Tuesday, October 27, 2009
Farther Color Still
This was a screenshot I grabbed in a color correction session today at Unified Pictures:
Spec Screenplays
For any readers who don't know, a spec screenplay is a work of scriptwriting that wasn't written on commission. These screenplays are speculative because the writer is relying on their own sense of what the market will bear when considering their so-called exit strategy for the project.
In other words, they might not get paid.
Recently, a new website popped up revolving around the sale of spec screenplays called greenwriter.org. While I have no idea whether their business model is viable, I posted a bunch of scripts. Every little bit helps.
Attendance is Mandatory - Science-Fiction/Satire
In a dark future, graduating senior GEORGE TURNER sees his high school as the brainwash factory it is, and vows to bring the system down.
http://greenwriter.org/screenplay/826/
Cheap Noir - Mystery
With no memory of her past, a young woman is forced to investigate her own connection to a brutal murder.
http://greenwriter.org/screenplay/827/
The Stormcrow - Supernatural Horror
Drawn by mysterious events, an occult investigator will confront the horrors threatening a small rural community.
http://greenwriter.org/screenplay/828/
In other words, they might not get paid.
Recently, a new website popped up revolving around the sale of spec screenplays called greenwriter.org. While I have no idea whether their business model is viable, I posted a bunch of scripts. Every little bit helps.
Attendance is Mandatory - Science-Fiction/Satire
In a dark future, graduating senior GEORGE TURNER sees his high school as the brainwash factory it is, and vows to bring the system down.
http://greenwriter.org/screenplay/826/
Cheap Noir - Mystery
With no memory of her past, a young woman is forced to investigate her own connection to a brutal murder.
http://greenwriter.org/screenplay/827/
Receiver - Science-Fiction/Drama
When a young boy is contacted by an intelligence from the stars, he must prepare himself and everyone else for the arrival - and the changes - his new friend promises will come.
St. Augustine's Ice - Science-Fiction/Faith
When the ice mining vessel St. Augustine is crippled in the Asteroid Belt, young Jude Parish will need more than her wits, her surrogate family, and her broken home to survive the frozen expanse of space... She'll need her faith.
The Stormcrow - Supernatural Horror
Drawn by mysterious events, an occult investigator will confront the horrors threatening a small rural community.
http://greenwriter.org/screenplay/828/
Monday, October 26, 2009
Why am I sharing the Sam Bailey screenplay?
Last night, I posted the 8th draft of Sam Bailey on the 8 Sided Forum.
To be clear, this probably isn't the shooting script. At this point, the script is strong enough to attract the kind of people who make a film like this possible. These people continue to chip in at least partly because they can see the script evolving to take advantage of their contributions. In some ways, the Sam Bailey screenplay is the foundation for everything we've built so far. In other ways, it's a product of everyone involved.
Things are no different with our audience. Realistically, there's no feasible way to treat every single audience member as a producer - not that they'd want that. While we'd like feedback, we're not going to be hearing audience critique as a requirement for great storytelling, or even commercial success. We are the filmmakers. In this relationship, we're the experts.
What we can do, and what we absolutely must do if we are going to lead the wave of transformation currently sweeping through Hollywood, is get to know the people most interested in what we do. By that, I mean we need to get to know them personally. We need an open dialogue.
Is there a chance that the script will change as a result of that dialogue? Certainly. In the studio system, it happens all the time with focus groups and test marketing... At the same time, we're not going to make a movie and then offer to change it. First of all, we can't afford it.
Secondly, part of art is commitment, and part of the reason we're doing this is so that the audience can see the film we're committed to making. The, there's the fact that every artist misses opportunities that would have been obvious to a more objective pair of eyes. Sometimes, we'll pass those opportuntities up. Other times, we'll take advantage of them. Either way, opening up that process to the people who share our work and passion for film is something new.
Keep in mind that it's a balancing act. Every artist needs to feel safe and free to screw up in private, and especially when it comes to my actors and production staff, I'm very committed to protecting that privacy. At the same time, using social media to play with those boundaries, to let the audience in on what's happening, seems an essential part of that relationship.
Draft 8 might not be perfect, but drafts 1 through 7 were only shared with close, close collaborators. Even I, dear reader, need my space to discover the mistakes that work. Otherwise, why read it?
Check out the 8th draft of Sam Bailey on the 8 Sided Forum!
To be clear, this probably isn't the shooting script. At this point, the script is strong enough to attract the kind of people who make a film like this possible. These people continue to chip in at least partly because they can see the script evolving to take advantage of their contributions. In some ways, the Sam Bailey screenplay is the foundation for everything we've built so far. In other ways, it's a product of everyone involved.
Things are no different with our audience. Realistically, there's no feasible way to treat every single audience member as a producer - not that they'd want that. While we'd like feedback, we're not going to be hearing audience critique as a requirement for great storytelling, or even commercial success. We are the filmmakers. In this relationship, we're the experts.
What we can do, and what we absolutely must do if we are going to lead the wave of transformation currently sweeping through Hollywood, is get to know the people most interested in what we do. By that, I mean we need to get to know them personally. We need an open dialogue.
Is there a chance that the script will change as a result of that dialogue? Certainly. In the studio system, it happens all the time with focus groups and test marketing... At the same time, we're not going to make a movie and then offer to change it. First of all, we can't afford it.
Secondly, part of art is commitment, and part of the reason we're doing this is so that the audience can see the film we're committed to making. The, there's the fact that every artist misses opportunities that would have been obvious to a more objective pair of eyes. Sometimes, we'll pass those opportuntities up. Other times, we'll take advantage of them. Either way, opening up that process to the people who share our work and passion for film is something new.
Keep in mind that it's a balancing act. Every artist needs to feel safe and free to screw up in private, and especially when it comes to my actors and production staff, I'm very committed to protecting that privacy. At the same time, using social media to play with those boundaries, to let the audience in on what's happening, seems an essential part of that relationship.
Draft 8 might not be perfect, but drafts 1 through 7 were only shared with close, close collaborators. Even I, dear reader, need my space to discover the mistakes that work. Otherwise, why read it?
Check out the 8th draft of Sam Bailey on the 8 Sided Forum!
Friday, October 23, 2009
Two Kinds of Microbudget Films
Last night I got some second-hand feedback on the Heartsgaard screenplay from exactly the person we're making the movie for. Her response stopped me in my tracks and more or less amounted to the following:
"It's hilarious! I love it! It's just... I was expecting more, you know... vikings."
Yeah. I'm the guy who writes a $300k movie about a viking horde on a rampage through modern-day Boston.
