Film Production Archives
08 August - Present
What A Fantastic Site!
Allan Douglass
4:42 pm Thursday July 23, 1998Having just reviewed a great deal of the Matrixx site, I cannot believe the wealth of information here.
Many of the problems you have discussed I have already run into and the programs you offer to get films made are the most realistc ones, by far, I have ever seen.
You are making it possible for people to actually progress in their filmmaking and prodicing careers at mecfilms.
Thank you muchly.
Allan
An industry that’s easy to get into?
William Noland
3:00 pm Wednesday August 12, 1998In my little corner of the world (including my brain) I decided I wanted to go into the industry, so I started going to school. After arguing with my instructors for awhile it became clear that I was able to walk into a classroom knowing more about the driving force of creativity than they did. The end of the argument was always the same: "Just watch me for the next four years and I’ll show you how it’s done.” I have the gift of expressing thoughts, ideas, opinions, and emotion into a viable medium that can closely duplicate the same feelings in a viewer that I feel in my heart. (I’m a writer). It’s the one gift God gave me that will allow me to survive in a career that has unlimited top end. (Edsel on themoon syndrome/Ask, I’ll tell). So the day came when I stopped investing in school and started investing in myself. I bought a S-VHS camera, edit decks and an edit controller, props, lights, PA equipment, more power on the computer. Some friends and I started doing stand-up comedy in a local bar, made a couple of movies for some classmates’ final projects, started writing and doing comedy skits for our cable access channel, even dabbled in pornography for a very short time. So where do we go from here? Hell, I’m almost bored with it. Our cable access channel has trouble staying on the air, the stand-up comedy ruffled too many of our local comics’ feathers, porn is out of the question, the movies we did are pretty sad, and in the end I lose my motivation to do the one thing I wanted to do. WRITE. I’ve got some fantastic screen plays and scripts in me, just begging to come out. But I get so little impute and recognition for my talent, that in the end it dies in my heart. Just comedy skits alone are hard to do unless you have money and a studio backing you. And I don’t mean “here’s fifty thousand dollars for an hour comedy skit, now go rent an old barn, turn it into a studio and do it.” I’m talking about a heavy studio with set designers, props, actors, and the best equipment. A place where my creativity can be imputed directly into an environment that results in a tangible production locked onto film. Only then will my creativity be truly set free. I’m a writer of the visual arts and this is where I am. So where do I go from here? William Noland
How to Bite Onto the Industry
James Jaeger
8:06 pm Sunday August 23, 1998William,
To answer your question, as a writer where do you go from here. Well for one, if you love writing, keep writing. Write as many screenplays as you can and each one may be better than the last.
Secondly, as an artist, become more causative - get into producing. Fortunately or unfortunatly everyone with a pen or a word processor can write and as a result writers get kick around pretty good before they are identified by Hollywood.
If you know something about producing, you can be in a better position to initiate your own projects, however you are still in a similar position of having to pitch projects, it's just that you are now pitching not only your screenplay, but possibly a package as well. Sometimes packages are easier to sell, especially for no-studio deals.
James Jaeger
re: How to Bite Onto the Industry
Si Dunn
2:40 am Sunday August 30, 1998Good advice. I recently have met several screenwriters who also are producers. Some have become directors, as well. And most of them have made at least a few stabs at acting, so they can at least understand what it feels like to be in an actor's shoes. I really don't have much talent as an actor, but I have worked in a number of productions as a one-line bit player or just as an extra. In each case, I have learned things that I think will help me create better screenplays. And I have met some good people and had some fun, too. By the way, screenwriting is much harder than it looks. One case in point: when I recently took a two-day workshop given by a writer-producer-director, I came away with almost 100 pages of changes for my latest 100-page script. Dialog that I thought was pretty tight became even tighter; actions that I thought were necessary were able to be cut and not even missed; characters that I thought were pretty well developed turned out to need more depth. Don't be discouraged by the difficulty, however. Dig in and fight harder. And definitely learn more about the business side of making movies.
Si Dunn
re: An industry that’s easy to get into?
Tim Weedn
4:08 pm Sunday August 30, 1998
Man 'o' man ... how many of us have shared your pain. Like yourself, I decided years ago that I wanted to be in the industry. I went to school and found that most of my instructors were of the "those who can't do, teach" mentality. I decided to do it on my own and even though family and friends had always recognized my talents, I just couldn't understand why I wasn't getting anywhere. I would do work for free. I produced, directed, composed music scores, edited, wrote scripts, ran cameras, everything for my local cable access channel. They,too, would hail my work as brilliant, but nothing ever came of it. I produced PSA's and in-house multi-media programs for the local Zoo. I composed, performed, engineered, and recorded music scores for the local NBC affiliate's programs. All this and more for the sake of just getting recognized. My skills had advanced, but nothing ever came of it.
