Cinematographer extraordinare, Russell Carpenter, (Titantic, True Lies, and more) will be dropping by the filmmaker's lounge at 4:30 for a chat with this year's DWF class. Our little lounge is becoming the place to be in LA. Like, kewl, ya kno?
I just came from the screening of one of the best little movies you'll ever want to see called, modestly, Less. Casting directors, filmmakers, and anyone who want's to follow talented actors take note of this cast. There's so much honesty on that screen that it makes you forget you're in a movie theatre - especially if you got rained on while waiting in line.
I was reminded by this film about the difference between trendy and quality.
The trendy people in Los Angeles cling to the stereotype of what they think this town is supposed to be. Oddly, they are usually the ones who haven't been here very long or are just visiting. Sure, they may be the beautiful people, but are they the attractive ones? If they stood next to a full length mirror - as they often do - could you tell the difference between the reflection and the real person?
This is not to say that people chasing the lastest and greatest aren't good people, or even quality people - but they are so busy chasing the spotlight that they can't see the lives they are running away from in order to get there.
The quality artists careless about the light shining on them, and more about it shining from them. During this festival it gives us all great joy to give these people their time in the light. To thank them for guidance their work has given us all.
Sunday, June 5, 2011
Saturday, June 4, 2011
How Cool Is This?
It was about 4:30 yesterday afternoon. Dances With Films and our 2-Minute 2-Step filmmakers were kicking back with a beer in the filmmaker's lounge after having made a movie that morning. Alan Heim was due to drop by for our new "Conversations With" series.
Now, you may not know that name, so click on the link to IMDB. Take some time to explore the movies he edited. Go ahead. I'll wait.
Are you back? I bet at least one of your favorite movies is on his résumé. The man is the real deal.
Before he arrived we were sitting around trying to figure out what to do with this new "Conversations With" event, and someone said, "why don't we set up an interview?"
The best thing about the Dances With Films filmmaker's lounge is, we make movies there.
Two-Minute Two-Step line producer Charlise Holmes comes from a news background, so this was right in her wheelhouse. Before you know it, the Canon 5D Mark IIs are out and on tripods - not as good as an A-1 for an interview, but not for zero notice. The sound mixer from the 2-Step was still around, so he grabbed his stuff, and in a heartbeat, I'm sitting down in front of the Adobe edit bays to have a chat with Mr. Heim about All That Jazz, Lenny, Star 80, Network, and on and on.
When we have the interview edited, I'll post a link.
I've always said that the best artists are very often the best people. Alan is a good example. You can't help but feel good about life after a conversation with him.
Thanks for reading. If you're in Los Angeles, come out and see some of the movies I've been writing about all year.
Friday, June 3, 2011
Tips From The Fest
I'm tucked away in a corner of the filmmaker's lounge where a 2-Minute 2-Step film is being edited, posters are being printed, and crew members are solving the problems of the world. The shooting is happening one room over. All of this is to say, this might not be the best-written article I've ever done.
The president of the Screen Actors Guild, Ken Howard, stopped by our opening night party yesterday and it got me to thinking. Film festivals all claim to be "about the films" or "about the filmmakers." Good, great, no problem. The principle creative person on a film lives with it years before it is shot and years after it's finished, and to the general public, they are largely unknown. They deserve their time in the spotlight, and what's good for the film is good for everyone involved.
But Dances With Films is a discovery festival in the entertainment capital of the world. A screening here is a business opportunity for more than just the filmmaker or the film. The cast especially have a chance to take advantage of the screening, but how? Old-school LA actors have tons of experience drumming up attention for their 99-seat Equity-Waiver productions, but that's because they know how it feels to stand in front of a bunch of empty seats. I'm not sure the younger actors have that same experience. Some are great at it, some think "if you screen it, they will come."
The question I'm wrestling with is how can SAG, SAGIndie, and the festivals help get the casting industry off their butts and into the theatre to see new talent? That's an open question – please discuss in the comments below.
For the techie folks, here's the big discovery we've all made. TASCAM DR100 or DR680 digital audio recorders instead of the Zooms – which everyone seems to use. They are cheaper, have some sweet functions the Zoom don't, and can take advantage of the 5-D manual audio settings to patch directly into the camera. That's your filmmaking tip of the day.
Thanks for reading. Comments welcome.