Don't get me wrong - those guys are out there. Filmmakers like Lloyd Kauffman and Roger Corman have been making very cheap, very silly movies and selling them on video for a tidy profit for decades. Anyone who works in film and wasn't born into the business knows these guys or lived among them, and some of the things they accomplish are truly miraculous considering their resources. Even the most hardened and cynical grindhouse lifer is an expert at getting the job done, and many of them are astonishing innovators. If you disrespect these guys, do it at your own risk.
At the same time, there's another way to approach microbudget moviemaking.
If your film matters to people, they will watch it. Producing a film people care about takes fantastic script, a fantastic cast, and the ability to consistently produce a cut that measures up. None of these things are easy, but some folks love the challenge.
Even if you make a gorgeous-looking, deeply relevant motion picture, you've still got to find people willing to see it and spread the word. Festivals like Sundance can be instrumental in this regard, and five years ago a tiny little time-travel movie called Primer made in-roads by winning the Sundance Jury Prize. More recently, a little modern fantasy called Ink managed to work it's way through the independent cinemas in city after city, all across the world, by using social media to unite their fan base. While the failure rate of movies like this is astonishingly high, the number of independent filmmakers willing to truly do anything it takes to get their movies out there is surprisingly low. Most artists today consider themselves immune to business, and those few who can walk confidently in both worlds are the ones who emerge as leaders in the industry.
My point is that unlike the schlockmeisters, Primer and Ink banked their fortune on the quality and relevance of their storytelling. While bombarding an audience with titties and gore may be a reliable way to build a following, it's not the most universally rewarding. Like anything, filmmaking is a process. If you don't love the process, you're not going to do good work. Good business is about playing to your strengths, and turning your liabilies and weaknesses into assets whenever possible.
Is that what Lloyd Kauffman does with his endless stream of cheesy, sex-infused creature features? Is that what Shane Carruth did with Primer? In both cases, yes.
While I love genre storytelling, I also love my actors and collaborators too much not to give them the very best of myself. Where I shine brightest is in exploring the reality and truth behind things nobody's ever seen before. While I can see the commercial value - and yes, even the creative value - in having a bunch of naked, bloodied college girls flee screaming from a barbarian horde, my heart is in a very different movie.
Of course, if anyone know where I can rent that movie...
"It's hilarious! I love it! It's just... I was expecting more, you know... vikings."
Yeah. I'm the guy who writes a $300k movie about a viking horde on a rampage through modern-day Boston.
Don't get me wrong - those guys are out there. Filmmakers like Lloyd Kauffman and Roger Corman have been making very cheap, very silly movies and selling them on video for a tidy profit for decades. Anyone who works in film and wasn't born into the business knows these guys or lived among them, and some of the things they accomplish are truly miraculous considering their resources. Even the most hardened and cynical grindhouse lifer is an expert at getting the job done, and many of them are astonishing innovators. If you disrespect these guys, do it at your own risk.
At the same time, there's another way to approach microbudget moviemaking.
If your film matters to people, they will watch it. Producing a film people care about takes fantastic script, a fantastic cast, and the ability to consistently produce a cut that measures up. None of these things are easy, but some folks love the challenge.
Even if you make a gorgeous-looking, deeply relevant motion picture, you've still got to find people willing to see it and spread the word. Festivals like Sundance can be instrumental in this regard, and five years ago a tiny little time-travel movie called Primer made in-roads by winning the Sundance Jury Prize. More recently, a little modern fantasy called Ink managed to work it's way through the independent cinemas in city after city, all across the world, by using social media to unite their fan base. While the failure rate of movies like this is astonishingly high, the number of independent filmmakers willing to truly do anything it takes to get their movies out there is surprisingly low. Most artists today consider themselves immune to business, and those few who can walk confidently in both worlds are the ones who emerge as leaders in the industry.
My point is that unlike the schlockmeisters, Primer and Ink banked their fortune on the quality and relevance of their storytelling. While bombarding an audience with titties and gore may be a reliable way to build a following, it's not the most universally rewarding. Like anything, filmmaking is a process. If you don't love the process, you're not going to do good work. Good business is about playing to your strengths, and turning your liabilies and weaknesses into assets whenever possible.
Is that what Lloyd Kauffman does with his endless stream of cheesy, sex-infused creature features? Is that what Shane Carruth did with Primer? In both cases, yes.
While I love genre storytelling, I also love my actors and collaborators too much not to give them the very best of myself. Where I shine brightest is in exploring the reality and truth behind things nobody's ever seen before. While I can see the commercial value - and yes, even the creative value - in having a bunch of naked, bloodied college girls flee screaming from a barbarian horde, my heart is in a very different movie.
Of course, if anyone know where I can rent that movie...
Wednesday, October 21, 2009
Why must the original films all be indie?
Yesterday, courtesy of IndieGoGo, I attended a summit on how technology is changing the face of Hollywood. In particular, my interest was focused on a panel of film and television producers, game designers, and social media innovators discussing the creative realities behind traditional media content that lives and breathes in places ranging from toys to twitter.
As I listened to each of the panelists break down their plan for social and multimedia, what I came to realize is that there's a huge difference between how big public companies and small fans or entrepreneurs approach new media.
Take the show Heroes as an example. When he was talking about the development of a new Heroes web-series to be distributed on cell phones, the producer of Heroes (Adam Armus) mentioned that the opportunity came about because the phone company supporting the web-series was a heavy advertiser on the show.
That's when it hit me. Ever wonder why executives with big companies like Disney don't keep Blogger accounts? Basically, Disney needs to support the subsidiaries and affiliate companies with which it does business, in order to reinforce the company's infrastructure and drive the stock price up.
In other words, a big corporation like Disney can't afford to be seen accepting help from companies like Google (who owns Blogger).
On the other hand, the recent purchase of Marvel makes it very good business for Disney to release titles like Pirates of the Caribbean in the comics sphere. When Marvel gets stronger off the title, Disney gets stronger. So does the Pirates brand.
Basically, corporations and social media aren't compatible. Because a big corporation can't use tools that fail to reinforce their interests, they're not free to mix and match social media tools to reach the people they want to reach.
As social media becomes more and more a part of how people define their culture, these companies will be less and less able to release films that don't have the broadest possible audience. In a few years, superhero movies will be all they make. All the major comics companies have already been purchased by major film companies.
On the other hand, somebody like me doesn't loose anything by being seen on Twitter. (See me on twitter @therealarchive!) My goal isn't to make the stock go up and build shareholder trust, my goal is to make successful films, movie by movie. Whatever it takes to do that is fine by my investors, so I'm free to discover the social media tools that work best for my audience and the film I'm making. I'm not limited to cutting deals with cellphone companies, in other words.
Social media is actually what's driving the studio knee-jerk refusal to make movies that weren't comic books or video games first. On the other hand, it's also the force that makes independent, original content like Sam Bailey possible.