Then one day, my wife and I decided to anylize the problem. We knew the skill and talent was there, so what was going wrong??? ... We decided that in order to make things happen we would have to "sell out"... "just go for it"... We decided to invest what little money we had, produce the best possible program we could, and sell it to PBS. Our theory was "if we do our absolute best work, it can't be turned down, and we will not do it for free." ...
The commitment had been made. We were not going to lose. We were both working full time jobs and devoting every minute of our spare time to the project. It was tough, but we were going to do it. Then one night, the most amazing thing happened.
I had decided to take that night off. I was sitting outside, having a beer or two with an old friend, when suddenly my wife stuck her head out the door and said " get in here! ... you've got to see this!" ... I rushed inside, sat down, and watched the last 30 minutes of the most horrible program I have ever seen on PBS. After it was over, I looked at my wife and said " Why did you think that was so important?" ... Her reply was "If we can't do any better than that, we need to hang it up right now.". It was truly an inspirational moment.
A few months later, we completed our project. Now it was time to sell it. We submitted a copy to the program director of our local PBS station ( KERA ch 13, the most watched PBS station in the country. Something we didn't know at the time.). A month went by and despite my frequent phone calls, there was no response. In a fit of frustration I contacted the producer of that horrible PBS program that had inspired us and asked him how he had done it. He said "get a distributor.". I said " how does that work?". He said " they take your program, sell it, and keep a percentage of the profits.". It was too easy. He gave us the name of his distributor and we submitted a copy of our program to them. They rejected it. But we found another distributor, through the inter net, who accepted the program and now it is showing on PBS stations throughout the country. AND THEY ARE PAYING US TO AIR IT. Shortly after we signed our distribution contract, we received a letter from KERA's program director telling us he loved the program, but could only buy it from a distributor. It turns out that this individual has considerable influence on the acquisition practices of other PBS markets by virtue of his station being the most watched PBS affiliate in the country and he helped convince other stations to buy our program.
Now, we didn't get rich, Steven Spielberg hasn't called, and we haven't signed any big Hollywood contract. We do however have our foot in the door. We also recognize that we are only as good as our last project. Hard work, perserverence, and a little luck gets the job done. But if someone had told me ten years ago that it would be this easy, I'd be a rich man today. I only hope tommorrow I will be.
We are interested in what you are doing. As a film maker I can say that the contributions of the writers makes or breaks a film. If you need anything, or just want to chat, feel free to contact us at any time.
Lisa & Tim Weedn
owners / operators
VisionCraft Productions
The Value of Editing in Writing
James Jaeger
10:26 pm Sunday August 30, 1998If it is true that screenwriters often move into the director's chair, I would add that they move into it MUCH more easily if they also know how to cut narrative drama. (Finance people also relax a little too.)
It is not necessary to get your hands on 35mm film or even a U-matic tape editing system any more with the advent of random access editing on computer desk tops becoming increasingly inexpensive. I started my career as a film editor working on 16mm and then 35mm and then to 3/4-inch U-matic. Boy do I wish I could have put my hands on the computer-based editing equipment, we have today, back in the 70's!
So if you want to write with better tempo and understand how paper-time translates to real-time then into screen-time, editing really explicates the dynamics.
James Jaeger
Success IS Possible
James Jaeger
10:34 pm Sunday August 30, 1998Thanks for sharing your success story, Lisa & Tim.
This is the kind of hope-bringing anecdote I'm sure all filmmakers love to hear!
James Jaeger
script writing
mike brown
4:42 am Monday August 31, 1998I have written, in conjunction with ralph maddern, producer of focus films, a full feature film script 110 minutes and also in TV format 6 episodes for children 11+ an adventure story. Any ideas on marketing/packaging the same? It is also now in book format. Any overseas markets? All ideas most welcome and profits shared if they lead to its successful production. Mike Brown.
Establishing a Basic Direction
James Jaeger
12:39 pm Monday August 31, 1998Mike,
It sounds to me like you have two distinct projects there, one a feature and the other a TV product. If you are going to assume producer responsibilities for these projects, what I would do is first pick one and focus on that. After you have that packaged, financed and produced, the other project may be easier to launch because you have been around the block.
Although there are exceptions, the feature film universe is NOT the TV universe. Different players. Since there are many FEWER features produced each year, (directly or picked up by the MPAA studio/distributors and produced by the independents) than TV, the competition in the feature universe is keener. Features, however, can be more rewarding if you are willing to risk the time and energy. Therefore, I would decide which you want to do and focus on that - as a producer - to start. A producer who does more than one project simultaneously is an executive producer.
