A Love Letter to Actors

A Love Letter to Actors

Actors to the average person can seem larger than life.  Let's face it, there's always at least a small part of us that gets starstruck in the right circumstance.  Of course not everyone will admit this (especially full grown adults), but hey, it's okay... we can admit it; we've all been starstruck and it happens to the best of us.  But here's something not everyone knows: sometimes in the film industry world, especially during production, this perspective can change a lot.  I've heard this dreaded sentence over and over again in the industry, even on set with actors present.  It goes a lot like this: "I hate actors!"  Many people outside the business don't know this little secret because they aren't involved with on set actors firsthand, but make no mistake, actors tend to get a bad rap amongst a film crew if they're not extremely careful.  I've heard actors commonly pinned as all being divas, prima donnas, children, etc.  To me, this is simply unfair.  This is all pretty easy and negative to say, but is it really true?  I bet some of you guys are still nodding your heads, "Well, yeah.  It is!"  Okay, then let me tell you why I respectfully disagree.

It seems to be most actors get very little respect unless they fit one of two criteria: they're either super-famous or have an unrealistically squeaky clean personal life.  Even then it seems people like to bring them down anyway.  Can we be healthy about this?  They're people like the rest of us.  Some are nicer than others, some are needier than others, and some are more difficult than others.  Guess what, it's not just actors that get like this.  We all do!  It's not job specific!  Listen, there are mean directors.  There are also nice ones.  This is nothing new... come on, you've never met an obnoxious DP?  Liar!  There are mean producers, first A.D.s (insert joke here), grips, make-up artists... in fact, in my experience, I've met nice and not so nice people in just about every area of expertise.  I can't think of one job on set that has all nice people or or all mean people.  You know why?  Because that makes no sense at all!

Let me tell you why actors deserve our respect and maybe just a little more slack.  They're doing what us non-actors don't have the guts to do.  I'm a writer and my work is critiqued all the time.  I'm over it; it's not even an issue for me anymore.  Growing thick skin as a writer is tough enough; you let your heart out for everyone to see, then get judged and criticized.  But imagine people were actually judging you not only your craft, but also on the way you look, talk, walk... cry for heaven's sake?!  Imagine someone told you that you cry weird?  What if that's actually how you cry?  You're too heavy, too skinny, too scrawny, too boring, your teeth are crooked, your eyes are crossed...  Oh gee, is that a guy or a girl?  No kidding!  Let's look it up on IMDB.  We've all said things like that to our friends and family about the actors we watch onscreen.  We do things like that... it might not be nice but it's okay, we won't fry for it.  My point isn't to take it easy on them necessarily (although we probably should), but  just about no one else has to deal with that kind of crap.  If you can find me one person in the world who can be called unattractive and not care (barring a couple of certifiably insane people), I'd be floored.  Is the actor who wants their hair to look good, their makeup to look right, their clothes to look and fit perfectly... are they really being divas or are they actually legitimately concerned they won't look good on screen?  I'll tell you, if a megastar looks awful, the media will call them out on it.  Actors are willing to take on that kind of pressure; they're special in that way.  I admire their courage.  And it's also not just looks, they also get judged on their personality as well.  That guy seems like a know-it-all.  That girl is so dorky.  That one is so awkward... he's not a leading man!   What I'm trying to say is when you meet or work with an actor, understand that these concerns, and sometimes insecurities, may affect their attitude.  This doesn't mean the actor isn't nice.  Instead of complaining about actors, empathize with them.

Oh, and this is probably the most important thing.  Acting itself... it's tough!  Think about what they do: they experience real emotions onscreen so we believe they are feeling what the character feels.  Some people may not understand this until they've tried it, but this takes a lot of emotional energy.  The craft they do is just amazing to me.  On a daily basis, these people have to forget all their inhibitions (most people usually have to get drunk to muster half that courage) and play make believe in the most truthful way possible.  I've always admired people who can just get up there and let all their emotions out on the table, completely unafraid, in order to give a vision a voice.  Even tougher, sometimes they have to yell, scream, cry, fear... Out of context it's ridiculous; in context it's art.  They need to cover anything and everything, from strong emotions to the most subtle of reactions.  No matter how crazy the role, a part of the actor will come out into their character.  You can't criticize the role without criticizing the person even a little.  Man or woman, they've undoubtedly got balls of steel.

I understand some actors aren't nice people.  I'm certainly not arguing that.  All I'm saying is don't "hate" actors before you get to know them.  Understand that most of them are good people obsessed with a specific craft (like the rest of us in showbiz).  So the next time you see an actor on set or just in life, throw them a smile... they might just catch it and throw one back.  I like actors... the work they do is admirable and fascinating.  As I said, as a director they give my vision a voice.  And if they do their job well, they'll transform the character in a better way than I could have imagined without them.  So, in short, that's my love letter to actors.

And scene...

The Insanely Creepy and Tragic Artsy Short Films About Dating in the Mob

Okay, let me start this whole thing off with a disclaimer.  I'm an indie filmmaker who likes big concept and blockbuster movies too.  I know, the horror!  Listen, I find a lot of us "serious" filmmakers may be programmed never to speak of such heresy, but it's okay, I'm not afraid.  There's such a thing as big concept, awesome movies.  There are also bad, artsy movies.  Either way, all types of genres have good and bad movies, but my absolute favorites tend to be the big ones with heart.  So even though I may have just lost half my audience, I thought I'd poke a little fun at the short film genres no one seems to talk about.  I find short films tend to fall into some of these categories: dating, mob, creepy, insanely tragic, and artsy.  Yes, these are new genre categories I sort of just made up.  But really, most short films (not all of course) are done by young directors in their early 20's and end up falling into these categories.  Allow me to explain:

Dating: The dating category can consist of what it's like to date for someone in their 20's.  They may center around games people play, shaky advice from friends, why men/women suck, or maybe it's about someone who just can't get a date.  I've seen a lot of these.  Sometimes these shorts are filled with gratuitous sex that makes you wonder if some guy just exploited a bunch of his friends just to see what they would look like naked.  Sometimes you see a main character who's confused and gets advice from the Yoda of relationships, either their best friend or a stranger.  Yup, a stranger.  Sometimes Yoda turns out to be an idiot in these things, unaware by the filmmaker who just got through college, a cesspool for bad advice in dating.  Another storyline may consist of some womanizer or cheater who learns his lesson, ending with a slow zoom out shot of him winding up alone.  Whatever the case, the problem with these, I find, is that you can't setup a really good, memorable ending.  At best, the guy you think will get the girl doesn't, or the guy does get the girl in the end, even if he doesn't deserve her.  It also works the opposite way, maybe with an uptight woman who is encouraged by her promiscuous friend to relax and have fun before she gets old.  My advice is if your short script starts looking like this: do something seriously unexpected.  What is that exactly? That's up to you.

Mob: It amazes me how I can't attend a festival without a few short films starring the mafia.  It's a pretty obscure genre these days in feature films (yet by no means has disappeared), but man, I see so many of these in short form.  One of the biggest mistakes here is it usually involves a gang of 7 stereotypical mobsters who look like teenagers in sunglasses and a suit.  Anyone with me on this?  How weird is it when these bad-ass guns are pulled out, one guy is begging for his life, and they all look like high school kids with sunglasses and a suit on?!  Usually the villain in this is a hoarse-voiced, overweight mobster with slicked back hair and one foot in the grave.  Okay, I'm the opposite of being in the world of the mob, but really?  Is it really like this?  Man, the more I think about it, what do I know?  Then again, these guys look like teenagers in sunglasses and suits yelling at some old overweight guy... it just seems wrong to me.  Even worse, they may have "just mustaches."  Come on, "just mustaches?"  No one in this world looks good in a "just mustache."  They're the facial hair of mullets.  They were in style from 1975-1985, God knows why, and somehow they live on to the 21st century?!  Okay, this genre also may move over into a more teenage gangs kind of thing.  I actually like these a bit better, because they are supposed to be about kids.  Anyway, the short film mob genre usually has solid production value, there's an f-bomb every few seconds, and there's a lot of shouting and yelling.  I get it, a lot of filmmakers want to do the action thing, and we all love action.  The genre is great in that way, because we don't have time to establish much else but that world in 20 minutes.  It's not like we have the money (or the rights) to have Spiderman shoot across the screen and knock out a guy dressed like a lizard without making people laugh for the wrong reasons because there's no budget.  If you go the mob/gang route, make sure it looks very, very good and if possible, give it a surprise ending.  I say this a lot and it's easier said than done, but you'll see a lot of shorts at festivals like yours if it's too predictable.

Creepy: Okay, this usually works the best for me with short films.  Creepy films can either be spine tingling or flat out grotesque, depending if you want to go with eerie or horror.  I like these because if you can do the cool anthology thing, such as "The Twilight Zone" did.  It's very natural and much easier to come up with some twist ending that can blow audiences away in this genre.  I find a common mistake with these is when the setup takes up half the film.  That's not a good idea.  Too much of the same thing will bore people, and suddenly audiences find they've been watching people creeping around an old abandoned house for 10 minutes of your 15 minute film.  I'm not a fan of this at all.  To be fair, this is done all the time in feature films, so maybe I'm wrong.  Still, with so little time, instead of having one setup that is good, have a setup, spin it on its head, do it again towards the end, then one more time to really freak everyone out while keeping them guessing.  If we're going creepy mystery thriller, keep it as mysterious as possible.  An audience that can predict the end by the the time the setup is introduced is never a good thing.  Another thing is executing the gore.  I may be stating the obvious but you'd be surprised... no rubber masks and buckets of blood.  If you don't have the money to make it look good, don't do it.