As I listened to each of the panelists break down their plan for social and multimedia, what I came to realize is that there's a huge difference between how big public companies and small fans or entrepreneurs approach new media.
Take the show Heroes as an example. When he was talking about the development of a new Heroes web-series to be distributed on cell phones, the producer of Heroes (Adam Armus) mentioned that the opportunity came about because the phone company supporting the web-series was a heavy advertiser on the show.
That's when it hit me. Ever wonder why executives with big companies like Disney don't keep Blogger accounts? Basically, Disney needs to support the subsidiaries and affiliate companies with which it does business, in order to reinforce the company's infrastructure and drive the stock price up.
In other words, a big corporation like Disney can't afford to be seen accepting help from companies like Google (who owns Blogger).
On the other hand, the recent purchase of Marvel makes it very good business for Disney to release titles like Pirates of the Caribbean in the comics sphere. When Marvel gets stronger off the title, Disney gets stronger. So does the Pirates brand.
Basically, corporations and social media aren't compatible. Because a big corporation can't use tools that fail to reinforce their interests, they're not free to mix and match social media tools to reach the people they want to reach.
As social media becomes more and more a part of how people define their culture, these companies will be less and less able to release films that don't have the broadest possible audience. In a few years, superhero movies will be all they make. All the major comics companies have already been purchased by major film companies.
On the other hand, somebody like me doesn't loose anything by being seen on Twitter. (See me on twitter @therealarchive!) My goal isn't to make the stock go up and build shareholder trust, my goal is to make successful films, movie by movie. Whatever it takes to do that is fine by my investors, so I'm free to discover the social media tools that work best for my audience and the film I'm making. I'm not limited to cutting deals with cellphone companies, in other words.
Social media is actually what's driving the studio knee-jerk refusal to make movies that weren't comic books or video games first. On the other hand, it's also the force that makes independent, original content like Sam Bailey possible.
Tuesday, October 20, 2009
The 8 Sided Forum welcomes Reena Dutt!
Yesterday, I mentioned that both Gerard and myself were eager to use the casting of Heartsgaard as an opportunity to expand our family, and not just complete the cast. My meeting with Reena Dutt is a spectacular vindication of the idea that knowing what you want will draw it to you in the most unexpected way.
In the interest of transparency, I hereby reveal that the casting of Carmen Elena Mitchell as the prophet of Heartsgaard took place at the beginning of last week. Because I'd already asked a number of women to audition for the part over the weekend, I sat mum on my decision. My hope was that some of those women would be right for other parts. Basically, I didn't want to dissuade them from showing up.
Because we have such similar sensibilities and so many friends in common, Carmen very graciously invited me to her birthday party last Friday. (Happy birthday, Carmen!) Her friends and I go on wonderfully, had animated debates about everything from South African politics to goopy Japanese exploitation cinema... and then Carmen introduces me to her producing partner and fellow actor, Reena Dutt.
Have you ever had one of those conversations where you keep deciding that someone has just revealed the deepest depths of their inner coolness, only to see them draw back the curtain on still more unbelievable cool - and to see that happen again, again, again and again over the course of a night of conversation?
Do you know why I named my company 8 Sided Films? Of course not. Nobody does, except apparently Reena. She picked up on it right away.
So, fine. Here's a woman who speaks Tenny. Does that make her a good actor?
Nope. What makes her a good actor is her extreme dedication to her craft. Like a few others in our ensemble, she's trained herself in a psychotically diverse array of performance styles. While I don't know her performance background that deeply, she moves like a circus girl. Circus!
So she appreciates performance and craft on a deep, genetic level. Her sense of play is exquisite and refined. Through our entire conversation, she was simultaneously goofing off and dead serious. At her heart, Rena is a storyteller. While the industry at large shoehorns her into "Indian girl" roles like the obedient daughter and the medical intern, she's out there looking for any opportunity to release the amazingly layered characters inside her.
All this is before we started talking about her deep love of innovative, honest genre cinema. Her eyes lit up every time I mentioned an 8 Sided project, and explained what was in store for the actors. Here's an actor trigger-ready to get dipped in green slime... but only if it takes her someplace she hasn't been before. This woman is an explorer of the human condition, I come to discover.
While I don't know Reena that well, I do know she's a pioneer, a caretaker, and a storyteller of the highest caliber. Of course Carmen and I get along. Her best friend and I might as well have been grown in the same freaky laboratory.
One thing I've learned in this life is that meeting someone you can trust isn't a common, everyday thing. When those moments happen, be ready for them.
Is it any wonder that Reena came into the audition ready to play and explore, when other women were giving us finely polished caricatures? Surprised that she's just as excited by the business model as she is by the story? Consider that she's skilled and dedicated enough to make the most of both. Rather than get distracted, she understands just how powerful a creative tool business can be - and vice versa.
When Heartsgaard demanded that we make our 8 Sided family a little larger, I imagined a best-case scenario where we pulled talent from the fringes of our creative community. Never in a million years did I suppose that another creative family, just as strong and tight-knit as ours, was waiting for us to find them. That we'd need their experience producing theater, and that we'd have the film savvy they were hungry for? That someone like Reena could have all the qualities I admire most in a collaborator, and that her need for the roles I'm writing could be as great as my need to cast them? It's just too perfect.
Hollywood, are you listening? If I were you, I'd pick up the phone right now. I'd be begging Reena Dutt to lead your quirky female-driven television comedy, or headline and co-produce your risky, innovative indie genre film.
Why now?
If you don't start giving her the good stuff right now, you'll be vying for her attention after she's starred in, produced, and possibly directed a handful of very successful, very gratifying projects of her own. With her family and friends, no less.
This could be the beginning of a beautiful friendship. Welcome to the 8 Sided Forum, Reena Dutt.
http://www.reenadutt.com/
In the interest of transparency, I hereby reveal that the casting of Carmen Elena Mitchell as the prophet of Heartsgaard took place at the beginning of last week. Because I'd already asked a number of women to audition for the part over the weekend, I sat mum on my decision. My hope was that some of those women would be right for other parts. Basically, I didn't want to dissuade them from showing up.
Because we have such similar sensibilities and so many friends in common, Carmen very graciously invited me to her birthday party last Friday. (Happy birthday, Carmen!) Her friends and I go on wonderfully, had animated debates about everything from South African politics to goopy Japanese exploitation cinema... and then Carmen introduces me to her producing partner and fellow actor, Reena Dutt.
Have you ever had one of those conversations where you keep deciding that someone has just revealed the deepest depths of their inner coolness, only to see them draw back the curtain on still more unbelievable cool - and to see that happen again, again, again and again over the course of a night of conversation?
Do you know why I named my company 8 Sided Films? Of course not. Nobody does, except apparently Reena. She picked up on it right away.
