Just got back from a trip to the South, where I first gave a few workshops at a media conference before spending a day in Georgia.
I was given a tour of Senoia, about 30 minutes south of Atlanta, which has an incredible studio called Riverwood. I came away from the visit believing that there is no question that Mountain could be shot in that area and be very authentic and high quality. I also met with a few potential investors. Who knows if anything will come out those meetings, but they were relatively encouraging. Either way, I've gotten to a place of contentment where I believe that I need to take things one day at a time and simply focus on being in God's will. Where I'll be in a few months really isn't my business (I stole that line from Phil Vischer, the Veggietales creator who I heard speak a few days ago), and I'm fine with that.
We've also been discussing casting, possibly making offers now. There's some consensus about Kevin Bacon, so he might be the first guy we approach. He's someone who has unique appeal both to American "heartland" audiences but also in the foreign market. Some actors are either/or, but Bacon goes beyond that, so he's probably going to be our first approach. I'll let you know what happens.
Friday, April 18, 2008
Tuesday, March 25, 2008
Depression
Well, I write this with some frustration and embarrassment, but a blog is a blog, warts and all.
It looks like the financing we had lined up, that was such a sure thing, has fallen through. I'll spare all the details, but the company we were talking to won't be able to put a deal together. Everything's still good on our side; our money is real and we're ready to go, but they weren't. So we're somewhat back to square one. So maddening.
So we'll pursue some of the other options we have, some of which are actually promising, but we're only going to give it another three or four months. So we'll see how this all turns out. I continue to watch a movie a day and read a book a week, furthering my education and preparation as a filmmaker. If I get the chance, I'm going to make a great film, that I know, and anyone who gets involved in this project is going to end up being very proud of it.
Still not much to report...
Published: March 17, 2008
I wish I had big news, but the money stuff is still taking a long time and is complicated. This is my least favorite part about filmmaking, the whole "paying for it" stuff.
That said, I just finished one of my favorite directing books of all time; normally I have to force myself to keep reading academic filmmaking books, but I was excited every time I sat down to read this one. "I'll Be In My Trailer," by John Badham, is a book about directing actors that I'm recommending to every director I'll ever talk to. It's not just boring theory (I've read some books on directing actors that were boring and meaningless, normally written by teachers), it's written by a successful director with dozens of anecdotes from actors and directors. Go get it right now if you're a filmmaker.
It looks like the financing we had lined up, that was such a sure thing, has fallen through. I'll spare all the details, but the company we were talking to won't be able to put a deal together. Everything's still good on our side; our money is real and we're ready to go, but they weren't. So we're somewhat back to square one. So maddening.
So we'll pursue some of the other options we have, some of which are actually promising, but we're only going to give it another three or four months. So we'll see how this all turns out. I continue to watch a movie a day and read a book a week, furthering my education and preparation as a filmmaker. If I get the chance, I'm going to make a great film, that I know, and anyone who gets involved in this project is going to end up being very proud of it.
Still not much to report...
Published: March 17, 2008
I wish I had big news, but the money stuff is still taking a long time and is complicated. This is my least favorite part about filmmaking, the whole "paying for it" stuff.
That said, I just finished one of my favorite directing books of all time; normally I have to force myself to keep reading academic filmmaking books, but I was excited every time I sat down to read this one. "I'll Be In My Trailer," by John Badham, is a book about directing actors that I'm recommending to every director I'll ever talk to. It's not just boring theory (I've read some books on directing actors that were boring and meaningless, normally written by teachers), it's written by a successful director with dozens of anecdotes from actors and directors. Go get it right now if you're a filmmaker.
Thursday, February 28, 2008
Not much to report...
The money and legal stuff is taking awhile, as it always does, so there's not much to report. In the meantime, I continue to watch movies, read books, and now I'm starting to look at paintings. Some of the movies I just saw include Nashville (I appreciate Altman but don't "get" him--too emotionally detached), 400 Blows (loved it--what a devastating film), Witness (BEAUTIFUL), and I'm about to watch "The Assassination of Jesse James by the Coward Robert Ford." Both 400 Blows and Witness had great composition in the shots, something I'm really working on.
I continue to read MacKendrick's "On Directing," which is deep and difficult but helpful.
I'm already having some conversations with my production designer Jim and DP Randall. They both agree wholeheartedly with my ideas about shooting the first chunk of the film in a raw, desaturated way, with the latter part of the film more composed and colorful.
Really hope we get this money stuff taken care of ASAP, I'm eager to get going.
