something you love, and it's kind of cool to be paid for creating doesn't lessen the pressure.
This is your job. Write, shoot, direct and act accordingly.
Next time: D2DVD Homework (This is school!)
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