There is no reason, having decided on which project to focus on as a producer, why you cannot relegate the other project to an agent for representation of you as a writer. The down-side of this however, is that you are at once tromping around the industry as both a writer on one project and a producer or producer-writer on another project (and some agents only want you if you are a writer.)
It is better, I feel, to assume the beingness of either a writer-producer or a producer-writer and have your cards printed up with this post and be willing to stick with it for at least 5 or 10 years, learning the hat extensively as you go. You need to establish an identity in the biz otherwise execs and talent will have a hard time discovering how you fit in or who you are.
I realize I may not be answering your questions per se, but I will once you tell me which way you are going to go and get that established.
James Jaeger
script writing
mike brown
3:35 pm Monday August 31, 1998Is anyone out there in the market for (a) feature film scripts
for adults: Horror? 110 minutes
(b) adventure features for kids 11+
(c) a full successfully produced musical, "Nero"?
(d) 6 episode TV adventure for kids?
(e) four books for kids 11+ or 12+
(All thoroughly original and well tested on kids, who like them a lot.)
Home base Devon, UK.
P.S. Do we ever get paid for acting as readers?
General Feedback Lisa --&-- Tim Weedn
4:40 pm Wednesday September 2, 1998Wow ... That's the first time we've ever received a reply from a film company executive. Many thanks for your response.
The future of our planet and our species is at hand. We are at the crossroads. The decisions we make now determine if we survive or go the way of the Dodo. Through the use of film, television, the internet, and other forms of mass communication a consensus of purpose can be achieved. And what is that purpose?... It should simply be to better ourselves. Not in monetary forms or social stature, but as a species whose intelligence has evolved to a point where whatever we can imagine ... we can do.
JFK said ... "In the final analysis our most basic common link is that we all share this small planet ... we all breath the same air ... we all cherish our children's future ... and we are all mortal." ... Kennedy was willing to die for his beliefs. As filmakers we should at least be willing to share his vision and his dreams with others. We are in a business where our opinions can be voiced to a large and diverse audience. Let's make sure we voice the right opinions.
Lisa & Tim Weedn
I would be interest to know where you feel digital technology will go in the future as such relates to creating totally digital casts and even digital "name" talent.
re: Success IS Possible
Lisa --&-- Tim Weedn
12:47 pm Saturday September 5, 1998Always a pleasure to share experiences with others. It is what our business is all about.
Creativity is the most important aspect of film or video production. As visual artists we must create images, moods, actions, and sounds that tell a story. This is process we all understand. But what many of us don't understand, is that the same amount of creative energy must be applied to promoting and marketing our stories.
As story tellers, we all use the "who, what, when, where, why, and how formula to get our point across. This is also a nifty formula to use when developing a marketing scheme for the finished product. "Who" will watch and listen to the story? ... "What" can be done to insure anyone will want to? ... "When" is the appropriate time to release? ... "Where" is the correct venue to air the program? ... "Why" would anyone want to fund or distribute the film? ... "How" the hell should I know??? ... The point is we should consider these things in the pre-production phaze as we develop our product. We should also approach our marketing scheme with the same creative enthusiasm as we do our story.
When we began pre-production of our first documentary, we decided that it would be much easier to sell as a "fine-cut" rather than just an idea. Our reasoning behind this was that we really didn't have any credentials, therefore it would be very difficult to get funding for our ideas. It is much easier for a distributor to try to sell a finished product then it is for them to take a chance on funding an unfinished work by a producer who lacks credentials. In the end our scheme worked. Our distributor had success selling our film to many PBS stations, we made a little money off the project, and now we have credentials that allow us to seek funding for future films.
Film making is no different than any other business. You must climb the ladder one rung at a time. You must be creative in every aspect. Only the most productive survive. Most important of all ... YOU MUST HAVE FUN ...
Is success possible??? ... You better believe it!!!
Lisa & Tim Weedn
re: Digital Technology
lisa --&-- Tim Weedn
2:25 pm Saturday September 5, 1998Technology in our business, as well as others, changes so rapidly that it is difficult for anyone to keep up. What is state of the art today, is already obsolete by tomorrow. Weither any of us like it or not, changes are going to occur. How we deal with those changes determines weither or not we survive.
Digital technology provides film and video makers with yet another wonderful tool to tell stories. Digital "talent" such as Max Headroom, or the characters in Disney's Toy Story, presents no more of a threat to "real" actors than a virtual set does to the Grand Canyon. In the final analysis, it is simply a choice. A device to help the film or video maker get a point across. What a nice set of options to have available !!!
While studying audio in media some years ago, our instructor began to voice his opinions about multi-track recording. It was clearly evident, by his comments, that this new technology was beyond his grasp. He had not kept up and the world was passing him by. Sadly, this talented individual failed to rebound from this setback and is now working as a department manager for Circuit City. Technology can be a pretty scary thing, if you let it be.