A Perfect Film
Published: February 12, 2008
Just read this from Roger Ebert:
"Now what do I mean when I say a film is perfect? I described Atman's "McCabe and Mrs. Miller" as perfect, that's what I mean. A perfect film is serious or funny or anything in between, but in its way it owns wisdom about life, and we learn something from it. Our attention is fully engaged by it. If we are movie critics, our notebooks rest forgotten in our hands. It is cast so well that the roles fit the actors like a second skin. It has dialogue that functions to accomplish what is needed, and nothing more; it can be poetry, prose, argument or bull----t, but we believe the characters would say it. There is not an extra or a wrong shot. The compositions make everything clear but not obvious, and they work on an emotional level even if we're not aware of it. And when it's over we know we've seen one hell of a film."
I'm going to post this wherever I can to remind me of what I'm shooting for.
Script, locations, movies, books
Published: February 6 2008
I think we're pretty much done with the script. I can't think of any more things I need to do to it; or, at least, I can't think of anything I CAN do to fix any of its needs. At some point you get to close to it and don't know what works and what doesn't. I feel like I've addressed most of the problems that my friends and advisors have pointed out, so I'm feeling pretty good. Right now the script comes in at 111 pages, which I think is too long. Page count is usually equal to minute-count. If the movie came in at exactly 111 minutes, that wouldn't be awful, but I'd prefer to get it down to 100. Just not sure how to do that at this point.
I had a good talk with a production studio in Georgia that might end up being our shooting location. Nothing has come from Virginia, and with the money we'll save shooting at one location, along with the fact that Georgia offers a 10% or so tax rebate (meaning you get 10% of all the money you spend in Georgia returned to you at the end of shooting), I'm leaning in that direction. I should be flying out there to check it out in a month or so.
Just watched "Badlands" for the first time, the Terence Malick film with Marty Sheen (I can call him Marty because I'm in the biz) and Sissy Spacek, made back in the 70's. I'm trying to watch as many great films as I can, of course, but I'm concentrating on films that have a lot of exterior locations, made by directors known for the visual brilliance. The film really was gorgeous. As I've said, I plan on shooting the first half of the film, when things are rough and raw, with a loose, rougher style, and the second half of the film more composed and pretty. I already do loose pretty well (although I'll get better), but I'm not as great at the composed, pretty stuff. It's not my tendency, but it sometimes needs to be. After watching some Wim Wenders, Kurosawa, and Terence Malick films, I feel like I'm getting better versed on the subject.
Finishing up "Our Southern Highlanders," which will help me understand the setting better, and then I'll read "On Filmmaking," by Alexander MacKendrick, which will help me shoot said setting. Hopefully.
I continue to read MacKendrick's "On Directing," which is deep and difficult but helpful.
I'm already having some conversations with my production designer Jim and DP Randall. They both agree wholeheartedly with my ideas about shooting the first chunk of the film in a raw, desaturated way, with the latter part of the film more composed and colorful.
Really hope we get this money stuff taken care of ASAP, I'm eager to get going.
A Perfect Film
Published: February 12, 2008
Just read this from Roger Ebert:
"Now what do I mean when I say a film is perfect? I described Atman's "McCabe and Mrs. Miller" as perfect, that's what I mean. A perfect film is serious or funny or anything in between, but in its way it owns wisdom about life, and we learn something from it. Our attention is fully engaged by it. If we are movie critics, our notebooks rest forgotten in our hands. It is cast so well that the roles fit the actors like a second skin. It has dialogue that functions to accomplish what is needed, and nothing more; it can be poetry, prose, argument or bull----t, but we believe the characters would say it. There is not an extra or a wrong shot. The compositions make everything clear but not obvious, and they work on an emotional level even if we're not aware of it. And when it's over we know we've seen one hell of a film."
I'm going to post this wherever I can to remind me of what I'm shooting for.
Script, locations, movies, books
Published: February 6 2008
I think we're pretty much done with the script. I can't think of any more things I need to do to it; or, at least, I can't think of anything I CAN do to fix any of its needs. At some point you get to close to it and don't know what works and what doesn't. I feel like I've addressed most of the problems that my friends and advisors have pointed out, so I'm feeling pretty good. Right now the script comes in at 111 pages, which I think is too long. Page count is usually equal to minute-count. If the movie came in at exactly 111 minutes, that wouldn't be awful, but I'd prefer to get it down to 100. Just not sure how to do that at this point.