So, fine. Here's a woman who speaks Tenny. Does that make her a good actor?
Nope. What makes her a good actor is her extreme dedication to her craft. Like a few others in our ensemble, she's trained herself in a psychotically diverse array of performance styles. While I don't know her performance background that deeply, she moves like a circus girl. Circus!
So she appreciates performance and craft on a deep, genetic level. Her sense of play is exquisite and refined. Through our entire conversation, she was simultaneously goofing off and dead serious. At her heart, Rena is a storyteller. While the industry at large shoehorns her into "Indian girl" roles like the obedient daughter and the medical intern, she's out there looking for any opportunity to release the amazingly layered characters inside her.
That's how we started talking business. If you're going to break the mold, be ready to buy it.
Turns out, Reena is one of the chief fundraisers in the LA theater scene. Her community of actors is precious enough to her that she's gone and financed countless LA theater productions, in addition to her day job, her performance work, and her own projects. That same drive set me on the road to learn the business of film and build the very company Reena is now a welcome part of.
All this is before we started talking about her deep love of innovative, honest genre cinema. Her eyes lit up every time I mentioned an 8 Sided project, and explained what was in store for the actors. Here's an actor trigger-ready to get dipped in green slime... but only if it takes her someplace she hasn't been before. This woman is an explorer of the human condition, I come to discover.
While I don't know Reena that well, I do know she's a pioneer, a caretaker, and a storyteller of the highest caliber. Of course Carmen and I get along. Her best friend and I might as well have been grown in the same freaky laboratory.
One thing I've learned in this life is that meeting someone you can trust isn't a common, everyday thing. When those moments happen, be ready for them.
Is it any wonder that Reena came into the audition ready to play and explore, when other women were giving us finely polished caricatures? Surprised that she's just as excited by the business model as she is by the story? Consider that she's skilled and dedicated enough to make the most of both. Rather than get distracted, she understands just how powerful a creative tool business can be - and vice versa.
When Heartsgaard demanded that we make our 8 Sided family a little larger, I imagined a best-case scenario where we pulled talent from the fringes of our creative community. Never in a million years did I suppose that another creative family, just as strong and tight-knit as ours, was waiting for us to find them. That we'd need their experience producing theater, and that we'd have the film savvy they were hungry for? That someone like Reena could have all the qualities I admire most in a collaborator, and that her need for the roles I'm writing could be as great as my need to cast them? It's just too perfect.
Hollywood, are you listening? If I were you, I'd pick up the phone right now. I'd be begging Reena Dutt to lead your quirky female-driven television comedy, or headline and co-produce your risky, innovative indie genre film.
Why now?
If you don't start giving her the good stuff right now, you'll be vying for her attention after she's starred in, produced, and possibly directed a handful of very successful, very gratifying projects of her own. With her family and friends, no less.
This could be the beginning of a beautiful friendship. Welcome to the 8 Sided Forum, Reena Dutt.
http://www.reenadutt.com/
Monday, October 19, 2009
The 8 Sided Forum welcomes Danielle K. Jones!
Click here to meet Danielle on the 8 Sided Forum!
Let me tell you about the single most perfect audition any director has ever seen, and let me preface it by saying that both Gerard and myself were hesitant to post open casting calls for the three big female supporting roles of Heartsgaard. For us, these challenging, fun characters provided a great opportunity to rope some of the fantastic women in our acting community into the 8 Sided gameplan. Frankly, neither of us wanted strangers.
When the women we were interested in turned out to be unavailable, Gerard braved the wilds of NowCasting and brought me the results. As soon as we saw her headshot, Gerard and I agreed that Danielle had something to offer the production. Still, we weren't really sure what.
For my part, hindsight reveals just how profoundly I underestimated Danielle. Gerard took some time to check out her reel, and he suspected she might have a few surprises up her sleeve. All the same, neither of us were ready for what came through that door.
In fact, I'm still not sure how to explain it.
First, understand that the character I most wanted to see Danielle audition for was Renny. This is a woman who plays Lady Macbeth on stage, and who winds up sleeping with everybody in the production - including our foolish hero. Because there are so many ways to seduce somebody, because anyone as smart as Lady Macbeth is also as smart as Renny, and because I wanted to see how playful these actresses really were, I asked these women to come in with a prepared Macbeth monologue. Forget the script. Give me Shakespeare.
Ok, now file that away. We'll get back to the Shakespeare.
Drew Barrymore is someone I admire very deeply. Those who follow my twitter know that I came out of Whip It gushing and gushing about everything that cast and crew accomplished, and about how the ever-loving direction of Drew Barrymore was the lynchpin that made it all work. Look at her career! Through Flower Films, it seems like she's produced roughly half the movies she's been in!
Flower Films. Think about that a moment. How many producers, women included, would be willing to build their reputation on posy power?
Every single time you see Drew Barrymore, she's giggling with her cast, giggling with her DP, giggling with interviewers - basically, she giggles. People, I ask you: Who works that way?!! Who the hell produces a successful film full of independent actors about a sweet but damaged family going through a roller derby crisis?
If you're not paying very close attention to everything Drew Barrymore is doing, you're missing it.
That's who walked through the door. While we explained our master plan for world domination, Danielle K. Jones giggled and played with every idea we gave her. This girl is made of visionary glee, I thought to myself...
...which was exactly the moment she unleashed the stormy fires of Hell. Like a cheery little cartoon mouse with a five ton sledgehammer stashed behind her back, Danielle K. Jones wallops us poor, hapless mortals with MacFUCKINGbeth. Vital, pulpy, outrageous, sexy, wrathful, and forceful as a solar flare disintegrating a rocky planet that got too damn close.
Disintegrating is the word, actually. She did that famous monologue about how she'll eat some babies if her husband doesn't get off his ass, and her performance was disintegrating.
Then she giggled.
People! Visionary glee! Disintegrating, face-melting Shakespeare! If you're not paying attention to everything Danielle K. Jones is doing, you're missing it.
Let me tell you about the single most perfect audition any director has ever seen, and let me preface it by saying that both Gerard and myself were hesitant to post open casting calls for the three big female supporting roles of Heartsgaard. For us, these challenging, fun characters provided a great opportunity to rope some of the fantastic women in our acting community into the 8 Sided gameplan. Frankly, neither of us wanted strangers.
When the women we were interested in turned out to be unavailable, Gerard braved the wilds of NowCasting and brought me the results. As soon as we saw her headshot, Gerard and I agreed that Danielle had something to offer the production. Still, we weren't really sure what.
For my part, hindsight reveals just how profoundly I underestimated Danielle. Gerard took some time to check out her reel, and he suspected she might have a few surprises up her sleeve. All the same, neither of us were ready for what came through that door.
In fact, I'm still not sure how to explain it.