Necessity is the mother of invention. An automatic hammer may build a house faster and cheaper, but sometimes the manual one is better for detail. Digital technology will surely change the way we make movies, just like color film and audio synchronization did many years ago. Schindler's List won oscars for best director and best film in 1993. Wasn't that film shot in black & white?
Lisa & Tim Weedn
Technology's Pace
James Jaeger
5:28 pm Saturday September 5, 1998Some interesting observations there Tim and Lisa.
I recently read a book called THE HOLOGRAPHIC UNIVERSE the premise of which is that the entire quantum mechanics-universe is nothing but a high-level hologram and our brains are actually holographic interpreters.
The fact that neuro-scientists now have evidence that sight, sound and other perceptions are NOT localized in the brian (as has been thought for decades) but GENERALIZED in the ceribral cortex - is MIND BOGGLING (npi) because this means, that, similar to a holograph, the image is not localized but general, i.e., you cut the photographic hologram in half (or in any number of pieces) and each half (or piece) contains the ENTIRE image.
My point is, if this new view of reality is true, and if quantum mechanics ends up replacing Einsteinian mechanics, our view of technology will be so radically different, as such pertains to perception, that we will have to re-evaluate sources of "entertainment" as we know them today for life itself could be then be SUSPECTED to be BUT A MOVIE projected on a screen we know as LIFE.
Where does this reality place us as moviemakers? Actors I guess. Ironic. Are we dramatizing, as filmmakers, that which we possibly are - high-level holograms (mere projections on the holodeck of STAR TREK's Enterprise)?
James Jaeger
re: Digital Technology
James Jaeger
6:31 pm Saturday September 5, 1998:Digital technology provides film and video makers with yet :another wonderful tool to tell stories. Digital "talent" such as :Max Headroom, or the characters in Disney's Toy Story, presents :no more of a threat to "real" actors than a virtual set does to :the Grand Canyon.
If this is 'all the threat' there is - then I view this as A LOT of threat to live actors. It seems an increasing number of movies don't use the Grand Canyon anymore, hence we can surmise increasingly movies will not use today’s live (and expensive) name-actors but may very well bring back digital Errol Flynns and Marilynn Monroes instead.
After all, the MPAA studios are in business for basically one reason - to make money. They have demonstrated time and again their willingness to re-release such movies as STAR TREK, to constantly bring back turbo-charged versions of DENNIS THE MENACE,
etc., and to create endless sequels of successful releases - why would they not digitize their past audience-proven, money-making stars and re-release them with abandon - as soon as the tech is viable.
Count on it - they will.
And, count on it, today's "name talents" will be somewhat out in the cold too just as yesteryear's stars, such as a Mickey Rooney (who I know personally) and who for a while, in my opinion, was treated badly by some of the studios because they considered he was no longer "bankable" or hip - the exact words I hear over an over from some of the studios executives, our lawyers and the studios wholly-owned subsidiary mini-majors.
Thus, I see a day when a lot of live "name talent" will be as much a thing of the past as live-bands are in most of your night clubs today, having been preempted by canned music, which many feel sounds much better because it has a studio mix, etc., and is "hip."
I don't necessarily agree with all these "advancements" but I do think stars should be prepared and get involved in using their celebrity to take responsibility for other endeavors, such as producing and financing independent features and documentaries, as soon as possible.
To be forever cowed by a studio/distributor employer that will someday spit you out as soon as it is technologically feasible, I feel is and unwise thing, and "name talent" should be aware and they should take the initiative to do something (other than just create salad dressings and restaurants) for the thousands of struggling filmmakers that never get the lucky breaks they did but who are just as talented.
A star earning $20,000,000 a picture could take just one picture and finance 40 young start-up filmmakers at $500,000 a picture (and they could get matching funds against this if they needed more) and take it as a tax writeoff against the income from other pictures. Would their studio employers condone this? Of course not, privately -- of course so, publicly.
James Jaeger
re: Digital Technology
Lisa--&--Tim Weedn
9:22 pm Sunday September 6, 1998We agree with you whole heartedly. Consider Disney's current string of so called "releases" that simply play on former successes. An organization that once stood for innovation and quality, now stands for nothing more than the all mighty dollar.
It is true that a name actor making 2,000,000 dollars a picture could fund the efforts of independent film makers, but how many Tom Cruises or Will Smiths are doing it? None. It seems that they are only interested in self survival. So why bother when a "digital actor" can have the same impact and cost millions of dollars less?
Quality is the name of the game. It may be possible to re- create Errol Flynn or Marilyn Monroe in the digital domain. If they respond to the director's every wish, then something will be lost. But if "real" actors continue to demand high salaries for the sake of generating box office revenues, and the films they star in continue to rely on drawing power alone, then something else will be lost. The story. The idea. The message.