I had a good talk with a production studio in Georgia that might end up being our shooting location. Nothing has come from Virginia, and with the money we'll save shooting at one location, along with the fact that Georgia offers a 10% or so tax rebate (meaning you get 10% of all the money you spend in Georgia returned to you at the end of shooting), I'm leaning in that direction. I should be flying out there to check it out in a month or so.
Just watched "Badlands" for the first time, the Terence Malick film with Marty Sheen (I can call him Marty because I'm in the biz) and Sissy Spacek, made back in the 70's. I'm trying to watch as many great films as I can, of course, but I'm concentrating on films that have a lot of exterior locations, made by directors known for the visual brilliance. The film really was gorgeous. As I've said, I plan on shooting the first half of the film, when things are rough and raw, with a loose, rougher style, and the second half of the film more composed and pretty. I already do loose pretty well (although I'll get better), but I'm not as great at the composed, pretty stuff. It's not my tendency, but it sometimes needs to be. After watching some Wim Wenders, Kurosawa, and Terence Malick films, I feel like I'm getting better versed on the subject.
Finishing up "Our Southern Highlanders," which will help me understand the setting better, and then I'll read "On Filmmaking," by Alexander MacKendrick, which will help me shoot said setting. Hopefully.
Wednesday, January 30, 2008
Research
Still working through the deal with these guys for financing of Mountain. Nothing indicates the money isn't real, but we have to figure out all the particulars of how it's going to be distributed, who's in charge of what, etc. The least interesting and most frustrating part of making a movie by far.
In the meantime, I finetune the script and prepare for making the film. I'm currently reading the book "Our Southern Highlanders," a book about the Appalachians written in the 1920's. I remember when I made Hometown Legend, I read a book called "Friday Night Lights" (which inspired the best show on TV) while we were already in pre-production. A regret of mine on that film is that I didn't read that book sooner. I underestimated how valuable "color" is to a film, the little facts and figures and characterizations that go into creating a world that people want to see. If you as a filmmaker become an expert about the topic that you're telling a story about, then all the "color" that you understand will make its way into the film and add authenticity. For instance, you can tell when watching a sports film if the director didn't understand the sport.
I'm making a film about the Appalachian mountains in the 1920's, so I want to know as much as I can. And in reading this book, I've already read a few things that I've added into the film, whether it's an interesting anecdote, a description of a cabin or a custom that the people performed. These things can provide cool background to the main story, and as a director, understanding these things will allow me to better supervise the production design, accents, even the accuracy of the dialogue. If I read something in a book that makes me think, "Oh, cool! Very interesting! That's something I didn't know, and now that I know it, I'm a better human for it!" two things will result--one, I'll wonder why I started talking like a moron, and two, the audience will probably have a similar reaction when I portray it on screen.
Contracts
Published: Januray 21, 2008
So now we get to the contracts stage. I like the money guys and producers who have approached us on Mountain, they like me, and now we exchange deals. To be frank, I suck at this. I tend to want everyone to be happy, I don't like fighting for my stuff, I always assume we'll piss off the other side. My lawyer is the opposite--he doesn't want to give anything up, he thinks I deserve everything, etc. I suppose that's good. So we end up somewhere in the middle.
We still haven't made too much progress on the location thing, although I'm talking to a Georgia production facility tomorrow. I'm guessing that's our most likely location if we don't end up shooting in Virginia. Man, I want to shoot in Virginia, the actual setting of the story, so bad. Doesn't look like it's going to happen, though.
Still finetuning the script. Trying to get it as tight as possible. We've decided to alter history a bit and put Bob in attendance at the famous courtroom massacre. In 1912, there was a massacre after a man was found guilty in a courthouse--his family shot the judge, a jury member, the sheriff, etc. It had a huge impact on the community, and the subsequent national media attention really affected Bob (main character) because it caused him to realize that the rest of the country didn't live in the ignorant and dangerous way the mountaineers did. We've decided to actually put him in the courthouse to witness the massacre, which cinematically will personalize it more and send Bob quicker on his journey towards change.
Mountain journal
Published: January 8, 2008
I'm going to start journaling more frequently here as we start the new year with the development and hopeful production of "Mountain," my passion project. I'll try to do this once a week, and perhaps you can get a glimpse into the process of how a movie gets made.
Today, Monday, Jenkins Entertainment officially secured our side of the financing. I won't give details, but we put a chunk of money into an account, combining investments from a few different people including our company. There is a financing group that loves our project and has verbally committed to bankrolling the picture assuming that they can verify our funds. Today was that verification. So now they get their stuff together to put up the rest of the money and greenlight the movie. Of course, we have to agree on all the terms and the contracts and all that, and that will likely take some time, but we're moving along.