First, understand that the character I most wanted to see Danielle audition for was Renny. This is a woman who plays Lady Macbeth on stage, and who winds up sleeping with everybody in the production - including our foolish hero. Because there are so many ways to seduce somebody, because anyone as smart as Lady Macbeth is also as smart as Renny, and because I wanted to see how playful these actresses really were, I asked these women to come in with a prepared Macbeth monologue. Forget the script. Give me Shakespeare.
Ok, now file that away. We'll get back to the Shakespeare.
Drew Barrymore is someone I admire very deeply. Those who follow my twitter know that I came out of Whip It gushing and gushing about everything that cast and crew accomplished, and about how the ever-loving direction of Drew Barrymore was the lynchpin that made it all work. Look at her career! Through Flower Films, it seems like she's produced roughly half the movies she's been in!
Flower Films. Think about that a moment. How many producers, women included, would be willing to build their reputation on posy power?
Every single time you see Drew Barrymore, she's giggling with her cast, giggling with her DP, giggling with interviewers - basically, she giggles. People, I ask you: Who works that way?!! Who the hell produces a successful film full of independent actors about a sweet but damaged family going through a roller derby crisis?
If you're not paying very close attention to everything Drew Barrymore is doing, you're missing it.
That's who walked through the door. While we explained our master plan for world domination, Danielle K. Jones giggled and played with every idea we gave her. This girl is made of visionary glee, I thought to myself...
...which was exactly the moment she unleashed the stormy fires of Hell. Like a cheery little cartoon mouse with a five ton sledgehammer stashed behind her back, Danielle K. Jones wallops us poor, hapless mortals with MacFUCKINGbeth. Vital, pulpy, outrageous, sexy, wrathful, and forceful as a solar flare disintegrating a rocky planet that got too damn close.
Disintegrating is the word, actually. She did that famous monologue about how she'll eat some babies if her husband doesn't get off his ass, and her performance was disintegrating.
Then she giggled.
People! Visionary glee! Disintegrating, face-melting Shakespeare! If you're not paying attention to everything Danielle K. Jones is doing, you're missing it.
The 8 Sided Forum welcomes Carmen Elena Mitchell!
Meet Carmen on the 8 Sided Forum!
Apparently, Carmen and our very own Shawn MacAulay spent several years terrorizing the Seattle theater scene together before moving to Los Angeles. I only met her myaelf a few months ago, at the birthday of a mutual friend outside my theater circles.
Some folks might describe Carmen as Chicago's female Woody Allen, and they've got a few handy points to back them up. On the one hand, Carmen will systematically explore every eccentric side of a relationship until everyone is laughing in disbelief, and it's that compulsive sense of exploration that makes her characters so complete. On the other hand, Carmen has a deep creative hunger that drives her constant entrepreneurism and filmmaking efforts. Recently, she wrapped on a hilarious webseries called The Real Girl's Guide to Everything Else. See Shawn MacAulay on a personals website Carmen developed in support of the show, right here.
Ask me, and I'll tell you that if you're thinking of Carmen as quirky comedy girl, you're missing her exquisite sense of grace. With so few actors today embodying grace and elegance, that's not a quality I care to overlook. In her life and in her art, Carmen moves with a warm, smiling patience that speaks to a deep sense of womanly well-being. If her mannerisms are peppered with funny little neurotic ticks, I'll bet you it's at least partly because she knows you love it. What's left, I suspect, is there because she has the courage to feel the things she's not ready to feel.
Compulsive exploration is what I'm talking about. Grace in the face of the unknown. When I cast Carmen as Mariko, it's because Carmen is a woman willing to stand right on the emotional brink, look down into the abyss, and start making choices. If you're casting Carmen Elena Mitchell as a clown, you're not seeing the composed, quiet warrior within her.
Carmen, we welcome your impeccable sense of humor and your ravenous hunger, as well as your profound courage and grace.
Apparently, Carmen and our very own Shawn MacAulay spent several years terrorizing the Seattle theater scene together before moving to Los Angeles. I only met her myaelf a few months ago, at the birthday of a mutual friend outside my theater circles.
Some folks might describe Carmen as Chicago's female Woody Allen, and they've got a few handy points to back them up. On the one hand, Carmen will systematically explore every eccentric side of a relationship until everyone is laughing in disbelief, and it's that compulsive sense of exploration that makes her characters so complete. On the other hand, Carmen has a deep creative hunger that drives her constant entrepreneurism and filmmaking efforts. Recently, she wrapped on a hilarious webseries called The Real Girl's Guide to Everything Else. See Shawn MacAulay on a personals website Carmen developed in support of the show, right here.
Ask me, and I'll tell you that if you're thinking of Carmen as quirky comedy girl, you're missing her exquisite sense of grace. With so few actors today embodying grace and elegance, that's not a quality I care to overlook. In her life and in her art, Carmen moves with a warm, smiling patience that speaks to a deep sense of womanly well-being. If her mannerisms are peppered with funny little neurotic ticks, I'll bet you it's at least partly because she knows you love it. What's left, I suspect, is there because she has the courage to feel the things she's not ready to feel.
Compulsive exploration is what I'm talking about. Grace in the face of the unknown. When I cast Carmen as Mariko, it's because Carmen is a woman willing to stand right on the emotional brink, look down into the abyss, and start making choices. If you're casting Carmen Elena Mitchell as a clown, you're not seeing the composed, quiet warrior within her.
Carmen, we welcome your impeccable sense of humor and your ravenous hunger, as well as your profound courage and grace.
Friday, October 16, 2009
Any questions about independent filmmaking?
Why it took me this long to open the blog up to questions, I'll never know.
Whether it's about financing, development, production, post, or distribution, I'd be happy to address your questions here on the blog. Please send your topics of interest to ask@8sidedfilms.com, and stay tuned for the answers!
Depending on how many questions I get, I may not be able to address them all. At the same time, making sure we answer as many as possible is going to be the main focus of the 8 Sided Blog going forward.
Drop us a line!
Whether it's about financing, development, production, post, or distribution, I'd be happy to address your questions here on the blog. Please send your topics of interest to ask@8sidedfilms.com, and stay tuned for the answers!
Depending on how many questions I get, I may not be able to address them all. At the same time, making sure we answer as many as possible is going to be the main focus of the 8 Sided Blog going forward.
Drop us a line!
Thursday, October 15, 2009
Hiring an Entry-Level Manager/Publicist
8 Sided Films is hiring a part-time, home-based independent contractor for 5 hours a week, one hour per weekday to perform the following duties:
Publicity and viral marketing for 8 Sided Films and our projects, including:
- Once per day, maintaining a company Digg account for all 8 Sided and ensemble-related online materials
- Assisting 8 Sided cast and crew in structuring and updating their social and viral media.