Insanely Tragic:  Yeah, these are fun.  Okay, not really.  As someone who isn't in love with tragedy to begin with, I really think some filmmakers are having a competition on how much like absolute crap they can make us feel.  It'll be about some man who has flashbacks about how his father used to whip him with a belt when he was bad and his mother watched while drinking Vodka straight from a funnel.  Then you'll hear his wife has been missing for days and the search is on.  Then you see a flashback where he had to kill his father with his mom's Samurai sword, which was hanging from the wall next to photos of the dad slapping himself in the face.  I mean, these things get so, so dark.  Then we'll have hope he'll find his wife alive, but she's dead, next to his brother and sister, who were forced to shoot themselves.  Then we get that fun finale of the main character killing himself off camera, right after a melodramatic scene of hysterics and fake tears.  The theater leaves quietly as we all contemplate suicide on ourselves for sitting through the most depressing story of all time.   Another kind of insanely tragic buckets of fun short film may be a trippy story about a heroin addict who hates his life and we see why as he obsessively works to get his next fix.  We see how he started using because of his evil friends or parents, then we watch as he slowly overdoses in the end.  Yay!  Pizza for everyone!  Okay, obviously I'm not a fan of the insanely tragic walk through hell on a stick.  Instead of insanely tragic, maybe just try regular tragic so that the audience actually learns something from the main character's journey in the story.  There's always a place to shock audiences in film, but it's our responsibility as filmmakers to at least have a point.

Artsy: Artsy movies are a dream for a director of photography.  They usually rely on the visual aspect of storytelling.  Some of these are awesome.  Some of them, I think, can really end up to be the most boring of the boring if they don't work.  There's a fine line to artistic and self-indulgent/over-the-top.  The best artistic films, in my opinion, are the ones you catch on to subliminally while being driven by a strong story.  First off, this style usually commands insanely extreme close ups.  You'll get to know the eyes of the main character very well, including the left part of their cheek, the length of their fingernails, and every gray hair growing in their eyebrows.  It might even be about an artist who is obsessed with painting, writing, or photography in a borderline creepy fashion.  Then the art of the artist will be featured more than the film itself, sucking any story there was out of it.  It may even be a movie about making a movie!  Usually these stories end abruptly with the audience wondering, "That's it?"... because nothing really happens.  We just see things.  My advice here, though it may seem obvious, is have a story and make it the main focus.  One of the great things about movies is that you have art within the art, so don't lose track of what art is being featured here: filmmaking.  So, if you decide to go artsy, visually driven stories can truly come out cool, just don't lose focus of the overall story and make it stand out.

Really, I'm just poking fun at some genres that really can be great sometimes, as long as they're original and/or visually interesting.  I'm sure I missed some other genres that tend to pop up at film festivals every once in a while.  The important thing is to make a short film that speaks volumes, that way you won't let anyone let you go unnoticed.  So if you haven't and need to show someone what you can do, go for it and do a short film.  Get noticed!

Start Short, Think Tall

So you don't have a couple million bucks, right?  Wait, you don't even have a couple hundred thousand bucks!  The shame of it all.  Yeah right!  Most of us don't.  The majority of us trying to make a first feature doesn't have anyone in their life willing to give that kind of money for a very high risk investment such as your film.  How do we get started then? My advice is to make a short film.  Short films can be a very effective, low-cost way to show people in the industry what you can do.  I've definitely mentioned this before, but what does it really take to make a short film and what's the difference between that and a feature?  I know what the wise-ass in you is thinking: "um, they're different lengths."  I know, but what I'm asking is what does that mean to the process of making a short film?

In the world of high definition video, short films are cheaper to make than they used to be.  My advice is to get started right after film school.  Use whatever short film you made and submit it to festivals.  That way you don't have to spend thousands of more dollars... yet.  Maybe that's all you'll need.  Most likely, though, after your senior year film's run, you're ready to make another, even better one.  There's a lot to be said for an indie short film that isn't your student film.  Believe it or not, from my experience, it'll get taken much more seriously right off the bat.  But let's start at the beginning.  I've been writing a lot about writing for a reason.  If a screenplay is bad, you're movie is more-or-less guaranteed to be bad.  It all starts there.  If you make a movie with a boring screenplay, you've not only wasted a lot of your money, but you've wasted a lot of your time.

I think short films are so much easier to write than features, but also much harder in unexpected ways.  It's a no-brainer that getting 20 pages out of your system versus 100 takes less time.  Features require sub-plots, extra characters, and a richer story.  I like doing that.  You get to play in your new world for a little longer and have more time to state your theme to the audience.  I've always been one to struggle shortening my scripts because they are too long.  But, there's something to say about writing short films too.  It's so much more to the point.  Short films are mini-features.  Most features are 90-120 minutes.  Let's say Act I, the setup, is about 25 pages.  Act II is about 50 pages.  The conclusion, Act III, is about another 25 pages.  Now imagine you have 20 minutes to just do the whole thing.  You know what that is?  It's a 5 page Act I, 10 page Act II, and 5 page Act III.  It's not about the less work involved, it's about the fact that you can introduce the characters and problems in 5 minutes, have them unfold in 10, then resolve everything in 5!  Now that's to the point!  Before you know you're done with the setup, the story's already afoot and it's time to conclude it.  Now, a 20 minute film that drags is the worst thing in the world, and a lot of them do.  We don't want that, right?  Think tall with your short and make sure it's the best it can be!

The ending of a short film is so, so important.  Okay, this can depend on the kind of story you have, but the one thing that I believe makes short films infinitely tougher to write than features, is that so much more pressure is on the fact that it needs a good ending.  An unexpected ending... now that's gold.  There's only so much one can do in 20 minutes, so unless the film is visually stunning or has a memorable twist ending, or at least an unpredictable one, it won't get noticed.  I think a big problem today is people aren't always aware of what's unexpected anymore.  What used to be unexpected isn't anymore.  For example, everyone dies in the end.  How many times have you seen that in a short film?  It used to be cool and inventive; now it's a dime a dozen.  Those are almost more common these days than everything working out, which used to be the cliché even longer ago.  Maybe I'm alone in this, but isn't the happy ending in a horror movie more of a twist than an unhappy one?  Wait, they actually survived?!  That never happens anymore!  Oh, look, they think they've won but the ten gunshots to the head didn't work and he's back... roll credits!  Raise your hand if you're sick of that.  Okay, maybe I'm blowing off steam.  Still, if you are doing a mystery or thriller, the endings need that "what the...?" factor.  Those usually are the best.  My advice is to avoid clichés at all costs.  Sounds easy, but it isn't.  If twists were easy, they suddenly wouldn't be twists anymore.  Think of something really, really good.  Turn the expected on its head.  Sometimes I like to think about what the two most likely endings are, then come up with some crazy third.  I know, easier said than done of course, but take the extra time to think up a great ending and it could really mean sink or swim at the festivals.

A short film is the best and cheapest way to prove what you can do as a director.  Festivals are a great way to show it.  So go for it and do what you've always wanted to do by starting short, thinking tall.

From the Depths of Hell: Writer's Block

Writing is a love-hate relationship for me.  I love coming up with ideas, brainstorming, typing it to the page, planning it, and it's the best when I'm just typing away and losing myself in the material.  At the same time, I hate the right before I'm actually writing it part.  You know, when you're looking at the screen and your fingers are on the keyboard and you think, "Now what?"  It's like telling the same story in the best detail possible all over again.  You've probably thought about it a hundred times in your head and maybe told some close friends and family of your new idea, and now you have to write it all down?  It's so annoying, right?  It's the same feeling as when something cool happened to you that weekend and you just told ten people in a row the same story because it was that interesting and you saw them all at different times of the day.  Now it's time to tell it an eleventh time, and this one has to be the best one!  That's what the burden of writing can be, and it usually feels that way to me:  I have to tell this story... again?

With this in mind, no wonder we don't want to get going.  But imagine telling the story again, but this time it gets better, and the details become so great, it's the best way you've ever told it.   You remember how interesting it was the first time, and now you're making it even better, remembering things you forgot about while tapping deep into your memory banks.  See?  This is writing!  Whether it's fiction or not, you're telling a story you've thought about already.  But that really is the fun of it.  It's the act of getting from a great idea, to obsessing over a story, to doing the actual work no one wants to do... until you get going.  And once you're done, you feel awesome!  One of the best feelings in the world for me is finishing a script.  You got it out, and you don't have to do it again... well, at least not from scratch.

So this brings up the demonic hell we call writer's block.  I've written on this subject before, but I'm going to go in a bit more detail this time.  So many people use writer's block as an excuse to not write.  We all know this as an excuse, and it is,, but it's a legitimate one.  The good news is it's avoidable, and just like anything else, it takes practice.  I feel one has to train his or herself to beat it.  It's funny, I never thought about it until now, but I've come up with ways to send writer's block back into the depths of hell!  Okay, maybe I'm being a bit melodramatic (who, me?), but if you're a writer (or any kind of artist), you probably know what I'm sayin'.  You know what I'm sayin'!