Ironically, there's another company that is showing the same interest. I met with these guys a couple months ago, and they said they were in, but they didn't get back to me with anything official. The group from the above paragraph came in out of the blue, so I hit the ground running with them. After all these years of frustration with this project, it's bizarre that I might actually get to a place where I'm turning money down.
Here's how this current group came about, it's quite a story. A producer from Texas named David Chandler, who's been trying to get some projects set up out here for years, has always loved Mountain. We became buddies through our discussions about each other's projects, and he's always tried to get Mountain in the hands of various people, but nothing has come of it. We don't have a deal or anything, he's just been doing what he can on the side. Anyhoo, a couple months ago his aunt was in a small town in Georgia and struck up a conversation with a stranger, who told her about all the developments that were taking place in this town. For some reason, she mentioned a movie studio and gave David's aunt a brochure. David's aunt then passed it on to David, who decided to contact this production facility for the heck of it.
He cold-called them and said basically, "I know you guys are a production facility and aren't investors, but I've got a cool project that should be shot in the south, and I'm wondering if you know of any money guys who are shooting some films at your place." The guy gave David contact info for some guys, David got ahold of them, sent them the script, and wala (how do you spell that?)--they loved it, one of the producers grew up near where the story took place and had heard of Bob Childress (the man on which the story is based), and they wanted to make it. Unless these guys are liars or stupid, neither of which appears to be the case, they've got the money and are on board. All they needed was proof from us that we can guarantee some funds as well, which we did today.
Funny how God works, assuming He cares about my career and the movie business and actually has a hand in all this. Of course, I know He cares about my career, but sometimes I think we think He's devoting more time to our vain pursuits than he actually is. Either way, I'll take it and give Him credit for anything good that happens.
So right now I'm preparing to make this movie assuming everything gets in order. I need to get the script in great shape before it's sent to actors, so I'm doing some last minute minor adjustments and clean up.
One common note I'm getting from a few people is that there's a problem in the first act. This story is about a man who goes from being the hardest drinker and biggest fighter in his mountain region to a preacher who civilizes it. The thrust of the story is in the change he brings to the people in this depressed, backwards, deep mountain region, but we also need to take some time to show how he transformed. Not an easy task, because we have to do it in 20-25 pages so we get to the meat of the story quick enough.
Our trick is to try to show what would lead him to be desperate to make such a big change in his life. That's easy to talk about--"he was sad, depressed, felt like his life wasn't going anywhere, and actually contemplated suicide"--but not easy to portray on screen. We've got plenty of moments and incidents in the script that cause Bob to be frustrated and angry about how insane and violent the mountain region is, but we need moments of inner turmoil for Bob as well; private moments that show how dark and down he is. So that's what I'm working on right now, just moving a few things around, making slight tweaks, trying to spotlight those moments.
The good news is the majority of people really like the script a lot. The bad news is that those who don't love it make some decent points. It's always easier when someone doesn't like something you've done but they can't give good reasons why. That said, I think it's more important to seek out people who disagree with you or don't like something you're creating than to surround yourself with unconditionally supportive people. I'd rather hear bad things now, while I can still correct them, then read them in the paper from a critic after the movie's out.
I'm also reading Steven Soderbergh's journal while making "Sex, Lies, & Videotape," which was his debut feature. I suppose that journal is inspiring this in some ways. It's a great book, from the perspective of one of my idols, about a movie that really changed Hollywood in many ways. I'm reading this while also reading books and watching DVD's on Appalachia. I'm making a movie about the Appalachian mountains in the early 1900's--I suppose it's a world I need to know really well. I also figure that maybe I can get a few nuggets that would look good in the script.
All right, that's enough for now.
In the meantime, I finetune the script and prepare for making the film. I'm currently reading the book "Our Southern Highlanders," a book about the Appalachians written in the 1920's. I remember when I made Hometown Legend, I read a book called "Friday Night Lights" (which inspired the best show on TV) while we were already in pre-production. A regret of mine on that film is that I didn't read that book sooner. I underestimated how valuable "color" is to a film, the little facts and figures and characterizations that go into creating a world that people want to see. If you as a filmmaker become an expert about the topic that you're telling a story about, then all the "color" that you understand will make its way into the film and add authenticity. For instance, you can tell when watching a sports film if the director didn't understand the sport.