The president of the Screen Actors Guild, Ken Howard, stopped by our opening night party yesterday and it got me to thinking. Film festivals all claim to be "about the films" or "about the filmmakers." Good, great, no problem. The principle creative person on a film lives with it years before it is shot and years after it's finished, and to the general public, they are largely unknown. They deserve their time in the spotlight, and what's good for the film is good for everyone involved.
But Dances With Films is a discovery festival in the entertainment capital of the world. A screening here is a business opportunity for more than just the filmmaker or the film. The cast especially have a chance to take advantage of the screening, but how? Old-school LA actors have tons of experience drumming up attention for their 99-seat Equity-Waiver productions, but that's because they know how it feels to stand in front of a bunch of empty seats. I'm not sure the younger actors have that same experience. Some are great at it, some think "if you screen it, they will come."
The question I'm wrestling with is how can SAG, SAGIndie, and the festivals help get the casting industry off their butts and into the theatre to see new talent? That's an open question – please discuss in the comments below.
For the techie folks, here's the big discovery we've all made. TASCAM DR100 or DR680 digital audio recorders instead of the Zooms – which everyone seems to use. They are cheaper, have some sweet functions the Zoom don't, and can take advantage of the 5-D manual audio settings to patch directly into the camera. That's your filmmaking tip of the day.
Thanks for reading. Comments welcome.
Wednesday, May 25, 2011
Final Cut vs. Adobe
No, this is not a review with dry comments about processor speeds, software engines, layout designs, or Mac vs. PC.
This is a throw down!
In a week, eight filmmakers are taking the Dances With Films 2-Minute 2-Step challenge. They've been chosen from a pile of script submissions as the best written. Starting next week, we give them Canon 5D Mark II cameras to shoot and Adobe Creative Suites to edit their two-minute movie and prove who's the best shooter.
And they only have four hours to git 'er dun.
Yesterday at the Showbiz Cafe off Sepulveda Blvd. in LA, the filmmaking teams were introduced to their tools. Sure, most of them knew the camera. Not like a year ago when everyone was in a panic over making a movie under such pressure with a camera they'd never used that looked like it was great for stills but not video. Now many of them own one. Almost all of them have shot with one, and the Canon representatives will be on sight to help. So no worries there.
But no Final Cut? How can they be expected to edit a movie in such a short time on software they've never seen before? I was expecting a riot.
Then we got a demonstration by the Adobe crew.
Folks, it is on!
Not a single editor balked, or said, "what about...?" In fact, it was the opposite. Most seemed to be chomping at the bit to get their hands on this stuff. I'm sure they've downloaded the trials and are practicing at home right now.
I'm not one to do product endorsements, but I can tell you this. We've been doing the 2-Minute 2-Step Challenge going on five years now, and in that time Apple and Final Cut offered no support whatsoever. Sure, we got some software to give away as prizes, big deal, but the computers came from Hula Post. They're great.
When we couldn't get Final Cut to lay back to tape without glitches, and had to screen our films before a live audience in a matter of hours, who could we call? Nobody.
And it's not like we were some punks trying to make our home movies. We had Canon's best people working on this – in the room. On the set. On the phone trying to get someone to help. The internet was lit up with the best forum masters around trying to deal with this issue. Editors all over the world were following our plight. Except, of course, the support team from Final Cut.
Turns out, there was an intermittent problem with loading footage from a Fire Store into Final Cut and getting it back out again. Final Cut didn't seem to care.
Yesterday, for the pre-production meeting with our eight filmmakers, Adobe brought two experts for the presentation, the North American Technical Sales Manager for Pro Video/Audio Products and an Academy Award-winning visual effects artist. They get it. Like the Canon techs who have spent many an hour on a film set, the Adobe folks understand that they are making tools for artists, not a killer app for selling hardware.
So the game's afoot. Adobe is up ten points in my book and we haven't even started yet – but then again, good filmmakers know you make your day in pre-production.
2-Steppers, feel free to comment below with your opinions, and they don't have to be positive. From yesterday's meeting, through your production, to the closing night party, your feedback is our education and entertainment.
This is a throw down!
In a week, eight filmmakers are taking the Dances With Films 2-Minute 2-Step challenge. They've been chosen from a pile of script submissions as the best written. Starting next week, we give them Canon 5D Mark II cameras to shoot and Adobe Creative Suites to edit their two-minute movie and prove who's the best shooter.