So here's a list of some writing roadblocks I've encountered... and I've come up with my solution on how kick writer's block in the back of the ass, followed by a backhand to the nuts:

1) Coming Up with Names:

PROBLEM: Okay, seriously, one of the most annoying things that stop me from writing is what the heck to name my characters.  You may have some figured out already, maybe not, but once minor characters you never thought about creep into the story and you're on a  roll, I find it can shut you down fast.  Let's call this guy Mark... no John... too common... George?  No wait, no one is named George under 30... umm....  annoying, right?  You were doing great and you're suddenly stuck!  You can't move.  Help!  Help!  I want to write page 14 now... what's this stupid bartender's name?!  Ahhhhh!!!!!

SOLUTION #1: Bartender.  Call the the dude "Bartender" and get on with it.  Finding a name is easy; writing the words is hard.  Call the bastard Bartender and get on with the story.  Worry about his stupid name later.

SOLUTION #2: This is something I love to do.  If all things are the same and you just need a name, take no more than 5 minutes and think about your biggest influence on your idea.  I like to make an homage to my biggest influences.  For example, one of the students in my film, "Clara."  I took this name from my favorite time travel series of all time, "Back to the Future."  Marty and Doc are a bit obvious, but in the third film, Clara was Doc's love interest.  Bam, the student's name is Clara.  The end, moving on, now start writing the stuff that really matters.  Names can be changed any time and easily.  Don't let it stop you.  (By the way, I also have a Bill and Ted in this story... it's totally excellent!)

2) Location Descriptions:

PROBLEM: I think I have this problem because, as I've said before, I'm not very good at descriptions.  Every time there's a new location, I always feel obligated to describe the basic look of the place.  Okay that's fine, but sometimes I'll end up wondering about all the things a science lab will have in it.  Then I find myself researching equipment, etc. and I'm taking forever and have completely lost my flow.  It's frustrating, because I can't move on with the story without describing one room!

SOLUTION: Same solution as #1.  The mind freaks out a lot more when the screenplay has yet to be written, rather than knowing you may have to go back and describe one or two rooms.  That stress can cause you to shut down and not be able to move on.  Do the research when you're done.  I usually put what I need to fix up in bold in the screenplay, that way I know to come back to it when I proofread.  It's a lot less overwhelming if the rest of the screenplay is finished and all I need to do is fill the room with science equipment.

3) I See a Keyboard, Now What Do I Do With It?

PROBLEM: You're sitting down, at a keyboard, your email's open, you have a browser with sites you're interested in... you're already distracted.  What's worse, let's say you have a blank screen, or a half written script, and you can't get going.  To me, this is the most common form of writer's block.  Get... me... going!

SOLUTION: Think about something you do NOT want to do.  You have to clean up, do your bills, call someone you can't stand... I don't know.  You have to go shopping, read something you're not interested in... whatever.  You will slowly find that writing is actually still somehow lower on the totem pole than writing a business letter.  And supposedly creative writing is what you love to do!  It's your mind tricking you... you do want to write but your brain doesn't want to think so damn hard.  Here's the answer: think about something you want to do even less, and you will start writing.  Convince yourself you're about to scrub a toilet, then see how your mind says, "Hell, no!" and starts writing like crazy.  Hey, I know what you're thinking... way too simple... but it's true.  Think about how you have to drive 3 hours to visit someone later.  Don't knock it until you try it!

4) Okay, That Scene's Done, What Do I Write Next?

PROBLEM: You've just finished a scene, but now you're up to a new one and just can't get going.  I find this usually means you're stuck at a point you haven't quite planned out yet.  Maybe you introduced your characters, but you don't know how to transition them into ACT II.  Maybe ACT II isn't long enough.  Maybe the climax to ACT III needs proper setup.  I hate these situations because the need to think really hard about basic structure can really slow you down, and it's hard to have it all laid out completely before you write.  Writing is usually done in pieces, so you rely on the characters and events to connect a lot of the dots.

SOLUTION: Step away from the keyboard and do something else.  Do something else that doesn't require too much thinking and just think things through so you do have a good outline of what's coming.  Seriously, some of my best ideas came up while showering, doing the dishes, on my way to the store, during my commute, right before sleep, even while dreaming!  Just think very hard about the next scene you have to write.  Play it in your head until it all becomes clear.  At this point, you should be running to the computer and typing away!

So listen: writer's block exists.  While it's definitely not a myth, it's certainly not as tough as its reputation.  It's only as tough as you'll let it be, and with just a few simple ways to beat it, it's very manageable.  So turn on that computer, type away, don't let the little things prevent you from doing the big things, and send writer's block back where it belongs: into the depths of hell!

Build Your Arsenal, Screenwriting is Free!

One thing that screenwriting has over filmmaking, without question, is that it's free.  Free to do for free!  You don't need millions or hundreds of thousands of dollars to do it.  You don't need to develop or color correct the paper you write on. You don't even need to pitch to investors in order to write one.  Anyone can write a screenplay, an art in its own right.  If a screenplay makes it to the big screen, consider yourself lucky, but if you're not making one now or you plan to make more than just one film, build your arsenal of screenplays if you're a writer.

I haven't made a feature film yet, so I have lots of time to write.  Okay, that's not entirely true, but there's enough time for it.  We all work and we all need to make money, but I actually need to write, too, especially when I'm not making a movie.  And let me tell you, I have a lot of screenplays.  Tons.  I'm prepping to write a new one as I write this... literally.  It's up on another window on my computer right now!  I'm sick in the head; I can't stop myself.  Some writers feel they must perfect the one script they have and put all their efforts into that one idea.  I agree it should be the focus, but if you don't spend any of your energy on other projects, you better hope people like the one you're entirely fixated on.  What's more, let's say you do make it big with one great film, people are going inevitably start asking you, "What else you got, son?"  I hope you have something in that case, because as quickly as you can get hot, you can just as quickly fizzle out.  Don't you want to be able to say, "I've got this, and this, and that!  What interests you most, big man?"  Okay, don't call anyone "Big Man."  But seriously, build your arsenal!  Turn a super soldier into an army!  You're current project may be general, but you need some captains and cadets and whatever else.  The more projects you have, no matter how far along, the more likely you are to catch someone's eye.  Then it's on to the next one.  Use any time you aren't working on your current project on making another good screenplay great.

In my opinion, the more different each project is, the better.  A lot of producers or investors continue making the same kinds of movies, so even if they don't want to do three ideas because it's not their thing, they may take the fourth one if it is.  If you have a drama, comedy, action, AND thriller... just ask them what they're looking for and pitch what they want.  I have all sorts of genres prepared... some way further along than others.  But they're all full, workable ideas that can probably use another draft or two... or three.  The point is you have them in a place where you can either pitch it, show it, or at least do a very quick revision and then send it along.  But again, the more variety and the more in number, the more likely someone will show interest, especially after a hit if you're that lucky.  If you're hot, stay hot.

I remember my first day of advanced film production way back in college.  My professor, who I never took a class with up to this point, asked the class what everyone wanted to do one day in film.  Who wants to direct?  About 75% of the class raised their hands, including me.  Who wants to be a D.P.?  Several more raised their hands, and so on.  By the time we got to sound, I think we had one.  He was making a point:  almost everyone wants to direct.  He then told everyone to look around at the non-directors.  Take a look at these people, these are the ones you want working on your films.  He also asked the directors what kind of films they want to make, what genre.  He went around the room, and everyone gave the answer: they want to do comedies, horror, action, and so on.  I was honestly so confused.  All I could think about was, "Do I really have to pick one?"   I was one of the last ones down the line and I simply said, "I want to do one of each, and when I'm done, I'll think about doing them again."  Now I was trying to be cute here, and I got a laugh from the class.  I was serious though.  I was twenty years old and dead serious.  I remember a little smirk from my professor after that.  We're still in touch to this day and meet every so often.

I guess my point to my story is don't limit yourself.  Write about whatever you feel like writing about.  If you stick to just horror or something else, that's fine too, but don't feel you need to be stuck on one kind of movie if you're not.  Build up your arsenal.  Maybe the project that you think is first is third, or second is last, or whatever.  It may be less about what you feel is your next project and more about who's financing or what a producer may want to go with.  Seriously, if you give five scripts over one, your odds increase like crazy.  I'd say five times more, but it may even be more than that.  Now you have scripts that aren't alike, and each person you're pitching to is different, so I believe it raises your odds even more.

So if you feel you could be doing something and you're a screenwriter, you're right.  No more excuses; screenwriting is FREE.  That's a lot less money to send than a few million bucks... by, oh, about a few million bucks!  But hurry up already and stop wasting time on waiting.  Because face it, a filmmaker is always waiting, whether it's for their first project to happen or even their twentieth.   And it can take a lifetime to write 20 great scripts.  So what are you waiting for?  Gather all your ideas and write!  It's the one thing you don't need money for... no excuses.  On your marks, get set, go!

Film Financing, the Final Frontier

Here it is, the moment you've all been waiting for (including me)....