I'm making a film about the Appalachian mountains in the 1920's, so I want to know as much as I can. And in reading this book, I've already read a few things that I've added into the film, whether it's an interesting anecdote, a description of a cabin or a custom that the people performed. These things can provide cool background to the main story, and as a director, understanding these things will allow me to better supervise the production design, accents, even the accuracy of the dialogue. If I read something in a book that makes me think, "Oh, cool! Very interesting! That's something I didn't know, and now that I know it, I'm a better human for it!" two things will result--one, I'll wonder why I started talking like a moron, and two, the audience will probably have a similar reaction when I portray it on screen.
Contracts
Published: Januray 21, 2008
So now we get to the contracts stage. I like the money guys and producers who have approached us on Mountain, they like me, and now we exchange deals. To be frank, I suck at this. I tend to want everyone to be happy, I don't like fighting for my stuff, I always assume we'll piss off the other side. My lawyer is the opposite--he doesn't want to give anything up, he thinks I deserve everything, etc. I suppose that's good. So we end up somewhere in the middle.
We still haven't made too much progress on the location thing, although I'm talking to a Georgia production facility tomorrow. I'm guessing that's our most likely location if we don't end up shooting in Virginia. Man, I want to shoot in Virginia, the actual setting of the story, so bad. Doesn't look like it's going to happen, though.
Still finetuning the script. Trying to get it as tight as possible. We've decided to alter history a bit and put Bob in attendance at the famous courtroom massacre. In 1912, there was a massacre after a man was found guilty in a courthouse--his family shot the judge, a jury member, the sheriff, etc. It had a huge impact on the community, and the subsequent national media attention really affected Bob (main character) because it caused him to realize that the rest of the country didn't live in the ignorant and dangerous way the mountaineers did. We've decided to actually put him in the courthouse to witness the massacre, which cinematically will personalize it more and send Bob quicker on his journey towards change.
Mountain journal
Published: January 8, 2008
I'm going to start journaling more frequently here as we start the new year with the development and hopeful production of "Mountain," my passion project. I'll try to do this once a week, and perhaps you can get a glimpse into the process of how a movie gets made.
Today, Monday, Jenkins Entertainment officially secured our side of the financing. I won't give details, but we put a chunk of money into an account, combining investments from a few different people including our company. There is a financing group that loves our project and has verbally committed to bankrolling the picture assuming that they can verify our funds. Today was that verification. So now they get their stuff together to put up the rest of the money and greenlight the movie. Of course, we have to agree on all the terms and the contracts and all that, and that will likely take some time, but we're moving along.
Ironically, there's another company that is showing the same interest. I met with these guys a couple months ago, and they said they were in, but they didn't get back to me with anything official. The group from the above paragraph came in out of the blue, so I hit the ground running with them. After all these years of frustration with this project, it's bizarre that I might actually get to a place where I'm turning money down.
Here's how this current group came about, it's quite a story. A producer from Texas named David Chandler, who's been trying to get some projects set up out here for years, has always loved Mountain. We became buddies through our discussions about each other's projects, and he's always tried to get Mountain in the hands of various people, but nothing has come of it. We don't have a deal or anything, he's just been doing what he can on the side. Anyhoo, a couple months ago his aunt was in a small town in Georgia and struck up a conversation with a stranger, who told her about all the developments that were taking place in this town. For some reason, she mentioned a movie studio and gave David's aunt a brochure. David's aunt then passed it on to David, who decided to contact this production facility for the heck of it.
He cold-called them and said basically, "I know you guys are a production facility and aren't investors, but I've got a cool project that should be shot in the south, and I'm wondering if you know of any money guys who are shooting some films at your place." The guy gave David contact info for some guys, David got ahold of them, sent them the script, and wala (how do you spell that?)--they loved it, one of the producers grew up near where the story took place and had heard of Bob Childress (the man on which the story is based), and they wanted to make it. Unless these guys are liars or stupid, neither of which appears to be the case, they've got the money and are on board. All they needed was proof from us that we can guarantee some funds as well, which we did today.
Funny how God works, assuming He cares about my career and the movie business and actually has a hand in all this. Of course, I know He cares about my career, but sometimes I think we think He's devoting more time to our vain pursuits than he actually is. Either way, I'll take it and give Him credit for anything good that happens.
So right now I'm preparing to make this movie assuming everything gets in order. I need to get the script in great shape before it's sent to actors, so I'm doing some last minute minor adjustments and clean up.
One common note I'm getting from a few people is that there's a problem in the first act. This story is about a man who goes from being the hardest drinker and biggest fighter in his mountain region to a preacher who civilizes it. The thrust of the story is in the change he brings to the people in this depressed, backwards, deep mountain region, but we also need to take some time to show how he transformed. Not an easy task, because we have to do it in 20-25 pages so we get to the meat of the story quick enough.