Digital technology is nothing more than a tool. If you are afraid to use it, then don't be surprised when the world passes you by.
Lisa&Tim Weedn
re: Technology's Pace
lisa--&--Tim Weedn
9:32 pm Sunday September 6, 1998Brings up some interesting thoughts about that God person, doesn't it?
Lisa&Tim Weedn
re: Digital Technology
James Jaeger
4:22 pm Monday September 7, 1998: It is true that a name actor making 2,000,000 dollars a :picture could fund the efforts of independent film makers, but :how many Tom Cruises or Will Smiths are doing it? None. It seems :that they are only interested in self survival.
It really seems that way, and it IS unfortunate. This is one reason why pay-scales in Hollywood are so high - its basically hush/brib money for those who have sold out.
:So why bother :when a "digital actor" can have the same impact and cost millions :of dollars less?
The thing I see that is so exciting about technology is that it levels the playing field because movie production gets more on
par with poem-writing - almost anyone can afford a piece of paper and a pencil.
Likewise, due to technological advancement in audio (as you have pointed out in your post relating to the music world), just about all one needs to "make it" is talent and ambition. It IS however unfortunate that a lot more "junk" is slung out there too, and this may be part of the reason for the revival of some of the "classic rock" I grew up with. I am confident that after a period of study of these classical rock "masters," the musicians of our time now (powered by the upcoming 33 million BabyBoomers' kids), will kick some serious butt.
:Quality is the name of the game. It may be possible to re- :create Errol Flynn or Marilyn Monroe in the digital domain. If :they respond to the director's every wish, then something will be :lost.
Nice point.
:But if "real" actors continue to demand high salaries for :the sake of generating box office revenues,
The "real actors'" lawyers and agents demand the studio pay a sum in the production budget equal to the sum they feel their client WOULD have earned through net profit participation had it not been for the inevitable "creative accounting" which they feel and know will get them.
Others "solve" this dirty little industry problem by charging gross participation. And still others "solve" it by charging a combination of excessive budgeted fees AND net participation.
:star in continue to rely on drawing power alone, then something :else will be lost. The story. The idea. The message.
The story, idea and message is usually hampered to the degree their is so much money outstanding on a project.
: Digital technology is nothing more than a tool. If you are :afraid to use it, then don't be surprised when the world passes :you by.
All technology, including religion and governments, are but temporary servo-mechanisms to homo sapiens. And the universe will bypass one if they use the wrong tech at the wrong time, or never use the right tech at the right time.
James Jaeger
re: Digital Technology
Lisa--&--Tim Weedn
9:24 pm Tuesday September 8, 1998Couldn't have said it better. The misuse or abuse of technology, government, religion, or whatever can lead to irreversable damage. ( ask anyone in Nagasaki or Hiroshima ) But it is incumbant on those of us who have learned to communicate on a mass scale to deliver a message of peace and understanding via whatever means are at our disposal.
Consider the internet. A form of digital technology. It is a tool that will eventually replace the library, the newspaper, even the book. While this notion may appear scary ( and there is nothing We love more than reading books.) there are many positive implications to this process of change.
If the internet replaces the newspaper as a source of news and information, then how many trees will be spared? How many Spotted Owls will survive? How many other forms of life will regain a foothold on survival? If the internet replaces the library, then how many millions of gallons of gas will not be burned on the way to said library? If the internet replaces the book, then how much of the aforementioned applies?
At the same time, We must be aware and concerned about the negative ideas this form of mass communication evokes.
Suppose Hitler had access to the internet. How many in this country would have agreed with his ideals? Movies and television have a profound influence on the general population. So does the internet. No matter if it is digital or analogue, it is still a tool anyone can use ... for good ... or ill ...
James, we thank you for helping us to better understand our role as film makers. We hope that we can continue this dialogue and share it with others in the hope that the best films of life, are yet to come. Thank you very much.
Lisa&Tim Weedn
What's a Digital Book?
James Jaeger
6:13 pm Tuesday September 15, 1998Digital Books, which I believe are a wave of the future, are books that anyone can read with any browser.
Many people may not be aware of a capability of their browser (whether Netscape or Internet Explorer), which is to read the files on their personal computer.
Try this experiment: Delete any URLs in your Browser's Address Location (the place where you usually write an ENTIRE URL, not the quick "Open" panel) and type c:/ or just c:
You should have immediate access to your c: drive along with a list of all you files (folders) in clickable form. If any of your files are HTML web documents with an .HTML or .HTM extension, you should be able to click on them and open them in your browser the same as any page you get off the Net via a URL (Uniform Resource Locator). Other files may be opened by plug-ins in your browser.