- Finding new ways of drawing Hollywood and audience support to our social media, our viral sites, and our mailing list.
Management duties for the 8 Sided Ensemble, including:
- Check casting websites for roles appropriate to one or more members of our cast
- Submitting headshots and resumes on behalf of our cast
- Corresponding with the cast about what roles are appropriate
- Networking on behalf of the 8 Sided Ensemble and 8 Sided projects
- Occasional querying on behalf of 8 Sided Ensemble writers
- Forwarding all appropriate projects to our resident Cinematographer
Applicants must have:
- Interest in film producing, talent and literary management, and motion picture publicity
- Passion for theater, film, and actors
- Entrepreneurial goals
- Excitement for alternative ways of breaking into the film industry
- Excellent communication skills
- Flexible, cooperative attitude
- Interest in our projects: Sam Bailey, Heartsgaard
- Must be willing to use Digg exclusively on behalf of 8 Sided Films
You can learn:
- Sales Skills
- Producing Skills
- Viral Marketing
- Social Media
This position pays $10 an hour. Note that 8 Sided Films does not represent clients as a management company. Please send all resumes to tennyson@8sidedfilms.com.
Publicity and viral marketing for 8 Sided Films and our projects, including:
- Once per day, maintaining a company Digg account for all 8 Sided and ensemble-related online materials
- Assisting 8 Sided cast and crew in structuring and updating their social and viral media.
- Finding new ways of drawing Hollywood and audience support to our social media, our viral sites, and our mailing list.
Management duties for the 8 Sided Ensemble, including:
- Check casting websites for roles appropriate to one or more members of our cast
- Submitting headshots and resumes on behalf of our cast
- Corresponding with the cast about what roles are appropriate
- Networking on behalf of the 8 Sided Ensemble and 8 Sided projects
- Occasional querying on behalf of 8 Sided Ensemble writers
- Forwarding all appropriate projects to our resident Cinematographer
Applicants must have:
- Interest in film producing, talent and literary management, and motion picture publicity
- Passion for theater, film, and actors
- Entrepreneurial goals
- Excitement for alternative ways of breaking into the film industry
- Excellent communication skills
- Flexible, cooperative attitude
- Interest in our projects: Sam Bailey, Heartsgaard
- Must be willing to use Digg exclusively on behalf of 8 Sided Films
You can learn:
- Sales Skills
- Producing Skills
- Viral Marketing
- Social Media
This position pays $10 an hour. Note that 8 Sided Films does not represent clients as a management company. Please send all resumes to tennyson@8sidedfilms.com.
Ping Yourself to the 8 Sided Forum!
Do you handle your status on social networks like Facebook and Twitter by updating them all at once through http://ping.fm? Add the 8 Sided Forum to your Ping feed, and keep us posted too!
Here's how:
1. Login to your account at http://ping.fm.
2. At your Dashboard, click "Add More Networks".
3. Once the big list of networks comes up, look where it says "Ning" with the little green "N".
Next to that, click where it says "Add Network."
4. It'll ask you for three pieces of information:
URL: For that, type http://www.8sidedforum.com.
E-MAIL: That's the e-mail you use to log into the forum.
PASSWORD: That's the password you use to log into the forum.
5. Click "Submit", and you're all set!
If you're not already on the 8 Sided Forum, you can sign up right here!
Here's how:
1. Login to your account at http://ping.fm.
2. At your Dashboard, click "Add More Networks".
3. Once the big list of networks comes up, look where it says "Ning" with the little green "N".
Next to that, click where it says "Add Network."
4. It'll ask you for three pieces of information:
URL: For that, type http://www.8sidedforum.com.
E-MAIL: That's the e-mail you use to log into the forum.
PASSWORD: That's the password you use to log into the forum.
5. Click "Submit", and you're all set!
If you're not already on the 8 Sided Forum, you can sign up right here!
Monday, October 12, 2009
Last Word on Social Media
While I'm not sure why it took me so long to put my finger on it, the key to understanding social marketing is this:
Since the '50's, branding has been the most prolific force in human communication. Running into an advertisement was easier than running into another human being. Today, that's not true anymore. Through resources like Twitter and Facebook, people can reach a consensus about a product or person outside of traditional branding efforts.
Nowadays, people don't need the slogans to tell them how they relate to your product. Their community will tell them, and their community means more to them than advertising.
To stay competitive, you need to be relevant to the communities you're trying to reach. That's what resources like blogging and tweeting are for, in a nutshell.
Since the '50's, branding has been the most prolific force in human communication. Running into an advertisement was easier than running into another human being. Today, that's not true anymore. Through resources like Twitter and Facebook, people can reach a consensus about a product or person outside of traditional branding efforts.
Nowadays, people don't need the slogans to tell them how they relate to your product. Their community will tell them, and their community means more to them than advertising.
To stay competitive, you need to be relevant to the communities you're trying to reach. That's what resources like blogging and tweeting are for, in a nutshell.
Friday, October 9, 2009
The Mother of All Invention
Today was an interesting day, in that what appeared to be a hugely frustrating setback led me to simply my life quite a bit.
While I'm not sure they're terribly important, the details revolve around my last post, and an accidental violation of the Digg terms of service - for which my account was cancelled. Sorting out how I can post the 8 Sided Digg updates to my social networks without a Digg account led me to one of those painfully obvious realizations...
You mean I've been doing this the hard way all along?!!
If you know me at all, this comes as no surprise. At the same time it's nice to feel my frustration with the day's earlier events giving way to relaxation, as I settle into the idea that I can accomplish much more work with much less effort on behalf of myself and my cast.
For me, these kinds of understandings are a big deal. Last time this happened, it took a shattered leg to get me to see how complicated I was making everything! Getting banned from Digg doesn't seem so bad by comparison.
Next time, I'd like to give necessity a break from motherhood altogether.
While I'm not sure they're terribly important, the details revolve around my last post, and an accidental violation of the Digg terms of service - for which my account was cancelled. Sorting out how I can post the 8 Sided Digg updates to my social networks without a Digg account led me to one of those painfully obvious realizations...
You mean I've been doing this the hard way all along?!!
If you know me at all, this comes as no surprise. At the same time it's nice to feel my frustration with the day's earlier events giving way to relaxation, as I settle into the idea that I can accomplish much more work with much less effort on behalf of myself and my cast.
For me, these kinds of understandings are a big deal. Last time this happened, it took a shattered leg to get me to see how complicated I was making everything! Getting banned from Digg doesn't seem so bad by comparison.
Next time, I'd like to give necessity a break from motherhood altogether.
Having Digg problems? It's my fault:
EDIT: I've managaed to get a list of which Digg accounts were affected, and it looks like everything will be resolved shortly.