Our trick is to try to show what would lead him to be desperate to make such a big change in his life. That's easy to talk about--"he was sad, depressed, felt like his life wasn't going anywhere, and actually contemplated suicide"--but not easy to portray on screen. We've got plenty of moments and incidents in the script that cause Bob to be frustrated and angry about how insane and violent the mountain region is, but we need moments of inner turmoil for Bob as well; private moments that show how dark and down he is. So that's what I'm working on right now, just moving a few things around, making slight tweaks, trying to spotlight those moments.
The good news is the majority of people really like the script a lot. The bad news is that those who don't love it make some decent points. It's always easier when someone doesn't like something you've done but they can't give good reasons why. That said, I think it's more important to seek out people who disagree with you or don't like something you're creating than to surround yourself with unconditionally supportive people. I'd rather hear bad things now, while I can still correct them, then read them in the paper from a critic after the movie's out.
I'm also reading Steven Soderbergh's journal while making "Sex, Lies, & Videotape," which was his debut feature. I suppose that journal is inspiring this in some ways. It's a great book, from the perspective of one of my idols, about a movie that really changed Hollywood in many ways. I'm reading this while also reading books and watching DVD's on Appalachia. I'm making a movie about the Appalachian mountains in the early 1900's--I suppose it's a world I need to know really well. I also figure that maybe I can get a few nuggets that would look good in the script.
All right, that's enough for now.
Thursday, December 20, 2007
Tampa Screening
Just got back from Tampa Bay, Florida, where Midnight Clear was screened for over 700 people as part of a fundraiser for the Tampa Crisis Center. It was a pretty remarkable event, and the film seemed to resonate with people. When I made the film, I didn't think of it as the kind of thing that could be connected to "causes," but it's been a nice bonus. The president of the crisis center absolutely raved about the film.
Regardless of anything else, and as cheesy as this sounds, this is why you make films. Whether they're strictly entertainment or have a message, you make films to arouse some sort of emotional or passionate response in people. One of the women from the crisis center came up to me after the screening and couldn't talk because of her tears. What's better than that as a response to the film you spent so much time on?
So if there's a piece of advice in all this, it's this--when you're writing or directing your film, think about the potential audience response while you're shaping the story or scene. Think to yourself, "What is it about this film that will affect that one person sitting in the 10th row, hoping the film will move them in some way?"
Review
Published: December 6, 2007
This review represents EXACTLY what I'm trying to do in this business. I'm not sure I can put it any better:
Regardless of anything else, and as cheesy as this sounds, this is why you make films. Whether they're strictly entertainment or have a message, you make films to arouse some sort of emotional or passionate response in people. One of the women from the crisis center came up to me after the screening and couldn't talk because of her tears. What's better than that as a response to the film you spent so much time on?
So if there's a piece of advice in all this, it's this--when you're writing or directing your film, think about the potential audience response while you're shaping the story or scene. Think to yourself, "What is it about this film that will affect that one person sitting in the 10th row, hoping the film will move them in some way?"
Review
Published: December 6, 2007
This review represents EXACTLY what I'm trying to do in this business. I'm not sure I can put it any better:
Friday, November 30, 2007
Fund-raising
We are getting closer than ever to making something happen with Mountain. I recently told you that a company guy that had liked the script was no longer interested because they thought Midnight Clear was a "snoozefest." Well, it turns out that it was somewhat of a misunderstanding, which I discovered after I wrote him a passionate letter that was basically a last ditch, "for the record" attempt to let him know that I was capable of making a film he would want to be a part of. I outlined my specific vision for the film and included details of how I've been preparing for it. It seemed to make an impact, as he said he still liked the project and saw no reason for me not to direct it. We'll see what happens, but you never know!
We've got about 4 or 5 different financial options that seem to be presenting themselves. None of them are locked in stone or anything; obviously, if they were, we'd be making the movie. But they all have some viability and potential. We want to make the film in the Spring, which means that once we find a real production partner, we've got to move fast.
More to come...
Updates
Published: November 8, 2007
Been awhile in my blog, I guess I've just been lazy. A few things going on:
1. In the "that hurts" department, there was a studio that was really interested in Mountain, the project I've been developing. One of the head guys really loved the script, was excited about it, and was talking about putting up some money for the project. Then he saw Midnight Clear, the feature I directed, thought it was a "snoozefest," and said he wasn't really interested in the project anymore. The thing is, I've gotten enough good reviews of the movie, and have had enough success with festivals, that I can handle a bad review or a negative comment without getting too depressed. Plus, I know the strengths and weaknesses of the movie and know that it might not be for everyone. But obviously, it's not fun to lose out on a project because of your own work. It also makes me concerned that there might be an actor who's interested in Mountain but who doesn't like Midnight Clear.