How the heck do movies get financed?!  Why is it such a mystery?  Why is it the one thing left I can't get done?  We're talking about film financing here, folks.  It's the final frontier in getting your movie made.  No one makes a film without an investor.... or two, or three...  This is the horrible fact about development.  No money = no movie.  That will never, ever change.  Wonderful.  Film is expensive, video is expensive (yes, even video), crew is expensive... cast, props, sets, camera equipment, sound equipment, locations, trucks, food, hotels... man, the list never ends!  Every set needs this friggin' stuff!  I promise you, even while creatively cutting some financial corners, you'll need serious, serious cash to make a movie.  This is simply a fact, so if you still haven't accepted this as truth, I'll say it one more time: Films need financing!

Now I'm a writer and director who was never really very interested in the business of film.  You creative types may be just like me.  It doesn't matter, brethren; get interested.  I haven't met anyone since starting development who'll let that attitude fly.  I have to be interested, even if I don't want to be.   Why?  Because the film business is part of the business, and I can't do anything well unless I'm interested.  At a certain point, you learn that even if you have people taking care of most of this, you're still going to have to be heavily involved.  Every business decision affects your creative vision, whether you like it or not.  Wouldn't it be nice for some millionaire friend to give you millions to make your movie so you can skip all of this?  Well, since that ship has sailed, or actually never set sail at all, we have to find money the hard way (pretty much the only way is the hard way.)  It's that simple, that depressing, and an improbable task.  Most of you are probably aware of this already.  That's good because it can take some people too long to figure this out.  So how do we find financing?

Beats the heck out of me!  Yeah RIGHT!  If I knew the answer I'd be knee deep in production by now, probably being asked which shirt looks best on which actor.  Listen, I'm not about to pretend I'm an expert on finding investors.  Even the experts have trouble.   But I can say I am an expert on knowing what it's like to deal with the ups and downs on trying to find money.  Admittedly, I'm not the one driving this part of development for my film.  That's what my two producers have been working on.  I don't envy them... it's the hardest job of all!  No one likes to ask for money or search for people with money.  I've never met a soul who enjoyed asking people for money.  Well, at least not anyone I'll hang out with for more than ten minutes.  Oh crap, is that how they see us?  That's why you can't go to just anyone.  People who enjoy films or have always been enamored by them are the people to pursue.  So where do I find these saintly, lovable people?

I don't know!  You think I know?  Are you crazy?!  I'd be yelling cut after a good take if I knew.  It's the best kept secret in Hollywood!  These people are like Leprechauns or Gremlins... or even better, Santa Claus!  They live in the walls of small apartments or under your stairs.  They're mythical beings like unicorns and the one-eyed cyclops!  I know what you're going to say, "You ever see a Cyclops with more than one eye?"  I digress.  Okay, okay... hold your horses.  Financiers are real; they do exist.  They live in regular homes like you and me, but probably much, much bigger ones.  We probably live under their stairs if anything.  The truth is, most people don't know big-wig film investors.  They're hard to find because they're not only rare, most of us aren't part of their social circles.  That's okay... from what I've observed there are film people who do actually know these people.  Just get to know those people!  Network at industry events, work on sets, go to film festivals, or ask people you already know.  Find someone who knows someone who knows someone.  It sounds simple, or maybe it doesn't... it's because it isn't simple.  It's tough!

Then there's crowd funding, a new fad on the internet.  As you probably know if you've been following this blog, we tried this by using Kickstarter.  Our team spent several hours shooting a video of me, writing up tons of info on the project, and pushing ourselves into the social media world.  Kickstarter didn't work.  Don't feel bad, even though we hoped it would, I don't think we really expected it to actually do so.  We benefited from this for sure: we raised awareness of the film, kind of went viral and public with it, and still found lots of support from places we didn't expect. Just because we didn't reach our goal, doesn't mean this path can't work.  It has for other projects.  The problem is our script calls for the need of a certain size budget, one that may be too high for crowd funding.  Then again, I don't really know.  Just do what we did: don't put all your eggs in one basket.  Funding is about taking an egg and putting just one in several baskets.  Okay, now I'm wondering if that even makes sense.  Yeah, it does.  It's a numbers game.  Have as many options out there as possible.  It only takes one egg to continue down your road to wrap.

So there you go.  Unfortunately, I don't have the answer to financing.  That's why I call it the final frontier.  You'll hear success stories every now and then, but I'm starting to realize they are tough to emulate.  Just about every road to wrap is different.  I'll be happy to reveal mine once I've made it through.  I really think this topic is usually kept a secret because no one wants to tell someone else about a potential investor one can use.  And who can blame them, right?  If you know a potential investor, I'm sure you worked your tail off to find them.  You should have first dibs.  So what do us first time directors and producers do?   All I can say is it's tough, but keep plugging away.  If you aren't trying to find money, then you're really up the creek.  That's like showing your screenplay to no one once you've written it.  Give yourself a fighting chance.  It's been done before, it'll happen again.  First timers do make their movies.  How many producers or directors skipped making their first feature?  Ah-ha!!!  None!  Not one!  No one skips their first movie!  Makes you look at your chances a little differently, right?  And a lot of movies out there have been made, so that's a lot of first-timers.  Keep at it... all frontiers get discovered eventually!

Hurry Up and Wait

There's a great term we use, often among actors.  It's always, "hurry up and wait!"  Actors tend to be the ones who rush to set, do a thing or two, then have to leave... or wait... then suddenly we're rolling, then they have to wait for more adjustments, then make-up, etc.  Guess what, filmmakers, we have to do a lot of that hurry up and wait stuff too.  Maybe on set it's just "hurry up" without the waiting part, but for development, waiting is a huge part of the process.  "Hurry up and wait."  It drives me nuts!

I find during development, when it rains it pours.  When it doesn't rain... there's desert-like droughts.  I'm not really sure why it has to work this way, but it just does.  I'll explain.  Before we had a casting director, we had to submit the script to anyone who'd read it: money people, casting directors, actors we were connected to, producers, production companies... whoever we could get to take a look.  That was a slow, slow process, because contacts back then were pretty limited..  Nothing was doing most of the time, and it gets frustrating.  Then our casting director got back to us and suddenly I had meetings about meetings, phone conferences, contract discussions, actual meetings... all crammed into a matter of two weeks, maybe less!   Then after that, there's so much more to be done.  I had to come up with lists, character descriptions, constant contact back and forth... then the script goes out... and I wait... and wait... and wait... hear something maybe... then wait some more.  Three weeks could go by before there's any response or feedback, or even news.  After three weeks of absolutely craziness to no news at all, it makes it feel like nothing's happening.  It took me a while to realize that things were happening, just not on my end or at the pace I'd like.  Just because I'm not involved, doesn't mean nothing's moving forward.  For all of us dreamers, it's tough to be patient, but we must chill.  I understand plenty of people are more, and sometimes less, laid back than me.  But anyone who just wants to get going, especially during the uncertain time of development, it's understandable if you can't bring yourself to wait... at all.  Trust me, in my experience, most people can't.  We want to make our movie more than anyone.  That's what all this work here is for in the first place!

And then you find yourself doing things twice, three times, sometimes more.  It took me a year to get even one letter of intent from my cast.  Some say that's fast considering we aren't fully funded; others say it isn't.  But make no mistake, the casting process can be very long.  Lists, auditions, meetings, more lists, decisions, agents, managers, lawyers, talking to the talent yourself... it all seems never ending!  And of course, if something breaks down anywhere in the process, you have to start all over again!  Sounds frustrating?  It really can be!  Believe it or not, though, it's all necessary.  Then, after a whole year of this, two letters of intent pop up.  We worked so hard to just get one LOI for multiple roles, and we end up with two literally a few days apart?!  It also seems to work that way for the agencies and potential investors too.  When you're making noise, people are more aware of you, and when people notice, they respond.  When it dies down, it does on their end too.  Development is streaky... something happens and it picks up again, but then it could be followed by a lot of waiting.

So my advice is ride the high waves and enjoy the restful days at shore.  Most of all, hang in there, be patient, and understand that not all movement has to be intense action.  If any of this rings true and you're having this problem, that's probably a good thing.  Movement in the right direction, even with some setbacks, is all a first time filmmaker can ask for, right?  I mean, we want these problems, don't we?  If you do, you're way ahead of the game, and you'll probably stress less over it.  For me it took some time to get used to, but I find myself more patient than I've ever been on the road to wrap.  We've already established we aren't quitters.  We're terrible at it!  Now can we start shooting already?  Can we?  Can we?

Okay, so maybe I can't listen to my own advice.  I'm trying, okay?!  If you feel restless, then you should try it too!  Until next time... do us all a favor: hurry up and wait!

Be A Lawyer

I believe directing a film is the greatest job in the world.   I know that when I direct, I'm home.  It sounds strange or maybe even corny, but it's true.  It all feels right, and I believe it's the best job in the world.  It's all about telling stories through a vision, one that is the director's but also shaped by so many other people you collaborate with on the way.  It's quite the experience, and I'm so excited to make Trust Us!

Okay, enthusiasm is great, but being the go-to guy about everything creative is just a surreal task.  I'm pretty decisive in general, especially with stuff I write and direct.  But there are some surprises that come with directing and I'm only scratching the surface.  People don't want to only always know what you think about everything, but they expect you to defend it too, until your tongue bleeds!  Why?  Because everyone involved wants to know why.  And you better be ready to tell them.  Everyone will agree with you only if you can defend your major (and sometimes minor) choices.  What I'm saying is honest.  I had no idea during the development of my first feature that I'd not just be asked to be the director, but I'd also be asked to be a lawyer and defend the crap out of it too!