This also works by activating your a-drive by typing a:/ or just a: in the Browser Location window. If you have a disc in your a-drive and it has HTML files on it, they will automatically open in your browser too.
Thus, a Digital Book is simply an entire book that has been converted to .HTML and written to a 3.5-inch disc for your a-drive (and naming the "index file" for the book, "install.htm." The Table of Contents, chapters, pages and Book Index are all linked as in normal HTML editing to the install.htm file. However, when you type into your browser window a:\install, you activate the first page of the Digital Book - usually the cover, a brochure about the book or the Table of Contents.
The nice thing about Digital Books is anyone can create them without having to get involved with heavy text manipulation applications such as Acrobat or difficult programming procedures.
All one wants in a Digital Book is good print, portability, easy access, color graphics, clickable links and automatic access to the Web - and you get all this in a Digital Book.
Perfect type-setting, such as that which has evolved in the PAPER print/publishing universe, is NOT NECESSARY in Digital Books - especially if it adds extra hassle in either creating them, distributing them or reading them. After all, books are not supposed to be color, glossy brochures, they are supposed to be BOOKS - instruments that impart knowledge through the written word.
Thus HTML Digital Books are the correct amount of "attack on the problem" of getting readability without expense or hassle-plus.
Needless to say, our publishing division at Matrixx Entertainment, MOVIE PUBS, has pioneered and is moving exclusively into HTML Digital Book publishing. The reasons: More, higher-quality, easily-accessible and updateable information can be imparted to the reader for less money and in less space and time. 2,000 Digital Books can fit on your bookshelf where only 13 could fit before. And we are not even talking about the capabilities of DVD which are OTHER orders of magnitude - except that people cannot generally create DVDs, so that excludes them as wide-spread possibilities for the time being.
There is a last thing that is great about Digital Books (and I might add, Digital Screenplays), writers should enjoy: they are MUCH cheaper to manufacture and distribute, so there is NO reason why the writer (the creative genius WHO IS RESPONSIBLE FOR THE BOOK/SCREENPLAY TO EVEN EXIST) should only get a lousy 10% royalty!
This is what the current business World feels artists are worth - 10% to the Artist/Writer and 90% to all the rest of the Pigs/Middlemen! Makes me vomit. And Filmmakers, remember, the same attitude exists in the standard distribution system for your movies too. You get practically nothing while all the rest, THOSE WHO NEITHER CONCEIVED OF THE MOVIE OR FINANCED ITS EARLY DEVELOPMENT, get the lion's share.
Filmmakers/Writers and Artists, don't ever let the digital delivery systems of the World be monopolized by distribution-centric business people who could care less about art and ONLY care about money. And remember the computer Techies who wrote the programs that are making the digital revolution possible for they are writers and artists as well and we should be very grateful to them and support them in every way.
James Jaeger
The Current Cultural Dark Age
James Jaeger
9:03 pm Friday September 18, 1998The arts are in the Dark Ages. The Wall Street Journal is a mouthpiece of the entrenched media establishment which includes the MPAA studio/distributors. The actual fact of the matter is "real" artists are being suppressed and only those that fit into the politically-correct infrastructure are being promoted. We are in a Dark Age and the movie industry, the largest influence over art, is controlled by a similar narrowly-defined group of people that mainly promote what is "safe" or what "worked before" in the goal of making money and maintaining political power.
Just because, as the Wall Street Journal says, 'people are spending more than a billion annually on theatre-going alone...' that's great - but again this is only a function of the fact that there are 30 million BabyBoomers at theatre-going age now. The theatre is just another glass of white wine or perhaps a face-lift. It has nothing to do with anything else.
The Journal goes on to say that the college experience of so many millions of Americans is finally translating into cultural upgrades...
The fact that the academic world and the business world are in a conflict of interest situation is sad. The business world says a kid has to have a masters degree now to get into mainstream companies and the academic world goes along with this extortion because of the outrageous fees they continue to exact from students by spreading an education that should be done in 16 years over 18 or 20 years.
Since each year now represents an additional $20,000 to $30,000 of income, it is in the interest of academia to continue to dilute modern education just as the Federal Reserve has been diluting the value of our money through fractional reserve and the incessant monetizing debt through the FED and the IMF/World Bank.
The time to educate a student should actually be DECREASING with the advent of computerization, books that are word processed, text that has been hyper-linked with HTML and the hefty salaries teachers are now getting.
Thus we are living in an Academic Dark Ages too and you have possibly been conditioned accept the situation as "normal." The power of such conditioned power (as Galibraith points out in "The Anatomy of Power") is at its zenith when the person (or civilization) his NOT EVEN AWARE OF THE CONDITIONING.