Anyway, I decided to write him a letter to outline my vision for the project and basically tell him that I believe the movie's going to be great, and that he'll be proud of it if he gets involved. I figured it can't hurt anything, what have I got to lose? We'll see what happens.
2. I had a meeting with a producer who's part of a big movie fund for a slate of films, and he wants to make Mountain. We'll see how serious it is, and we'll see how the structure works out, but it's certainly promising. I'll keep you updated.
3. I'm working with a local Virginia businessman to meet with the Virginia governor and local authorities to discuss the idea of shooting the movie in Virginia and actually getting possible funding or tax incentives from the state. I really believe that shooting on location, where the story took place, is the best option, but we're going to have to go to where it's most financially viable.
4. The book I'm about to read is called "Save the Cat." I've heard it's a terrific book for screenwriting, and I want to take the time to make the Mountain script even better. I'm also reading Roger Ebert's books, "The Great Movies" and "The Great Movies 2." He basically gives great critique of some of the greatest films of all time, so while I'm currently getting caught up on some of the great all-time films and studying them, I can read his critique afterwards to get additional perspective. This is a great tool for a filmmaker who's seeking to learn what makes a film great. I just saw Godard's "Breathless" for the first time, and some of his techniques were revolutionary. It's important to not only see films from those who influence you, but from those who influences the influencers.
So if you're in the early stages of your film education, I'd recommend renting the movies that are in the AFI Top 100 list, or Ebert's books, and then reading Ebert's analysis of what makes them great.
More to come...
We've got about 4 or 5 different financial options that seem to be presenting themselves. None of them are locked in stone or anything; obviously, if they were, we'd be making the movie. But they all have some viability and potential. We want to make the film in the Spring, which means that once we find a real production partner, we've got to move fast.
More to come...
Updates
Published: November 8, 2007
Been awhile in my blog, I guess I've just been lazy. A few things going on:
1. In the "that hurts" department, there was a studio that was really interested in Mountain, the project I've been developing. One of the head guys really loved the script, was excited about it, and was talking about putting up some money for the project. Then he saw Midnight Clear, the feature I directed, thought it was a "snoozefest," and said he wasn't really interested in the project anymore. The thing is, I've gotten enough good reviews of the movie, and have had enough success with festivals, that I can handle a bad review or a negative comment without getting too depressed. Plus, I know the strengths and weaknesses of the movie and know that it might not be for everyone. But obviously, it's not fun to lose out on a project because of your own work. It also makes me concerned that there might be an actor who's interested in Mountain but who doesn't like Midnight Clear.
Anyway, I decided to write him a letter to outline my vision for the project and basically tell him that I believe the movie's going to be great, and that he'll be proud of it if he gets involved. I figured it can't hurt anything, what have I got to lose? We'll see what happens.
2. I had a meeting with a producer who's part of a big movie fund for a slate of films, and he wants to make Mountain. We'll see how serious it is, and we'll see how the structure works out, but it's certainly promising. I'll keep you updated.
3. I'm working with a local Virginia businessman to meet with the Virginia governor and local authorities to discuss the idea of shooting the movie in Virginia and actually getting possible funding or tax incentives from the state. I really believe that shooting on location, where the story took place, is the best option, but we're going to have to go to where it's most financially viable.
4. The book I'm about to read is called "Save the Cat." I've heard it's a terrific book for screenwriting, and I want to take the time to make the Mountain script even better. I'm also reading Roger Ebert's books, "The Great Movies" and "The Great Movies 2." He basically gives great critique of some of the greatest films of all time, so while I'm currently getting caught up on some of the great all-time films and studying them, I can read his critique afterwards to get additional perspective. This is a great tool for a filmmaker who's seeking to learn what makes a film great. I just saw Godard's "Breathless" for the first time, and some of his techniques were revolutionary. It's important to not only see films from those who influence you, but from those who influences the influencers.
So if you're in the early stages of your film education, I'd recommend renting the movies that are in the AFI Top 100 list, or Ebert's books, and then reading Ebert's analysis of what makes them great.
More to come...
Thursday, August 23, 2007
Sorry It
Been on vacation for a few weeks, haven't gotten to this blog in awhile. If you read it by any chance, I apologize.