And they only have four hours to git 'er dun.
Yesterday at the Showbiz Cafe off Sepulveda Blvd. in LA, the filmmaking teams were introduced to their tools. Sure, most of them knew the camera. Not like a year ago when everyone was in a panic over making a movie under such pressure with a camera they'd never used that looked like it was great for stills but not video. Now many of them own one. Almost all of them have shot with one, and the Canon representatives will be on sight to help. So no worries there.
But no Final Cut? How can they be expected to edit a movie in such a short time on software they've never seen before? I was expecting a riot.
Then we got a demonstration by the Adobe crew.
Folks, it is on!
Not a single editor balked, or said, "what about...?" In fact, it was the opposite. Most seemed to be chomping at the bit to get their hands on this stuff. I'm sure they've downloaded the trials and are practicing at home right now.
I'm not one to do product endorsements, but I can tell you this. We've been doing the 2-Minute 2-Step Challenge going on five years now, and in that time Apple and Final Cut offered no support whatsoever. Sure, we got some software to give away as prizes, big deal, but the computers came from Hula Post. They're great.
When we couldn't get Final Cut to lay back to tape without glitches, and had to screen our films before a live audience in a matter of hours, who could we call? Nobody.
And it's not like we were some punks trying to make our home movies. We had Canon's best people working on this – in the room. On the set. On the phone trying to get someone to help. The internet was lit up with the best forum masters around trying to deal with this issue. Editors all over the world were following our plight. Except, of course, the support team from Final Cut.
Turns out, there was an intermittent problem with loading footage from a Fire Store into Final Cut and getting it back out again. Final Cut didn't seem to care.
Yesterday, for the pre-production meeting with our eight filmmakers, Adobe brought two experts for the presentation, the North American Technical Sales Manager for Pro Video/Audio Products and an Academy Award-winning visual effects artist. They get it. Like the Canon techs who have spent many an hour on a film set, the Adobe folks understand that they are making tools for artists, not a killer app for selling hardware.
So the game's afoot. Adobe is up ten points in my book and we haven't even started yet – but then again, good filmmakers know you make your day in pre-production.
2-Steppers, feel free to comment below with your opinions, and they don't have to be positive. From yesterday's meeting, through your production, to the closing night party, your feedback is our education and entertainment.
Wednesday, May 18, 2011
The Challenge
We're two weeks out from the festival and the challenge is on. Move over Donald Trump, this ain't no game show. It's the real deal.
Filmmakers are faced with two tasks at any Los Angeles festival. They have to fill the house, and they have to get the Industry to take notice of them.
But really, that's just one job. Of the films that have had the most success after their Dances With Films screening, almost all of them played to overflowing houses.
Think about it. An acquisitions executive sits in an empty theatre to watch a movie with no big names. Eh.
Same executive has to push his or her way through a crowd to find the filmmaker to make sure there's a seat available.
Both movies may be of the same subjective quality. In fact, some might argue that the movie playing to an empty house could be "better than" (whatever that means) the full house, but it is the acquisition exec's job to find movies that people will come out to see.
Filmmakers are artists, yes. They are part of the performing arts, which means they are show people. Your festival screening is a show. It's a show in the theatre and a show in the lobby. As the leader of this show you have to tap into your inner P.T. Barnum.
You have to figure out what is special about your film – above and beyond the thousands of things to do in Los Angeles at the same time as your movie. Then you have to figure out a way to tell the people who might be into your show that it's happening.
None of that is easy.
The only advice I can give is that Los Angeles is a different animal. You tell her you're screening a movie and it's special and great and she needs to get off her couch, or off the beach, or down from the mountains, or whatever to come out and see this amazing event, and she will say, "Hey, that's nice. It looks great. Good for you."
"Are you going to come?"
"No, but ... good for you."
On the plus side, there are over ten million people in the area. If you can find a way to talk to the percentage of the whole that will get off their butts and come to your show, then you're set.
And while you're at it, don't forget to invite an executive or two.
Good luck. Thanks for reading.
Filmmakers are faced with two tasks at any Los Angeles festival. They have to fill the house, and they have to get the Industry to take notice of them.
But really, that's just one job. Of the films that have had the most success after their Dances With Films screening, almost all of them played to overflowing houses.
Think about it. An acquisitions executive sits in an empty theatre to watch a movie with no big names. Eh.