James Jaeger
re: Soap Operas
Lisa--&--Tim Weedn
10:50 pm Sunday September 20, 1998Interesting point. It is a sad case indeed when those hired to do a job can find nothing better to do then point fingers. Little do they realize that when they point the finger, there are three fingers pointing back at them.
When we consider America's so called "moral values" it is important that we understand our history. The founding fathers stated the proposition that "all men are created equal" yet condoned the act of slavery for the first 100 years of this country's existence. Thomas Jefferson, a principle architect of the American "dream", made a good deal of his fortune by farming and selling opium. The bloodiest conflict in U.S. history was fought amongst ourselves over the issue of freedom for all. The Mexican-American war was nothing more than an excuse for stealing land from our neighbors south of the border. Washington had mistresses, FDR had a couple of "ho's" running around, JFK did Marilyn Monroe ( showing at least he had a little class ), Johnson sent tens of thousands of America's finest to meet thier deaths over nothing. Nixon lied to us. Ford still stands behind the Warren Commission report on the assasination of JFK even though everyone in the world knows it is fiction. The list goes on.
Films from the late 1930's through the early 1960's portrayed America as a country of high moral ideals. John Wayne is considered by many as a true American "hero". As military veterans, we find this concept of "heroism" offensive. What did John Wayne ever do for this country? ... What has Tom Cruise ever done, other than portray characters in fictional stories, to advance the cause of freedom? ... What has Holly Wood ever produced that would give the average American citizen the slightest concept of reality?
Steven Spielberg's "Saving Private Ryan" is perhaps the greatest example of what a film can do to enlighten the masses. War is, at best, an ugly thing. Politics can be even uglier. Bill Clinton may have done Monica Lewenski. JFK may have done Marilyn Monroe. In the final analysis "We The People" have allowed it to happen. If America is to reach its' potential, then "We The People" must examine our own attitudes. "We The People" must quit pointing the finger at those we hire to conduct our affairs. "We The People" must take control. It is OUR government. WE pay for it. WE decide what is right and what is wrong.
This whole affair is a "soap opera", But who is to blame? Let us use our skills and talents to make the world a better place.
Lisa&Tim Weedn
Writing/Selling Your Screenplay
James Jaeger
6:15 pm Saturday May 29, 1999Question: I would like to write screenplays for a living but I don't understand the proper format, or what to do to get an agent and/or get it sold.?
Answer:1. Here is the proper format.
2. Read the free information at MOVIE PUBS under "Sample Screenplay," paying particular attention to Writer Hat, Production Guidelines and Script Guidelines.
3. Start writing feature screenplays (90 - 120 pages).
4. Simultaneously look for an agent and begin submitting to production companies/studios that will accept screenplays from other than agents/lawyers. Consider becoming a producer by learning what is involved.
5. Find the Agents that are Writer's Guild signatory by calling the Guild and asking them for the agent list. Write the Agents that say they handle new writers. They will want to see at least one sample of your screenplay. You are wisest to have written two scripts as your second one will probably be better than your first. Send the second screenplay.
6. While doing the above, keep writing. Try to have written 3 screenplays within 4 years.
7. Keep seeking an agent and submitting to production entities until you get a deal, then keep submitting to production entities with the agent, if the agent happened first, and if not, keep submitting yourself, as a writer or as a producer/writer.
8. Keep writing full screenplays. Usually buyers want the full script. Occasionally you can get a development deal with a studio based on a treatment, once you're a known quantity.
9. There are many books on the subject of writing screenplays. Start reading all of them. See every movie you would have liked to have written. Read other screenplays. Collaborate with other writers. Live and understand life fully so you have something to write about - or don't write. Writing has nothing to do with words.
Okay, there's a formula for you. There are other formulae. This is one of them.
James Jaeger
re: What happens next?
James Jaeger
11:12 pm tuesday november 14, 2000Re-cast the picture with the next star in line.
But the real moral of the story is: never use stars in the first place as they're more trouble than they're worth. They are over- priced, usually present hackneyed performances and preempt any net profit participation their fellow talents, the producers, director and the investors might have shared in. To get details read THE FEATURE FILM DISTRIBUTION DEAL by John W. Cones, Esq., and FATAL SUBTRACTION available via AMAZON.COM. Also see material at the Film Industry Reform Movement http://www.homevideo.net/FIRM.
Today there are enough pictures out there doing substantial numbers to demonstrate that name talent is not essential to box office.
James Jaeger
first time directing film
Charlene S Donatello
9:09 pm wednesday november 29, 2000I have accepted the challenge of directing a low-budget film. I do have experience in directing theater. I need advice. I believe I have the talent to get done what it is I must do, but I feel like I'm about to embark on something that is going to possess my life until its finish and I don't know where to start. I will begin handling this as though I'm directing a theatrical event with practice and talk about the characters. I want the actors happy. I pride myself as being an excellent actor's director. I have also acted. I am more interested in direction. Where do I go from here? Is lighting and whatnot the same or do I trust the camera to be my eye....
