Submitted by by Mark Leeper, originally written for the MT VOID
A reader wrote to me about my review of Devdas, a Hindi film. In the resulting discussion I talked a little about Hindi films in general. It occurred to me that I haven't said much about the rising popularity of so-called Bollywood films. These days fairly frequently you can see a Hindi film playing at some local theater. I am told that Hindi films are even bigger in Britain than in the United States, and that they are starting to make inroads with a non-Indian audience even here. I am a non-Indian and they are making inroads with me. Some Bollywood filmmakers are now even making films with an international audience in mind. I am not talking about art filmmakers like the late Satyajit Ray. His films were always made for international release. But the neighborhood films, which can be a lot of fun, are now also frequently made for international audiences and some get released over here. This article will probably seem naïve to Indians, but it is an American perspective on Bollywood films.
First of all what am I talking about? Does India even have a film industry? You bet they do. For those who are unaware it is the biggest film industry in the world. They output about 800 feature films a year, two films for every film released by Hollywood. And these are longer films. Most are in the 160-minute range. The center of the Hindi film industry is Bombay or “Mumbai” as insiders call it. Bombay is their equivalent to Hollywood and the “Bombay Hollywood” is called “Bollywood.” They sell tickets to 14 million movie patrons in an average day. That is considerably more people than live in Pennsylvania. That is just the Hindi film industry. There are lower-profile film industries making films in Tamil, Telugu, Kannada, Malayalam, Gujarati, Marathi, and Bengali. But the Hindi films have the widest audience within India and so the filmmakers can afford to mount opulent productions to recover costs.
For many Indians, films are the only forms of entertainment. Movie theaters range in quality from little neighborhood ramshackle affairs to some pretty impressive movie palaces. The most fabulous movie palace I have ever seen is the exquisite Raj Mandhir in Jaipur. In my India trip log, I say “The Raj Mandir is an impressive building, with mirrored interiors, pink decor, and rounded rampways to higher floors. It might even rival Radio City Music Hall. It's a combination of art deco and Hindu statues (well, mandir does mean temple), with lots of pink glass thrown in. With a capacity of about 1300 people, and a screen about twenty-five feet high and fifty feet wide, this is the big screen experience, this is not your local movie theater the size of your living room.”
Are the Hindi movies any good? That is a very interesting question. Certainly some are. The vast majority are made purely for entertainment. They are a way for Indians to shed their troubles and have a good time. Indians love musical production numbers and just about every film regardless of subject matter will have at least three production numbers and most will have as many as six or seven. The plot stops cold and instead they have a knock-your-socks-off dance number. And these are rarely just two people standing still and singing. There will be extravagant costumes and maybe several dancers.
Nearly every film will have comic elements, though a few filmmakers will try to keep those to a minimum. The music and the comedy are elements that Indians look for and expect. Bombay is a serious film about the Bombay riots. There are some fairly harrowing violent scenes toward the end of the film. Yet it starts out as a comedy and a musical with a Hindu boy dressing up as a girl to woo a Muslim girl. The musical comedy is part of the artistic form of the Bombay film. You might as well write a four-line limerick as make a Bombay film without songs and jokes.
Another factor is differences in taste between Indians and non-Indians. What is good for an Indian audience is not necessarily what plays well with an American audience. While some Hindi films may look like they are aimed at children, Indian audiences will just eat them up. There are just differences in predisposition. On the other hand, when I saw Asoka at a film festival, I was much impressed with the expensive look of the picture and the historical adventure. Asoka was an Indian conqueror who did much to spread the faith of Buddhism in India. This was sort of a melodrama based on history. Some of the dance numbers seem a little modern for the period, but the film is glossy and a lot of fun. The film did not play nearly as well with Indian audiences, most of whom knew the history and knew this wasn't it. Incidentally, the film starred Shahrukh Khan who seems to be very popular at the moment. I suppose he looks something like Tony Curtis did in his youth. His acting is on par with Curtis but his looks do sell tickets. Khan is currently in something like five new films a year. If you go to Indian video stores it is hard to avoid his face on boxes and posters. Khan is also the star of Devdas as well has having an important role in Hey Ram.
Bollywood filmmakers tend to shun science-fiction and horror for melodramas. While Indians love science-fiction, they have to import most of the science-fiction films they get. In large part this is because Indian filmmakers cannot really match Western counterparts for providing special effects. Occasionally an enterprising filmmaker will go into those fields, but not a lot do. I have on tape The Jungle, a 1952 Hindi science fiction film that required little in the way of effects. The idea is that animal disturbances are being caused by something strange in the Indian jungle. In the final reel we discover that it is prehistoric mammoths living deep in the Indian jungle. More recently I am told that there is an Indian film patterned on The Matrix. While horror has been rare in India, an article I have just read indicates that it is in vogue right now and many Hindi supernatural horror films are being made.
That brings us to one of the negative aspects of Bollywood films. Several borrow rather shamelessly from already-popular Western films. Khal-Naaikaa, the film we saw at the Raj Mandhir is almost a scene-for-scene remake of The Hand That Rocks the Cradle (with music and comedy added). As I understand it, there was no permission given to reuse the story. Other films certainly show a strong influence of Western plots. China Gate has a strong influence of The Magnificent Seven. Several other films are also strongly influenced by Westerns. Another negative aspect, by the way, is that India's organized crime syndicates do a great deal of the funding of some Hindi films.