Same executive has to push his or her way through a crowd to find the filmmaker to make sure there's a seat available.
Both movies may be of the same subjective quality. In fact, some might argue that the movie playing to an empty house could be "better than" (whatever that means) the full house, but it is the acquisition exec's job to find movies that people will come out to see.
Filmmakers are artists, yes. They are part of the performing arts, which means they are show people. Your festival screening is a show. It's a show in the theatre and a show in the lobby. As the leader of this show you have to tap into your inner P.T. Barnum.
You have to figure out what is special about your film – above and beyond the thousands of things to do in Los Angeles at the same time as your movie. Then you have to figure out a way to tell the people who might be into your show that it's happening.
None of that is easy.
The only advice I can give is that Los Angeles is a different animal. You tell her you're screening a movie and it's special and great and she needs to get off her couch, or off the beach, or down from the mountains, or whatever to come out and see this amazing event, and she will say, "Hey, that's nice. It looks great. Good for you."
"Are you going to come?"
"No, but ... good for you."
On the plus side, there are over ten million people in the area. If you can find a way to talk to the percentage of the whole that will get off their butts and come to your show, then you're set.
And while you're at it, don't forget to invite an executive or two.
Good luck. Thanks for reading.
Friday, May 13, 2011
RAISE A GLASS TO LURA
Today is National Cocktail Day, which is a good thing, but it is also a sad day. Dances With Films lost an important member of our family this morning. Lura Scallon, Leslee's mother, passed away after a year-long battle with cancer.
Both the Scallon family and the Coors Brewing company are in mourning, as Lura was no slouch when it came to her Coors Light. She was quick to laugh with a genuine smile that would quarter no pretense. Be you pauper or royalty, she didn't care as long as you were nice to those around you.
I always knew the festival was seriously close when Leslee's mom flew in from Oregon. She would hold down the home fort while Leslee lived at the theatre. Dinner at Leslee's months later would include something old-school delicious. "You like that?" Leslee would ask, "Mom made it when she was here. I just took it out of the freezer."
Year 12 she came to the closing night party. You'd have thought she had won the competition by the way she worked the room. I had the honor of escorting her home that evening. She was quite a date.
John Lennon said it best. We take the love we make. Lura takes with her more love than she ever dreamed she made. Filmmakers all over the world, raise a glass to a woman you may have never met, but to whom you owe toast of thanks. In no small way, she made it possible.
Both the Scallon family and the Coors Brewing company are in mourning, as Lura was no slouch when it came to her Coors Light. She was quick to laugh with a genuine smile that would quarter no pretense. Be you pauper or royalty, she didn't care as long as you were nice to those around you.
I always knew the festival was seriously close when Leslee's mom flew in from Oregon. She would hold down the home fort while Leslee lived at the theatre. Dinner at Leslee's months later would include something old-school delicious. "You like that?" Leslee would ask, "Mom made it when she was here. I just took it out of the freezer."
Year 12 she came to the closing night party. You'd have thought she had won the competition by the way she worked the room. I had the honor of escorting her home that evening. She was quite a date.
John Lennon said it best. We take the love we make. Lura takes with her more love than she ever dreamed she made. Filmmakers all over the world, raise a glass to a woman you may have never met, but to whom you owe toast of thanks. In no small way, she made it possible.
Panels! Panels! Panels!
Panels, you say? You want panels? Not only do we have panels, but we're giving you a chance to post your questions here ahead of time.
We are still working out the details, but they will be free to anyone with a festival pass. They will also be open to the public for a nominal fee. We're talking $5 right now, but that might go up to $10 depending on the venue. Still, cheap at twice the price.