Now that makes me laugh because my parents always thought I'd be a lawyer when I was growing up.  They thought I could argue my way through anything.  I've changed a bit since then, but this skill proves to be more important now than ever.  To be a director, don't call your lawyer, be a lawyer.  Well actually, you know, with anything other than the actual law of course.

Was so-and-so an only child?  Where does your time traveler keep his stuff in the time machine?  What color do you think your main character's shirt is for his first day of class?  What's his class schedule besides the one we're following?  What kind of posters would his roommate have up?  What kind of music does he like?  The questions just get more and more detailed, and even though I can answer all of these questions right now, there are just as many I haven't thought about yet.  And they'll come up.  The key to finding the answer?  Know your material!  If you wrote it, it's seriously not enough.  You have to think about everything.  If you didn't write it, you still have to come up with answers to all of  these questions.  What's funny about it all is that no one should know the script better than the director, or writer/director especially.  I wrote my script, and you'd be surprised of the things I get asked that I don't have an answer for.  And I really thought I had an answer for everything.  I do my research too... I come up with backstories for characters, I can picture production design in my head... but believe it or not, I can't think of everything beforehand.  I don't know about others, but you just can't cover everything when writing.  You know what's fun, though?  Coming up with stuff on the fly.  It's like improv for writers.  If you don't have the answer, make it up, and make sure it makes sense within the context.  Then defend the sh*t out of it!  Fight, fight, fight for the mohawk that just belongs on your character!  Hey, maybe his father hates mohawks and it's his way to get under his skin.  Think of something good, then defend it.  The better you do that, the less people will question your vision, and for good reason.

And that's the key to it all: know your material well enough to give these questions proper answers, and more importantly, a good reason of why it's the case.  I was recently asked if my time machine needs wheels.  I quickly answered yes, because in the world of my script, it's made clear that no one wants to time travel into themselves.  It has to move at least a few feet first.  Good question, good answer, moving on.  Casting questions are the craziest because everyone has an opinion.  Some people don't like certain actors because they rub them the wrong way.  Don't say that as a director unless you know why it's wrong for your character.  Why does any actor work or not work for this character?  You'll find yourself revealing everything there is to this role, and connecting it with the actor's looks, personality, and past work.  Sometimes it may be opposite of what they usually do, but that's exactly why you want them!  In Trust Us, Dr. Hughes is the professor everyone wants.  The kids love him: he's charming, fun, and intelligent.  But, you learn very early on that he steals Guy's invention.  That's why a cool choice could be to find someone the audience has trouble hating.  We all know likable actors... why not confuse the audience and make it hard for them to do so based on that actor's persona and past performances?  That's something you need to explain to others, and you'll find you'll be challenged constantly by those who matter and often.  It's exhausting!  These debates can span for hours!  Why won't they just take my word for it?!  They won't, so defend your client.  But don't take it personally, this is how you learn more about your own work, while convincing producers, actors, financiers, and crew that you know what the heck you're doing.  The better you explain, the more they'll like it if they know the material.  Then the best part happens... they build on your answer and come up with something even better.  That's a how a good movie becomes great anyway.

So, put together your opening statement, drill the prosecutor's witnesses, bring some of your own, and defend your choices with logic, reason, and passion.  That's how you'll get your point across.  Fight for your choices.  Stand by them.  Don't get tired.  Don't get frustrated.  State your case and the jury will listen.  Don't just be a director, be a lawyer too.  Court adjourned.

One last thing: Nicky Arezu Akmal and I were interviewed by "Royal Pulp Reviews " about Trust Us recently.  Follow the link and you can see it under "recent posts" on the right or just scroll down to Feb. 27th on the homepage.  It's right here at: royalpulpreviews.com.

Time to Shine, So Shoot!

Once again I'd like to start this with the campaign we have going for Trust Us.  We have now have 37 backers and just over a month left on Kickstarter.  Please support us at: http://www.kickstarter.com/projects/701510775/trust-us-the-film.  It's a worthy project to take an interest in, and no matter what you give, you'll already qualify to be on the mailing list and receive periodic updates on our progress.  We've added cool, exciting perks and rewards to those who pledge.  It's just another important stop on our road to wrap.

Anyway, taking over where I left off, by the end of my P.A. career, I had accomplished something everyone should before they call it quits.  I had learned how a set was run, made some important contacts in the industry, and even directed my own short film when I wasn't working.   I was hit hard over the head working in the real world, and it was anything but easy working a few years as a production assistant on various films and commercials.  But as I said last time, an aspiring director who's stuck as a P.A. or at least in production the rest of his or her life, isn't in a very good place.  At some point it's time to show off your skills.  What's the only way to do something like that?  It's time to shine, so shoot!  You need to get yourself out there with something that shows off your creative talent and vision.  That's right, it's time to direct your own independent short film.  If all has been going well, you have not only saved up some money, but you also have people in place you met along your road to wrap that can help you make this happen.  After all, no one makes movies alone, nor should they.

There's a second part of the story I told last time.  The first part was the realization that P.A.-ing was a dead end for me as someone who wants to be a director.  People need to see that you can make a movie, not drive a cube truck into a parked car (not that I ever did that... um, well...).  Let me first say that in my second of three years as a P.A., I took a several month break to do my first indie short film.  It was finished just before this half of my story.  So, the other part of my epiphany here came the next day after I met with my P.A. friend who screamed, "P.A.-ing is a scam!"  I'm not exaggerating; it was the next day!  My current producer, Curtis, was told by a common friend that he had to see my new short film.  Curtis came over that evening and watched.  When it was all over, he turned to me and simply asked me, and he was dead serious, "What are you doing working as a P.A.?"  It was a great question, and I know I asked myself this question all the time.  Those two incidents are where it clicked for me, and it also symbolized my move from P.A. to director.  Okay, fine, it was more gradual than that of course, but it started a new road that day.  If you go back to my film school days, I actually went from being a director, to being a P.A., to being a director once again.  It's actually a strange thing to do, but it's kind of how it usually has to work.  You go from a big fish to a small pond, to a small fish in a big pond, back to a small fish in a lake, to a small fish in an ocean the size of three planets!!!  But seriously, I had enough of learning how a set runs, it was time to do my own stuff.  Rewind a year and I did what I thwell, i say now think was a very smart thing right in the middle of my P.A. days.  I wrote the 23 minute mystery/thriller, Escape from the Night and shot it too.  It just didn't pay off fully until a year later when it made its festival run (for myself) and showed it to Curtis (for the sake of Trust Us).

Escape from the Night is nothing like my student film; I totally went the other way with it.  Get the Hell Out of Heaven was an afterlife, light comedy.  This time I wanted something else to put on my reel: a moody, dark thriller with some drama sprinkled in.  I've always wanted to switch it up in my career as far as genre and feel anyway, so it was cool to just go completely the other way.  I put together a story about a guy tormented by nightmares, and after some rewrites, I was ready to go.

This time I didn't have the help of my college, except for some friends to bring on board as crew.  Equipment wasn't free anymore, auditions weren't organized through the school of course, and advisement from my professor was more or less gone.  More than anything I didn't want to produce it, but of course I got stuck with that too with a little help from my D.P.  Now, money of course is a huge, huge issue when funding your own short film.  I found a few shortcuts that helped me through this to minimize the financial hit.  First off, I had won significant credit towards film stock, development, and negative cutting by winning a couple of awards at the Hofstra Film Festival back when I was a student.  This worked wonders for me.  To add to that, I also worked at an equipment place in exchange for barter towards equipment rentals as my first job out of school.  My D.P., who's also a buddy of mine from class, was able to hook us up with a 16mm camera from the equipment manager at my old college.  Between all of this, trust me (trust you, trust us), we saved thousands of dollars.  Put that with a crew and cast that agreed to work for free, and we were in good shape.  More shortcuts?  I didn't pay for one location during shooting.  I knew enough to keep the script super low budget, and the screenplay didn't call for that anyway.  We shot in my apartment, my parents' house, a public bathroom we were given permission to use, a parking lot outside the city, a cemetery.  It was all free!  Editing costs weren't an issue either.  I had just gotten Final Cut and I did all of it myself.  When I hire me, I work real cheap.  And even with all of this, the short was still expensive to shoot!  A lot of the costs were in post and extra film, and even this can be avoided now with video taking over.  Looking back, I didn't even need an answer print... but I made one anyway.  Now it seems we can finish on DVD for most film festivals.  Things have changed so much in such a short period of time!  I would imagine it's even cheaper to get your own project done on your own budget.  Just don't mix up cheaper with easier.  There's nothing easy about it, but my experience as a P.A. made the shoot much, much smoother than my student film, where I never came so close to calling it quits.