Yesterday, I set up two additional Digg accounts to separate my own Diggs from those I was making on behalf of Unified Pictures. Afterwards, my accounts were shut down. Digg has notified me that this is squarely against their terms of service, citing the part of my end user agreement that references multiple accounts - and they're clearly right.
As an unfortunate side effect, EVERY ACCOUNT that has dugg my sites has apparently been shut down, because they believe that everyone who supported my online activities is just another account I set up to artifically inflate my own digg counts.
For the record, my intent in setting up multiple accounts was to break my publicity work on behalf of Unified Pictures away from my 8 Sided Films work. At no point was I intending to build a virtual digg factory where I spend all my time digging myself 8 ways to Sunday.
If you're experiencing Digg issues, you need to contact Digg at support@digg.com, and let them know that you and I are not the same person.
I've sent them a notice to this effect, and I've accepted all responsibility for what happened. At the same time, they made it clear that any decision they make regarding my account is final.
In the end, that doesn't mean that the same is true for your account. You've done nothing to violate Digg's terms of service. At the same time, it may take some sorting out to get them to recognize it.
Please accept my sincerest apologies for this inconvenience and frustration.
Yesterday, I set up two additional Digg accounts to separate my own Diggs from those I was making on behalf of Unified Pictures. Afterwards, my accounts were shut down. Digg has notified me that this is squarely against their terms of service, citing the part of my end user agreement that references multiple accounts - and they're clearly right.
As an unfortunate side effect, EVERY ACCOUNT that has dugg my sites has apparently been shut down, because they believe that everyone who supported my online activities is just another account I set up to artifically inflate my own digg counts.
For the record, my intent in setting up multiple accounts was to break my publicity work on behalf of Unified Pictures away from my 8 Sided Films work. At no point was I intending to build a virtual digg factory where I spend all my time digging myself 8 ways to Sunday.
If you're experiencing Digg issues, you need to contact Digg at support@digg.com, and let them know that you and I are not the same person.
I've sent them a notice to this effect, and I've accepted all responsibility for what happened. At the same time, they made it clear that any decision they make regarding my account is final.
In the end, that doesn't mean that the same is true for your account. You've done nothing to violate Digg's terms of service. At the same time, it may take some sorting out to get them to recognize it.
Please accept my sincerest apologies for this inconvenience and frustration.
Thursday, October 8, 2009
Former Fox CEO on Indie Future
In Bill Mechanic's recent keynote speech to the industry, the former Chairman/CEO of Filmed Entertainment at Fox discusses the problems with independent producers today, the studio decisions those indie producers have been modeling themselves after, and what the industry needs to do to thrive and flourish.
Nikki Finke posted the entire speech on her blog, and I thought it was a terrific read: http://www.deadline.com/hollywood/bill-mechanic-on-moguls-bad-decision-making/
Nikki Finke posted the entire speech on her blog, and I thought it was a terrific read: http://www.deadline.com/hollywood/bill-mechanic-on-moguls-bad-decision-making/
Setting Up an L.L.C.
Today, I've finally begun the process of putting together Sam Bailey and 8 Sided Films as legitimate business structures.
Like most young entrepreneurs, I've got my excuses for not getting to it earlier - in my case, the reasons revolved around the whopping filing fees in California. Rather than look for a solution, I focused on the billions of other things it's taking to get Sam Bailey off the ground.
Problem is, how am I going to get money for my movie if there's nothing to exchange for it? By making my movie legally tangible, I give myself something to divide between myself, my collaborators, and my investors.
This week my friend gave me some sound advice about how a young upstart such as myself can handle those expenses. After a little research, I confirmed what he told me, figured out the ins and outs, and now I'm setting up some Limited Liability Companies.
By the way, does everyone know what the difference between an L.L.C. and a corporation is? Basically, an L.L.C. promises to keep their financing activities limited to people the company knows or meets through personal contacts. Corporations can go public and sell stocks on the market, where absolutely anyone can buy them.
Because people can get into a lot of trouble investing, the government makes sure that anybody who can take money from investors on an open market, like Wall Street, does business according to a very strict, structured standard. Companies that aren't out there telling strangers to invest with them can conduct their business any way they like.
With an L.L.C., all the rules are rules I create. Without ten thousand shareholders telling me to make the stock go up, my mistakes are between myself, my collaborators, and the few investors who understood my business plan and built a relationship with me. For me, it's the right fit.
At the same time, there's something to be said for setting up a corporation, and being able to bring in millions of dollars a day with a public stock offering. Loads of people have gotten very rich that way. Besides, the government has a point. Corporations work, they have their structure to thank for it. In many ways, all those rules and regulations are a safety net to make sure your company is built to succeed.
Over the many years I've been handling film investments, I've read a lot of memorandums and Articles of Organization. Beyond that, the film market is something I've got nearly a decade of experience navigating. To the degree that anyone is, I'm clear on what works and what doesn't.
Today seemed like a good opportunity to bring these things up for conversation, so please feel free to ask any questions you have. More than anything, I think the lesson here is that we all hold things back out of fear. At the same time, none of us need to be an expert to find our way forward.
Instead, we need to keep our relationships healthy, and to keep asking questions!
Like most young entrepreneurs, I've got my excuses for not getting to it earlier - in my case, the reasons revolved around the whopping filing fees in California. Rather than look for a solution, I focused on the billions of other things it's taking to get Sam Bailey off the ground.
Problem is, how am I going to get money for my movie if there's nothing to exchange for it? By making my movie legally tangible, I give myself something to divide between myself, my collaborators, and my investors.
This week my friend gave me some sound advice about how a young upstart such as myself can handle those expenses. After a little research, I confirmed what he told me, figured out the ins and outs, and now I'm setting up some Limited Liability Companies.
By the way, does everyone know what the difference between an L.L.C. and a corporation is? Basically, an L.L.C. promises to keep their financing activities limited to people the company knows or meets through personal contacts. Corporations can go public and sell stocks on the market, where absolutely anyone can buy them.
Because people can get into a lot of trouble investing, the government makes sure that anybody who can take money from investors on an open market, like Wall Street, does business according to a very strict, structured standard. Companies that aren't out there telling strangers to invest with them can conduct their business any way they like.
With an L.L.C., all the rules are rules I create. Without ten thousand shareholders telling me to make the stock go up, my mistakes are between myself, my collaborators, and the few investors who understood my business plan and built a relationship with me. For me, it's the right fit.
At the same time, there's something to be said for setting up a corporation, and being able to bring in millions of dollars a day with a public stock offering. Loads of people have gotten very rich that way. Besides, the government has a point. Corporations work, they have their structure to thank for it. In many ways, all those rules and regulations are a safety net to make sure your company is built to succeed.