Keep an eye out on our website and here for more details on the location, etc. In the meantime, here's what we know:
TUESDAY, JUNE 7. NOON-1:30 PANELISTS
Jeff Begun (Partner, Co-Founder: Film Incentives Group)
Jason Constantine (President of Acquisitions, Lionsgate)
Jay Cohen (Head of Film Financing and Packaging, Partner, The Gersh Agency)
J. Todd Harris (CEO/founder of Branded Pictures Entertainment, Exec Bottle Shock, Exec Producer: The Kids are All Right)
Ari Haas (Director of Acquisitions, Myriad Pictures)
David Madden (Pres, Fox TV Studios, Producer: Save the Last Dance, Hand That Rocks the Cradle, Exec Prod Something the Lord Made, Harlan Country Wars, Director: Separate Lives)
Heidi Van Lier (Author, The Indie Film Rule Book and Film Threat contributor)
Steven Wegner (EVP, Alcon Entertainment, Co-Producer: One Missed Call, Sisterhood of the Traveling Pants, The Blind Side, The Book of Eli)
WEDNESDAY, JUNE 8. NOON-1:30 PANELISTS
Jeff Begun (Partner, Co-Founder: Film Incentives Group)
David Gale (Executive Vice President, MTV New Media)
Rena Ronson (Co-Head, Independent Film Group, United Talent Agency) Exec Producer: Blue Valentine, The Other Woman, Producer: Twin Falls Idaho
JC Spink (Owner Co-founder of Management, production co BenderSpink, Producer The Butterfly Effect, A History of Violence, Exec Prod The Hangover, and I am Number 4)
Tricia Wood (Casting Director: Laurel Canyon, The Human Stain, Wicker Park, Shop Girl, Disturbia, Smart People, Twilight, Red, Lincoln Lawyer)
Frank Wuliger: (Partner, The Gersh Agency)
Of course, panelists are subject to change.
In order to help us guide the discussion, we'd love to know what questions you'd like to ask these folks, so please, please, please – post them here.
I'll start.
Tricia Wood, when people think of "the Industry" in terms of film festivals, they really mean "distribution," yet in 2007 we had a quirky little movie called One Day Like Rain with Jesse Eisenberg as a part of a tremendous ensemble. I think I could go through every year of the festival and point out other such pre-discoveries. This year I could name 10 films off the top of my head that every casting director should see. Besides the few clips on an actor's reel, how important is it for you to see undiscovered talent carry a movie?
We are still working out the details, but they will be free to anyone with a festival pass. They will also be open to the public for a nominal fee. We're talking $5 right now, but that might go up to $10 depending on the venue. Still, cheap at twice the price.
Keep an eye out on our website and here for more details on the location, etc. In the meantime, here's what we know:
TUESDAY, JUNE 7. NOON-1:30 PANELISTS
Jeff Begun (Partner, Co-Founder: Film Incentives Group)
Jason Constantine (President of Acquisitions, Lionsgate)
Jay Cohen (Head of Film Financing and Packaging, Partner, The Gersh Agency)
J. Todd Harris (CEO/founder of Branded Pictures Entertainment, Exec Bottle Shock, Exec Producer: The Kids are All Right)
Ari Haas (Director of Acquisitions, Myriad Pictures)
David Madden (Pres, Fox TV Studios, Producer: Save the Last Dance, Hand That Rocks the Cradle, Exec Prod Something the Lord Made, Harlan Country Wars, Director: Separate Lives)
Heidi Van Lier (Author, The Indie Film Rule Book and Film Threat contributor)
Steven Wegner (EVP, Alcon Entertainment, Co-Producer: One Missed Call, Sisterhood of the Traveling Pants, The Blind Side, The Book of Eli)
WEDNESDAY, JUNE 8. NOON-1:30 PANELISTS
Jeff Begun (Partner, Co-Founder: Film Incentives Group)
David Gale (Executive Vice President, MTV New Media)
Rena Ronson (Co-Head, Independent Film Group, United Talent Agency) Exec Producer: Blue Valentine, The Other Woman, Producer: Twin Falls Idaho
JC Spink (Owner Co-founder of Management, production co BenderSpink, Producer The Butterfly Effect, A History of Violence, Exec Prod The Hangover, and I am Number 4)
Tricia Wood (Casting Director: Laurel Canyon, The Human Stain, Wicker Park, Shop Girl, Disturbia, Smart People, Twilight, Red, Lincoln Lawyer)
Frank Wuliger: (Partner, The Gersh Agency)
Of course, panelists are subject to change.
In order to help us guide the discussion, we'd love to know what questions you'd like to ask these folks, so please, please, please – post them here.
I'll start.
Tricia Wood, when people think of "the Industry" in terms of film festivals, they really mean "distribution," yet in 2007 we had a quirky little movie called One Day Like Rain with Jesse Eisenberg as a part of a tremendous ensemble. I think I could go through every year of the festival and point out other such pre-discoveries. This year I could name 10 films off the top of my head that every casting director should see. Besides the few clips on an actor's reel, how important is it for you to see undiscovered talent carry a movie?
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