So those are ways to cut costs for yourself, and it worked.  I won't go into all it took to organize everything this time, I'll save that for later.  But know that making your own short is the best thing you can do as an aspiring director.  Escape from the Night became my main road towards meeting my first of what is now two producers, and it just shows people what you can do.  This goes for writing too: how can anyone know you're any good without work to show them?  Working on set in the production department won't do this for you.  It will help you prepare to do this on your own like it did me, but it won't help you strictly as a director.  So if you've been a P.A. and you've spent some time on other director's sets, it's time to shine, so shoot!!!  Doesn't mean you can't work on other people's projects again.  And this doesn't go for directors only... D.P.'s, production designers, camera operator... whatever your interest, take some time off as a P.A. in your department and work on the smaller things so you can actually do what you want to do.  Otherwise, you're shooting yourself in the foot without even firing.  So many people get stuck here, so don't let it happen to you.  You've worked way too hard and are way too talented to let that happen!  I guess sometimes you have to quit something (P.A.-ing) to not quit something more important to you (like your ultimate goal).

So that's that; it's all possible.  Until next time, once again, please check out our campaign at: http://www.kickstarter.com/projects/701510775/trust-us-the-film and don't forget to "like" us at http://www.facebook.com/pages/Trust-Us-The-Film/138144679635712

Yay, Hurray! You're a P.A.

I bet you'd make the perfect filmmaker.  You've got all the skills: you can sweep a floor super-well, you can drive a cube truck through a city of narrow streets (make those wide turns really count), you know how to stare at equipment for several hours at a time so no one steals it, telling random people not to enter your shot, working 18 hours straight, and you just love, love, love to be yelled at by people for someone else's mistake.  Aren't you so glad you went to film school so you can be awesome at this?!  You're a fascinatingly amazing P.A. now!  So proud of you!  Wait a minute... I didn't go to film school to learn how to tell crowds of people to "shut up."  Hold it, I have to buy and set up snacks... all day?  I don't remember driver's education in college.  Oh, so I MUST have a driver's license to work in film?  Um, I could have sworn I never had to learn how to rush the make-up department in film school... okay, I'm confused.  Wait, I'm not a bouncer, so why do I have to act like one?  Aren't I making a movie?!  Don't worry, folks, this isn't the Twilight Zone... it's movie making alright.

Let's get this straight everyone, they don't teach you how to be a production assistant in film school.  If they told you about it in detail, you probably wouldn't believe it or try it anyway.  You're told how great and fortunate it is to get hired (though not necessarily paid) to be one on a set.  Oh, yes, great film student, you'll learn soooo much.  Well, the hard truth is you do.  You will learn tons and tons about filmmaking, but it's not quite what you may be thinking.  It's the stuff no creative mind wants to learn: how a set runs.  Then what does a P.A. do?  Everything!  It's terrible!  Here's a scenario: a street scene in New York City is being shot.  Every corner in this area has regular people walking back and forth, doing their thing.  The director is trying to get a shot of two actors talking in front of a deli.  Easy enough, right?  No!  People just keep getting in the way!  Some kid can't stop waving at the camera.  I swear, the funniest thing I ever saw stop a crew from shooting was two dogs... well, doing it.  Sadly enough, it's a great example of one of the many reasons why we have P.A.s.  Okay, stop!  Not where I was going with that... PAs don't have it THAT bad.  But, I mean, one of a P.A.'s possible jobs on set is to clear the shot.  You think the director, the cinematographer, or even the assistant director wants to spend time on that?  No way!  They've got bigger fish to fry.  A production assistant's job is literally to assist the production, but it really means you have to do the jobs no one else wants to do or has any kind of time for.  So that's what a P.A. does.  Yay, hurray!  I'm a P.A.!  Awesome, right?

Okay, okay... it's really not that bad.  First off, almost everyone on set has been one before, so you've got that going for you.  They know what it's like and they worked their tails off to never do it again.  Oh, right... I'm trying to explain why it's not so bad.  Sorry, I never said it would be easy to do.  Seriously, though,  a PA is right there in the thick of production.  You'll learn about the set lingo, the purpose of every job, set etiquette, the kind of hours it entails to make a movie, and how to use a walkie.  And hey, you may get hands on experience with equipment, props, the budget, and even be on set... this is how you learn.  You deal with everyone, everywhere!  Still not what you're looking for?  I hate to say it, but it's kind of too bad.  Even if you start in the camera department, grip and electric, or production design, you still have to be a P.A. in that department.  It gets fun, though.  As a writer/director, my interest was watching action to cut on set and watching the talent prepare, that sort of stuff.  If you want to shoot movies, the camera and lighting departments are fun to keep your eye on.  If you are into special effects makeup or something like that, the art department, or sound... you can make your way in there by offering to help them out.  That's how relationships start; that's how you network.  I'm going to state the obvious here: the best way to learn filmmaking is to make films.  You may do that in school, but after that, you have to start by working on other people's movies.  Well, unless you're a millionaire, of course.  But if you're a millionaire and reading this blog, you're wasting your time... buck up and make your movie already!

Okay... I gave you the good and the bad... now for the ugly.  I always like to talk about the day I gave up P.A.-ing, so let me tell you a short story.  I had been working as a P.A. off and on for about three years.  The first year was more on, the second year was more off, and the third was a bit of both.  My first experiences were as a P.A. on independent feature films.  This is the worst you'll get paid and the hardest you'll work, but if you like making features like I do, it's also the most fun and worthwhile.  I had another P.A. friend that used to bail me out of so many things when we worked together.  He did two things I couldn't: parallel park a truck and hear a damn thing on the walkie.  I wasn't the worst P.A., though.  I always showed up, people generally liked me, I did my job, I was enthusiastic, and I didn't complain too much.  Anyway, this P.A. really bailed me out sometimes.  I'd ask him to go to channel two just so he can repeat for me what the 1st A.D. just said.  It's funny and not funny, all rolled into one.

So anyway, this other P.A. went out drinking one night.  He decided he was done, right then and there.  He turned to me and said, "P.A.-ing is a scam!"  I didn't really understand that at first, but then it made sense once it sunk in.  P.A.ing isn't a scam like he said, not really.  But, he was right in a way.  If you don't want to be a P.A. for life, or don't want to climb the producer ladder, you are led to believe that's the road everyone must take to get where they want to go in the film business.  The people who tell you this is true, that IS a scam!  You can't do it forever if you want to be a director, a cinematographer, or whatever.  Make sure you switch to the department you want to have a career in.  To me, P.A.-ing was a tough, thankless job.  You get that right and you're promoted to a Key P.A., and that's just a much tougher job with more responsibility.  Want to be promoted to a 2nd 2nd A.D. then?  Are you kidding?!  That's even harder!  Then it just goes on until you somehow turn into a 1st A.D, and to me, that just may be the hardest job on set!!!  It takes a really specific kind of person to be good at that.  If you want to be a producer, you're on your way.  But for someone like me back then, someone who wanted to be a writer/director, know when to move on.  I paid up and did my first independent short film outside of school, and it did wonders for my career.

Financing for my first short wasn't as simple as just paying out of my pocket.  I used a lot of resources I gained along the way and did a lot of it for free, or at least a major discount.  I'll tell you all about it next time, but for now, my advice to young aspiring directors out there is try being a P.A. for a little while, just don't do it forever.  You'll learn the basics of how a set is run, you'll join the majority group of ex-P.A.s, you'll experience things you'll talk about for years (good or bad), and you'll find out exactly how tough you really are.  Once you've been there and done that, it's time to try some directing on a much smaller scale, but I'll explain more on that next time...

We Aren't Quitters

Before I start, I'd like to take the time this week to once again promote the Kickstarter page for my first feature film, Trust Us.  I've always said in this blog that with the right preparation, drive, and people, making a feature film without knowing anyone in the business is possible.  The Trust Us team is trying something new: crowd funding.  Maybe this idea sounds a bit strange to you, it sure did to me, but now knowing what I know I believe it's just a real fun and exciting way to actually have a hand in the making of a film.   You can help support us by making a pledge right here at: http://www.kickstarter.com/projects/701510775/trust-us-the-film.  By doing so, you can get updates on the film and some fun perks to go with it.  The page itself has a video of me pitching the project and explaining a little about Kickstarter and how it works, so at the very least, you can put a face to the words on this page.  We have a great, dedicated team working on Trust Us, and it would be greatly appreciated by all of us.

Remember, simply telling your friends and family about the project is a huge, huge help.  Please "like" our page on Facebook at: http://www.facebook.com/pages/Trust-Us-The-Film/138144679635712 and share it with everyone you know on Facebook.  You can also follow us on Twitter at: https://twitter.com/#!/FilmTrustUs.  We have a long way to go, so please spread the word!

Also, I was interviewed on Rex Sikes' Movie Beat a little over a month ago.  If you enjoy this blog, it's really a fun listen and covers things I haven't really gone into here.  It's a great show, and Rex has several other guests that may interest you.  Here's a direct link to my interview if you're curious to hear more about me and the project: http://www.rexsikes.com/Rex_Sikes_Movie_Beat/Interviews/Entries/2011/12/1_Robert_Smithline___Writer___Director.html

Okay, linked out?  Me too.  Now, with all that business out of the way, I thought I'd write about my early days in college... no, that's NOT where this is going... I'm talking about my film school days.  Every college/university is different, and this was about 10 years ago, but it may apply to you or someone you know.  Not much has changed in football, that's for sure.  The Giants were also in the Super Bowl then, too.  (Shameless G-Men Super Bowl 46 plug).  Anyways, the way it worked for us my senior year in film school was we had a crew of about five.  Yup, FIVE!  That means I got the chance to be the writer/producer/editor/gopher on my own film.  Sounds great, right?  Hell no!