I would appreciate any advice. Thanks. Please feel free to e- mail be directly at cdlegend40@hotmail.com
Thank you again,
Charlene
re: first time directing film
0:40 am thursday november 30, 2000> I have accepted the challenge of directing a low-budget film. How many pages is the screenplay? How do you know it will be low budget?
> I do have experience in directing theater. I need advice. I > believe I have the talent to get done what it is I must do, but > I feel like I'm about to embark on something that is going to > possess my life until its finish and I don't know where to > start.
If it's a feature . . . it WILL posess your life. If you have never directed at least a 6-day narrative dramatic FILM (with a 30-page, properly formated script) and a crew of at least 15, I STRONGLY advise you NOT to proceed.
> I will begin handling this as though I'm directing a > theatrical event with practice and talk about the characters.
And you will fall flat on your face.
> I want the actors happy. I pride myself as being an excellent > actor's director.
Maybe but this has little to do with getting a feature made.
> I have also acted. I am more interested in > direction. Where do I go from here?
I want you to go to http://www.mecfilms.com/moviepubs/memos/career.htm and read "Your Career" as if your life depended on it - because it DOES. Then read all of the materials at http://www.mecfilms.com/useful.htm . Then go to http://www.moviepubs.com an do some serious booking- up. The Mini will give you the proper gradients and your productin management on up to the advent of features, whereby the Indie Manual takes over.
> Is lighting and whatnot > the same or do I trust the camera to be my eye....
No it is NOT the same. And as the director, YOU don't even touch the camera, unless you're James Cameron or Joe Pytka or something.
> I would appreciate any advice.
You got it. . .
> Thanks. Please feel free to e- mail be directly at > cdlegend40@hotmail.com Thank you again, > Charlene
You're welcome.
James Jaeger
re: What happens next?
Pascal
10:10 am wednesday december 6, 2000Thank you Mr.Jaeger for you response and the information. I will tell you the rest of the story a bit later.
Best Regards,
Pascal
Lost
Rav.N.
10:28 am friday december 22, 2000Looking for advice on making the first few steps towards working with film. Currently a 3rd year college film production student in Sydney. My interests and talents lie in art direction, producing and cinematography. Im trying to get some work experience or part time work at the moment to get some production experience and figure out which area i want to focus on, however im finding it impossible to find any work/experience. Do you have any advice on getting a career start?
Any advice will help.
Kind Regards,
Rav
re: Lost
James Jaeger
5:03 pm thursday january 11, 2001Rav,
I suggest you try to focus or prioritize art dir, cinematography or producing.
Cin and art dir are on the creative side whereas prod is biz.
First decide whether you like business or art better. If biz, go for producing. I believe a good producer has done a lot of the movie hats plus has a strong understanding of accounting, budgeting, ent law and business in general, especially the marketing, distribution, financing side of the movie biz. If a prod, focus on finance, if you want to be a packaging prod, focus on agents and talent with healthy twist of biz experience (mainly agency law).
To go for art dir, seek jobs as asst art dir or asst props or production asst on features. There are always small digital and 16mm features being made all over . . . just find one and ask what is needed on their crew and do it well.
To do cinematog, get a miniDV camera and start practicing shooting so your operating skills move towards perfection . . . then try and get into Super 8 so you also get experience lighting film. . . remember features are still shot on 35mm neg, but if you can light Super 8 well, lighting 16mm and especially 35mm are a breeze.
James Jaeger
re: What happens next?
James Jaeger
5:08 pm thursday january 11, 2001You're welcome.
James
Unit production manager
mistie
11:28 pm tuesday january 2, 2001I am seventeen years old and I have loved the entertainment industry for as long as I can remmember. I am attending college in a couple of weeks and I want to eventually become a Unit Production Manager and I was wondering if anyone could tell me what classes I should take. If you could my email adress is Dynamic@Avon.net
thanks a lot,
mistie
re: Unit production manager
James Jaeger
4:53 pm thursday january 11, 2001Mistie,
A unit production manager is a good thing to be as it's an exciting post that many people do not have the intelligence or skill to handle. . . and every producer depends on his or her PM or UPM to the Nth degree.
Here are some of the hats you might learn and do in rough sequence to become a good unit production manager:
Production Assistant
Production Secretary and/or Production Bookkeeper
Second Assistant Director or Assistant Property Mistress
First Assistant DirectorYou can find all of these hats by visiting our book store, MOVIE PUBS at www.moviepubs.com.
James Jaeger