Over the many years I've been handling film investments, I've read a lot of memorandums and Articles of Organization. Beyond that, the film market is something I've got nearly a decade of experience navigating. To the degree that anyone is, I'm clear on what works and what doesn't.
Today seemed like a good opportunity to bring these things up for conversation, so please feel free to ask any questions you have. More than anything, I think the lesson here is that we all hold things back out of fear. At the same time, none of us need to be an expert to find our way forward.
Instead, we need to keep our relationships healthy, and to keep asking questions!
Tuesday, October 6, 2009
Celebrity Actors Helping You?
As part of his fundraising for an upcoming stage production of Topdog/Underdog, my friend Mike Walton has put together a very special evening for the acting community of Los Angeles. This is a great opportunity, and the price is a tenth of what it should be. Take him up on it, guys!
Here’s what I know, from Mr. Walton himself:
Celebrity Actor's Panel
Date: Wednesday, October 14, 2009
Time: 7:00pm - 9:00pm
Location: The Victory Theatre Center - 3326 W Victory Blvd., Burbank, CA
Phone: (818) 808-5241
Email: mdwalton79@aol.com
I've acquired the performance rights to the 2002 Pulitzer Prize Winning Drama Topdog/Underdog by Suzan-Lori Parks.
CREATIVE TEAM:
Actors:
Booth: M.D. Walton www.themdwalton.com
Lincoln: A.K Murtadha www.akmurtadha.com
Director: Martin Papazian www.martinpapazian.com
As part of our fundraising efforts, I have developed a celebrity panel. It's an Inside the Actor's Studio QandA format with a reception to follow. FREE WINE:) lol
Confirmed guests as of now are:
NEW GUESTS:
BEN MCKENZIE (Series Regular on SOUTHLAND, THE O.C, 88 Minutes with Al Pacino)
TRACIE THOMS (Series Reg on COLD CASE, RENT, The Devil Wears Prada, Quentin Tarantino's GRINDHOUSE)
HAROLD PERRINEAU (LOST, Baz Luhrmanns Romeo and Juliet, The Matrix Revolutions
NATE CORDRRY-Host (The United States of Tara, Studio 60 on the Sunset Strip)
ROB CORDRRY (Semi Pro, I Now Pronounce You Chuck and Larry, The Daily Show, W).
Other guests are in the works.
The ticket price is a minimum $25.00- MAX $45.00. Proceeds are going towards the production so it's your call on what price you pay, as long as it's in the above range. You can make a reservation by calling M.D. Walton at 818-808-5241. There are 91 Seats. Reservations are first come, first serve. Call in advance. You will pay by check or cash at the door. There will also be a Waiting List. You may also email M.D. at mdwalton79@aol.com.
IF I SEE YOU AS A CONFIRMED GUEST ON THIS PAGE.. I WILL ALSO COUNT YOU IN:) It's a first come, first serve thing, so make your reservation now.
Leave your Name, Email Address, and Phone # with M.D to secure your spot.
Thanks for your support. All proceeds will go towards our production of Topdog/Underdog.
(*PANEL SUBJECT TO CHANGE*)
Social Media and Independent Film
Sam Bailey is a movie about a 600 year old man looking to destroy the very last proof of his extraordinary life... who ends up learning how to live. This film is fantasy and mystery with a light touch of the funny, true-to-life things that make life worth living...
What you're looking at is the future of independent film - a motion picture growing out of social media. People like you are what makes this whole process worthwhile, so we're using tools like Twitter and Facebook to find you. Some folks might call this an experiment, but to us it's the only sane approach to making independent movies in the 21st century.
Over the last few years, the media has made a big, huge shift. Resources like blogging and twitter have made it possible to get the deep skinny movie overnight, and as a result audiences are less and less willing to give a chance to something with unknown or uncertain value. You've probably noticed how hesitant film companies are to risk money on movies that don't have fans from the comic book, video game, or toy industries.
On the other hand, you've got people like Edgar Wright, David Lynch, Joss Whedon on Twitter, blogging, Facebooking... These guys know their audience personally, so their value is known. If a group of rising filmmakers can get to know their audience as they grow, new stories and new talent become viable . That's what we're doing at http://www.8sidedforum.com/, along with things like Twitter, Facebook, and this blog.
Sam Bailey would never be happening without our internet friends and followers, and that's going to be true for every independent film going forward. In the industrial age, things were different. Supply had the leverage to define demand. No more. Like Homer and Shakespeare, we need an ongoing dialogue with our audience about the kinds of stories we want to tell, and the kinds of stories they want to hear.
While it's going to take some getting used to, we feel it's an important change that's long overdue. Welcome to the new media!
What you're looking at is the future of independent film - a motion picture growing out of social media. People like you are what makes this whole process worthwhile, so we're using tools like Twitter and Facebook to find you. Some folks might call this an experiment, but to us it's the only sane approach to making independent movies in the 21st century.
Over the last few years, the media has made a big, huge shift. Resources like blogging and twitter have made it possible to get the deep skinny movie overnight, and as a result audiences are less and less willing to give a chance to something with unknown or uncertain value. You've probably noticed how hesitant film companies are to risk money on movies that don't have fans from the comic book, video game, or toy industries.
On the other hand, you've got people like Edgar Wright, David Lynch, Joss Whedon on Twitter, blogging, Facebooking... These guys know their audience personally, so their value is known. If a group of rising filmmakers can get to know their audience as they grow, new stories and new talent become viable . That's what we're doing at http://www.8sidedforum.com/, along with things like Twitter, Facebook, and this blog.
Sam Bailey would never be happening without our internet friends and followers, and that's going to be true for every independent film going forward. In the industrial age, things were different. Supply had the leverage to define demand. No more. Like Homer and Shakespeare, we need an ongoing dialogue with our audience about the kinds of stories we want to tell, and the kinds of stories they want to hear.
While it's going to take some getting used to, we feel it's an important change that's long overdue. Welcome to the new media!
Monday, October 5, 2009
Twitter Tip
Following people really is a great way to get people reading your tweets. Find someone who has the kinds of followers you want, and follow them.
Two things to keep in mind:
First, this makes your twitter homepage nigh unreadable. This technique is only good for the accounts you don't intend to read.
Second, it's a good idea to check the @mytwittername link on your homepage, even if you don't read the people you follow. Respond to a few of the @mytwitternames and retweets, because it makes your twitterfeed MUCH more personal and interesting.
Two things to keep in mind:
First, this makes your twitter homepage nigh unreadable. This technique is only good for the accounts you don't intend to read.
Second, it's a good idea to check the @mytwittername link on your homepage, even if you don't read the people you follow. Respond to a few of the @mytwitternames and retweets, because it makes your twitterfeed MUCH more personal and interesting.
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