I've always said that quitters make awful writers, directors, producers, actors, and whatever else.  You know why?  Not only are you dealing with rejection and emotional/physical exhaustion, but you also have to deal with the horrible fact that persevering is crazy expensive.  The majority of the people I know left the business for the most unexpected reason of all: money.  This is no joke.  Making a short film, and back when I was in college it was film, is probably the most expensive thing you can do in college besides pay your annual tuition.  In fact, in some cases, that's a real contest.  Why are films so expensive?  Ask any student: film, film development, equipment rentals, insurance... it never ends!  And this is with cast and crew working for free!  Post-production alone... the negative cut, color correction... it'll blow your mind how expensive that is.  I did two short films before Trust Us became my life, which I produced and directed myself.  I don't recommend doing that AND directing at the same time.  You can truly go nuts!  Luckily, these days you can get by with an HD video instead of 16mm film which helps... but that's not so cheap either.

I'll never forget the first day of shooting on my short, "Get the Hell Out of Heaven."  This is about a cop and criminal who accidentally kill each other during a chase, and Death makes a mistake and sends them each to the wrong place in the afterlife.  I was prepared for everything.  I had everything storyboarded, I thought about what I needed on screen and when, and I had a solid crew to back me up with the technical stuff.  I really, truly, was as ready as I could be.... nothing could go wrong...

So we're shooting hell on day one of sync sound shooting, and it was so, so, sooooo symbolic.  Murphy's Law happened: an actor went missing (he was watching another film he did in another building and forgot to tell me), we ran out of film, one crew member didn't show up... it was not a good first day.  I really, truly thought I was going to stick to writing.  I said to myself in all seriousness when I was 22 years old, "I'll never make another movie."  I meant every word of it; I was completely broken that day.  But you know what?  I didn't quit, and it's the closest I've ever come to doing so.  That was 10 years ago.  I haven't had that feeling since.  And you know what?  I got through that day: I ran across campus to find that actor, and he did a phenomenal job in the film.  We called an emergency film lab and we got our film (though it cost a fortune), and we found a replacement for the missing crew member... a friend who was helping as a PA.  In my experience, that's how it works.  You come prepared as possible and expect issues.  You can't hope they won't happen because you'll be disappointed.  They always do happen at all levels.

The next two days of shooting weren't as bad or hard, but they had their bumps.  We got through it.  Honestly, even after I wrapped I was still on the fence about whether I wanted to do this again.  Then I got into post and saw the footage.  That's when I became a madman and got obsessed with it.  The film did pretty well!  I got Runner Up at our school's film festival and the Editing Award.  Even after I graduated it was screened at some film festivals, and with no names in the cast or crew, that's a difficult thing to do.

I guess my point is not quitting is easier said than done, and I know how it feels to want to take the easy road and just do it.  Don't... not if this is what you want to do.  I remember starting film school with something like 40 people my age.  Only about 20 stuck with it.  Only about 10 actually finished their films to answer print.  It's just like writing.  You have to not just come with an idea or even start writing, you have to finish.  Producers want to see your finished work, not your half finished idea.  Who can blame them?  And my short films are what grabbed important people on my project's interest.  It's close to impossible for a first time director to be given the opportunity to make their film.   A first time director with a couple of short films under his or her belt... well, it raises your chances to not quite totally impossible.  I've always liked those odds, because there is a chance, and that's all any of us dreamers need to stay with it.

So, please don't forget: "We're terrible quitters!"  It's the one thing I'll encourage you to be really bad at.  People like us rank in the bottom thousands out of billions in this world at being a quitter.  Don't rise up those ranks!

And again, because I'm a bad quitter, I'd like to say one more time, please help support and spread the word at: http://www.kickstarter.com/projects/701510775/trust-us-the-film.

How about that!  Until next time... trust me, trust you, trust us!

You Stink!

So you've made your screenplay just the way you like it.  Your friends and loved ones have all read it and said it's good.  Now you show it to someone you don't know, someone in the business who "really" knows what they're talking about, and you worry they'll say, "You stink!!!"  Worst fear, right?  Don't worry about it.  Seriously, probably no one you don't know is going to say that to you anyway.  If they do, I wouldn't take them seriously.  It's widely known in the entertainment industry, most people will let you down easy... "Pass" or "Not what we're looking for right now."  Or... "we have something like that..."  Why do they do that?  Because they are smart... you might be the next big thing one day!  Why burn a bridge?  Seriously, that's as bad as you'll hear in most cases.  The better you know someone, the harsher they are.  What's frustrating about that, is you rarely get a true "why."  Strangers?  No sweat... you basically get a yes or no.  The truth is, there's one thing we all need to know and should be looking for: constructive criticism.

It's great to go into things thinking you're fully capable and your work is the most brilliant thing ever.  At the same time, know that no matter how great you may think you are, your script can always be improved.  Don't be that defensive, sensitive person who wants to crawl into a ball or lash out when you hear something you don't like.  You're going to make a movie, right?  I have news for you... opinions are everywhere when shooting a movie... the cast, the crew, the producers.  Instead of stressing about it, pay attention.  Most of the time, the people around you are good... and I hoped you picked good talent.  This goes for a script too.  Trust your audience, even people who just go to see movies.  Almost 100% of the people who go see movies are not filmmakers.  Like it or not, they're the experts because they pay for the tickets.  If they don't like something, pay attention to it.  They may just save your screenplay's life.  I got a new one for you: we filmmakers/writers/directors/

producers/etc. aren't quitters... we've established that... but we're also tough as hell.  Take the criticism and learn from it.  It'll make you better, stronger, and wiser.   The more you like your own script, the more you should be open to criticism.  Now, on the contrary, if you deal with a simply mean, nasty, non-constructive critic or reader, I fully encourage you to defend your project and yourself and tell them off!  I also encourage you not to trust or respect that kind of opinion.  Determine who is helping you and listen; determine who is poison and ignore them.  That's what taking rejection and criticism is all about.  If they tell you "It stinks!" and have nothing more to add or to help with,  tell them, "You stink!"  You'll feel good.  Just make sure they aren't bigger than you.  I'm kidding.

And listen, don't take it so hard either.  I, for example, have a science fiction film.  I may give my script to someone who likes romantic comedies and wants nothing to do with what I have.  Research who you give it to, but if there's no indication one way or another, it may simply be the reason why you're rejected.  I remember once pitching my idea to someone and they responded with, "Why would you make a time travel movie?  It's not even real!"  How do you compete with that?  Yeah, time travel isn't possible right now, but it makes a heck of a story.  It's not his fault.  I get it, science fiction isn't your thing.  Doesn't mean my screenplay is terrible.  Think about when you go shopping for clothes... there's all sorts of things... some uglier than others.  You pick your favorite, then you watch some dude buy something you'd never be caught dead in... yeah, he BOUGHT that?!  Yup, and he might buy a screenplay you would never want to see on the big screen.  Doesn't make it bad.  You know what?  He'd probably hate whatever you bought.  Point is, your reader is shopping for clothes, and he may be looking for something in green, not blue.  You're out of luck, but it doesn't mean you stink!

Another common mistake with rejection:  I've known many people who get rejected the first three times they send out a screenplay.  So many people will say to themselves, "Wow, I guess it does stink."  Nooooooooo... your logic is off, buddy, WAY off.  The odds of finding someone who wants to finance your movie is a one in a million shot... maybe longer.  That means you need to be rejected a LOT more times than three to even legitimately get discouraged.  That's right... you're not ALLOWED to be discouraged after three rejections... I'm putting my foot down!  Be tough, believe in your project, don't give up.  Don't take no for an answer... and if you do, don't assume that's everyone's answer.  All it takes is one person, the right person, to like your script.  Things always get easier after that.

So keep your heads up, believe in your project, don't lose your fire, put on some armor, and go to into battle.  You know why?  Because you don't stink!!!

I'm also pleased to announce that we are continuing to get the word out on my first feature film, Trust Us, in a big way!  We have just launched a new Kickstarter page, a crowd funding site where you can learn everything there is to know about the project and pledge to our cause in return for some special perks only available to our supporters on the site.  Check it out at: http://www.kickstarter.com/projects/701510775/trust-us-the-film?ref=live

We also now have a Facebook page here at: http://www.facebook.com/pages/Trust-Us-The-Film/138144679635712.  Please become a fan and like our page!

You can also follow us on Twitter at: https://twitter.com/#!/FilmTrustUs

Things are getting really exciting and we hope you follow us during our Road to Wrap!

Better Than Good

Ahhhh, rewrites.  You think it took you a long time to write a good first draft?  You'll quickly realize that the first draft is the simplest, most straightforward and least time consuming part of writing a screenplay.  Now you're up to the dreaded rewrites... draft after draft after... hold on, let me stop here... honestly, it's not so bad.  Rewrites in theory sound like a pain in the you-know-what, but if it's approached the right way, sometimes it can be... wait for it... fun!