First off, the novel my Dad and I wrote that comes out in October got a nice review from Publisher's Weekly. Here it is:
Midnight Clear
Jerry B. Jenkins and Dallas Jenkins. Tyndale, $9.99 paper (204p) ISBN 978-1-4143-1659-8
Most Christmas novellas are as gentle as snow falling in a well-contained snow globe: everything is muted and soft around the edges. But this story by Jenkins (Left Behind), a novelization of the December DVD release Midnight Clear starring Stephen Baldwin, takes on some darker themes than the usual holiday fare: one character is a realistically portrayed alcoholic, another a young mother whose husband is brain damaged after a devastating car accident, and another an old woman carefully cleaning her house on Christmas Eve to prepare for her planned holiday suicide. The other two characters are a depressed gas station owner and a disillusioned youth pastor, both of whom are wondering why life is so stultifying and hard. Jenkins is not a lyrical writer, and many of the story's transitions are abrupt and more suitable for a screenplay than a novel. But these are surprisingly genuine characters, and the novel doesn't have a contrived ending. Though the characters discover the hope of Christmas in the ordinary kindnesses they render each other, their difficult circumstances don't change overnight. The simple story, refreshingly devoid of treacle, becomes all the more hopeful because of the characters' earlier despair. (Oct.)
We're currently working on getting all our "delivery items" to Lionsgate. Note to filmmakers--make sure you're keeping good track of all your paperwork and contracts, and have in mind ahead of time that if you get a distribution deal, you're going to have to deliver all your key items and contracts to the distributor. The movie is scheduled to release December 4th.
One bummer--I shot the movie with a few "choice" words, a little vulgarity here and there that in my opinion fit the characters in the film and their level of roughness. I think the movie plays better to adults anyway. I was always planning to release two versions of the DVD--one mainstream, and one "clean" version for Christian bookstores. But Lionsgate, in their attempt to appeal to the Christian market overall and deal with two marketing strategies, only wants the clean version. In a way, this is my fault. If the film would have been more successful, I would have been able to dictate this kind of stuff. But because it's not a big-name, high profile film, Lionsgate needs to do everything possible to get an edge in the customer game, so I guess I'm stuck. Oh well, I still think my idea will work for a film eventually.
First off, the novel my Dad and I wrote that comes out in October got a nice review from Publisher's Weekly. Here it is:
Midnight Clear
Jerry B. Jenkins and Dallas Jenkins. Tyndale, $9.99 paper (204p) ISBN 978-1-4143-1659-8
Most Christmas novellas are as gentle as snow falling in a well-contained snow globe: everything is muted and soft around the edges. But this story by Jenkins (Left Behind), a novelization of the December DVD release Midnight Clear starring Stephen Baldwin, takes on some darker themes than the usual holiday fare: one character is a realistically portrayed alcoholic, another a young mother whose husband is brain damaged after a devastating car accident, and another an old woman carefully cleaning her house on Christmas Eve to prepare for her planned holiday suicide. The other two characters are a depressed gas station owner and a disillusioned youth pastor, both of whom are wondering why life is so stultifying and hard. Jenkins is not a lyrical writer, and many of the story's transitions are abrupt and more suitable for a screenplay than a novel. But these are surprisingly genuine characters, and the novel doesn't have a contrived ending. Though the characters discover the hope of Christmas in the ordinary kindnesses they render each other, their difficult circumstances don't change overnight. The simple story, refreshingly devoid of treacle, becomes all the more hopeful because of the characters' earlier despair. (Oct.)
We're currently working on getting all our "delivery items" to Lionsgate. Note to filmmakers--make sure you're keeping good track of all your paperwork and contracts, and have in mind ahead of time that if you get a distribution deal, you're going to have to deliver all your key items and contracts to the distributor. The movie is scheduled to release December 4th.
One bummer--I shot the movie with a few "choice" words, a little vulgarity here and there that in my opinion fit the characters in the film and their level of roughness. I think the movie plays better to adults anyway. I was always planning to release two versions of the DVD--one mainstream, and one "clean" version for Christian bookstores. But Lionsgate, in their attempt to appeal to the Christian market overall and deal with two marketing strategies, only wants the clean version. In a way, this is my fault. If the film would have been more successful, I would have been able to dictate this kind of stuff. But because it's not a big-name, high profile film, Lionsgate needs to do everything possible to get an edge in the customer game, so I guess I'm stuck. Oh well, I still think my idea will work for a film eventually.
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