How do I figure?  First drafts to me are about getting it down on the page, and I still believe that's the hardest part.  Rewrites are more about making the screenplay better than good.  Please, don't settle for good!  Abandoning your first draft can be like quitting on your script, and we aren't quitters.  Do yourself the favor of taking the time to make it better.  First off, you get to read what you wrote.  I like doing that because I tend to forget a lot of the good little things I put in the script.  Am I the only one who likes reading my first drafts?!  It's fun!  I get to tweak and fix and correct all these parts (proofread), and also get to read what I just spent all this time doing.  It's my very own screenplay.  Now don't get me wrong, for every part you nod with approval, laugh to yourself, or pat yourself on the back, there's at least two parts where you shake your head, laugh at yourself, or slap the back of your own head.  My point is, whether you're enjoying something you forgot you wrote, or how you wrote it, or just tweaking... it's actually fun because you're making your screenplay better, and that's why I like rewriting so much.  It's about taking something that doesn't quite fit and improving it until it does.   You want to be able to show your work to people in the industry with confidence.  If this process isn't fun for you, and everyone's different,  do your best to make it fun.  It's work, there's no question about that, but it's still a very creative process.  Most of my best stuff comes out in the rewrites because now I can see the past, present, and future of the screenplay clearly and use that to my advantage while I'm writing.  With all that said, on to the drafts...

After Draft 1:

Besides the obvious fact that the first draft at this point is done, don't start that second draft yet.     First thing you must do is proofread draft 1.   You'll find you'll make some changes now that you know everything that happens for sure.  After draft 1, I like to wait at least a few months to start draft 2.  Let the script sit as long as it takes to be able to go back to it with fresh eyes because things are going to have to change if we're going to make the screenplay better than good.  Maybe start another script in the meantime if you can.  If not, just take a break.  You're probably creatively spent anyway.  Writing for me is a release of emotions and ideas, and I find that when I'm done, I'm pretty exhausted and useless in that way for a while.  That's okay.  Take the time to recharge your creative energy.  I like to just spend any downtime, if I'm in the mood, to just think of my screenplay.  For the second draft, I find it's good if something pretty big changes.  Maybe I'll add a major character, merge major characters if two are too alike, kill someone off, introduce someone earlier... anything can happen really... or nothing.  Think about what you're trying to accomplish and see if something drastic can improve things.

Draft 2: I have the same problem with most of my screenplays.  They end up too long.  I think it's because I love dialogue and I'm pretty detailed with my action.  I can't tell you how many times I feel like I'm always trying to cut things out.  If my scripts are too short, I get very excited, because then I get to create new character interactions or subplots.  This is very rare for me.  Really do try to stay within 90-120 pages, though.  It's a great barometer to a well paced script, and most professionals who read it will probably feel the same way.

The second draft is about character for me.  I like to make sure every character, main or supporting, have some kind of change in their story arc.  You can't lose by spending extra time thinking about this; not only will your characters be stronger, but each role will be much more attractive to a big name actor you're trying to recruit.  No one wants to play a boring character with no weaknesses and learns nothing about him or herself.  The bartender with two lines?  Don't read too much into it.  If his purpose is to serve a drink and he learns nothing, that's okay, he's not a main focus for you or the audience.  Also, on the subject of character, make sure nobody forces any exposition.  This is where the audience could be forced to space out during a movie.  "Hey, Clark, don't mess with me.  You should know I'm crazy because my dad used to beat me, so one day I killed him with a knife "  Uh, what?!  Exposition should come naturally, not be forced.  How about something more like this: "Hit me again and I'll carve you like I did my daddy!"  Woah... way creepier, right?  We got all the intel we needed: Dude went crazy and killed his dad with a knife for hitting him.  So much explained in one line.  By the way, I have no idea why I used the name "Clark" as an example.... extra random.  Also a reminder of things I've said before but I'll say it again, make sure all dialogue reveals plot or character.  No small talk unless it's necessary!  What do I mean by necessary?  Have two distant characters engage in smalltalk to show they're distant or don't like each other.  Otherwise, pointless dialogue between two best friends who are getting along is boring.  Oh, and don't forget that drama is conflict.  Don't have any characters agreeing with each other for too long unless it's act III and the story is almost over or resolving.

Draft 3: Focus on theme and simple action.  I feel like I've been saying this a lot, but again, make sure everything that's done in the screenplay drives the theme of the story a little more.  This is easy with your main character, but you can even do this with subplots and more minor characters.  For example, in Trust Us I have Guy, someone who is always looking at photo albums of the past or daydreaming about the future.  His roommate Ted is totally different.  He lives in the "now."  Still, with regret as the main theme, both characters have an opinion on that.  If Ted lives in the moment, of course he's not focused on any time but now.  I use this to reveal more about Guy as a person... even down to Ted "pausing" movies while Guy complains he wants to forward to the end.  How can you do something like this with your characters?  I'll also add that this is something I added in a later draft than 3, probably in 7 or so.  It's never too late to come with little ideas like this that may add little neat tidbits to your script.

Now, while you're doing this, also pay attention to what everyone is doing in every scene.  I literally found something for everyone in every scene of Trust Us.  Why?  You tell me, what's more interesting: Two people have a conversation or two people have a conversation while having a football catch?  Okay, both could be boring with bad dialogue, but still, everyone should have something to do while they talk, including the audience.  The reason I like to do this at the same time as driving the theme in a draft is because I can make the toss mean something: maybe they are both competitive, so they start gradually tossing the ball harder and harder, hoping someone will get a hurt, back off, or drop it.  That's a statement... it would tell us quite a lot about these two friends' relationship.

Draft 4: Give it another round, this time focusing on dialogue.  Make the dialogue as concise and real as humanly possible.  When I say concise, I don't mean everything has to have one-word answers, I just mean cutting out all the pointless stuff you don't need.  See how I wrote "pointless stuff you don't need?"  Writing "pointless stuff and redundant" is well... pointless and redundant.  Make sure the dialogue is something that person would use.  Read some dialogue out loud.  See if you can distinguish one character's dialogue from the other.  Who would say this.  In my case I was dealing with scientists.  One of my problems in early drafts was they were speaking like regular people!  It's most likely an introverted future time machine builder wouldn't say, "Check out my time machine thingy... it works on some energy source, I forget the name."  Okay, I didn't do anything that bad, but I made my scientists a little too regular when talking about science.  Instead I changed some dialogue to something like, "The theory of traversable wormholes actually make sense in a multi-universe world."  Then I'd follow with an Einstein quote or something.  Don't do this too much either, or your audience will go cross-eyed or laugh or something.

Also, good dialogue isn't revealing everything the character is feeling.  Let the tough guy say, "I don't love anyone" when it's obvious he's in love with the character he's speaking to.  Let people lie... not everyone is as honest as you or me.  If your character says she's the best, it doesn't, and shouldn't, mean she really believes it.  That's also another way to reveal character: how do they act vs. how they feel.  If your character is a gang leader who dropped out of high school, chances are he doesn't know much about fine wine.  Maybe there's something really interesting in his background or choice of friends to make that possible, , but assuming that isn't the case, don't make your high-school gang leader dropout a wine connoisseur.  Every bit of information matters; your audience is very smart and the first to pick up these things.  Be consistent.

Also know it's helpful to always have focuses for each draft, but always look for anything that can be improved as well.  I have ranged from several drafts to just a few, and even when you think you're done, you probably won't be once you putting your script out there.  For Trust Us, I think the first professional who read it read something like draft 6.  I have another screenplay I feel is ready to be shown at its second draft... maybe I'll go over it once more.  Point is, some first drafts need more work than others, and as you write more, you'll fix these problems sooner or even during your first draft.  I find it can depend on how prepared I was for the first draft in the first place.  But listen, if you're writing the first draft, just be happy you're getting it on the page at all.  Don't worry about it.  As I said, rewriting really can be fun if you allow it to be.

A warning though: there are times where you will get stuck.  This usually happens to me once or twice a screenplay.  Imagine a time travel movie like Trust Us!  You wouldn't believe some of the logic issues I've had with that.  That's an extreme case, though.  What if a character in your story needs to change their mind, and you just can't figure out how to do it without losing the essence of the character.  What if this person would never stand up to anyone, but you just need him to for the sake  of being three-dimensional.  Of course you can just write about how he does it, but it has to make sense.  The change (which is what makes your character interesting in the first place) has to fit.  It has to be realistic in the context of the story.  This is a case by case basis, so some of the problem solving for getting from point A to B can be frustrating.  I find talking to someone about it, anyone, can really help you think out loud.  They kind of serve as a writing shrink.  I'm big on writing it out, or free-writing about the problem in a notebook.  If I'm stuck I start writing down possibilities I know I'm stuck on, write why it doesn't work, then write what may be solutions.  Eventually I find the answer.  I find both of these methods work really, really well.  Believe it or not, math and logic do have a place in screenwriting when it comes to problem solving a script and making everything fit correctly.  Before you know it, it all falls into place, and then you're done!

Now it's time to show it to other people... people you trust who are probably friends and family, and see what they say.  They are, in a way, the best audience.  They can find what's wrong.  If you have two or more people agree and you don't get it, take another look; they're probably right.  Then you'll find yourself focusing on whatever comes up: plot, character, story, dialogue, action, plot holes, etc.  The rest of the rewrites are just to perfect everything.  When you're done, it's time to take a deep breath and send your baby out into the world.  But then comes a new thing that will come up... dealing with rejection.  More on that next time...