Budgets in India are much smaller than those in the United States, but a little money goes a very long way in that country. Devdas cost about $15 million. But that makes it the most expensive Bollywood film of all time. And you see that money on the screen. Lavish does not begin to cover the sets. Much of the film takes place in extravagant mansions that are virtual palaces and more than look it. Budget money goes a very long way in India. The story, on the other hand, may be a little melodramatic for newcomers to the genre. The title character returns to India from a decade of studying in Britain. He falls in love with his neighbor, a childhood sweetheart but a woman of lesser caste played by Aishwarya Rai, a former Miss World. Of course there are pressures on the couple not to be together and this leads to problems and eventually to tragedy.
Another thing about Bollywood films is their wholesomeness. Indian censors are extremely strict. Nudity is non-existent and even kissing is rare for fear of the censors’ ire. Lovers rarely get beyond the handholding stage on-screen. On the other hand, water scenes are quite popular. The female lead will remain fully clothed, but with her clothing all wet a certain amount of human anatomy is discernable.
At the moment there is a large market for Bollywood films outside of India, particularly in places like Britain. Curiously it was cricket that brought India and Britain together in 2002. They faced off in an important tournament. It happened there was a Bollywood film at the same time, Lagaan, on the subject of British facing Indians in a cricket match. Between the cricket match and the film, many Britons became interested in Indian culture and especially the strange films the Indians make. And wherever there are non-resident Indians there will be a market for films from home. Whether this current international interest is part of a longer trend or just a bubble that will soon burst nobody knows. But Bollywood films are a good deal of fun and well worth a film buff's attention.
Tuesday, April 01, 2003
Tuesday, March 11, 2003
Boy Meets Shit Weasels
Submitted by by Melinda Murphy
I gave up on script writing last summer. While setting a personal record on unemployment insurance, I went nuts and decided to become a novelist. This was probably a good career move. I’ve got something new to put down on the welfare form under “occupation.”
I remember living with my brother in central Washington state in the late seventies when he went through the first of many novelist periods. He said, “Kid, you can write your tome, smoke pot, buy a big house, pass out drunk in your own pool, and everyone will think you’re a genius. And then you can just fuck off for five years between books because you’re blocked.”
It seemed like an agreeable lifestyle and not too different from what my brother was doing right then, minus the big house and the pool. He had a medium-sized shack in a crappy suburb and the only large body of water was the mosquito-infested Yakima River three blocks away.
So in the relentless heat of August 2002, I ploughed through what turned into a 230-page (single-spaced) contemporary romantic drama. Mind you, there’s a whole lot of classical literary references, a la Bridget Jones’ Diary and Jane Austen, I have yet to work into the novel - about thirty pages worth of Shakespeare. Every time I crack a copy of Shakespeare, I have a sophomore English class flashback where my teacher is yelling because none of us read Brutus’ speech the night before. I set another personal record - I cranked out the first rough draft in about twenty-three days. That’s right, not months or years, but days. Psychologically, the whole thing quickly turned into the same creative experience I had when I wrote the spec script, My Island, in the summer of 1998. I’ll try and explain.
First, it helps greatly in fiction writing if you’re deranged, depressed, or preferably, have split personality disorder. A good dose of abuse during childhood always helps. I became the characters. I felt what they felt, struggled with their obstacles, fell in love, perished, and got second chances just like them. It’s sort of like a psych student empathy lab without the other people. It was exhausting. I’d stop writing between 11 p.m. and 3 a.m. and go to bed with unwritten dialogue ringing in my head. I forgot to videotape re-runs of Buffy. I forgot to comb my hair.
When it was done, I gave the mess to a half dozen friends. I got mixed reviews that I’m still dealing with in therapy. Overall, everybody thought it was good but rough. There was this weird separation anxiety afterward, like I’d had a relationship with the novel and it had come to an abrupt end. The novel had skipped town, darted out the door when I’d gone to sleep, gotten on a bus, Gus. I couldn’t even have a successful relationship with imaginary people.
So it’s interesting that this last movie season seemed to pick up the cumbersome idea of writers and their inner demons and run with it...for about three feet.
One of my favorites was Neil LaBute’s Possession, which was based on the Booker-winning novel by A.S. Byatt about a fictitious Victorian novelist with fluttering lamb chop sideburns who has an affair with a lesbian (okay, people person) poet. LaBute (who used to be an indie film darling before he actually started making a living as a filmmaker) once again waded deep into unfamiliar water and, despite what those sniping prigs at The Guardian newspaper said, did a bang-up job. I like his work. I hated, hated, hated In the Company of Men simply because no deaf woman alive is that stupid, but I liked his other flicks. Your Friends and Neighbors was flawless in an ferocious sort of Harmony Korine way and Nurse Betty pushed and pulled at stereotypes.
In Possession, smoldering Jeremy Northam and elfish Jennifer Ehle struggle with writing but mostly just sex and the fairytale idea that two writers can live and love together without heaving typewriters or pitching ink bottles at each other. Oh, and they totally skip the whole Victorians-didn’t-bathe-much issue. I heard rumors that guys dragged to this film on dates actually stayed awake through two-thirds of it, but those were only rumors.
A few weeks back, The Hours premiered, trumpeting the arrival of a movie that looks at women writers and how they deal with sex, the heaving of typewriters, and that whole split personality thing I was talking about earlier. This was sort of an update on Julia, the film where Jane Fonda wandered around with a bottle of gutrot under one arm and complained to Jason Robards, “I need to write!” Nicole Kidman put on an impressive prosthesis, Julianne Moore became even more manic-depressive than she was in either of those P.T. Anderson’s films, and Meryl Streep was a freaked out New Yorker who shopped a lot. Half the characters smoked like chimneys (apparently that’s what writers do when they’re not pinning those inner demons to the mat, they’re becoming emphysemic) and Virginia Woolfe became just another apprehensive suburbanite who missed the smog of London. The Hours will probably roll off with a wheelbarrow of Oscars.
Of course, not just writers, but the novels they create have been the fodder for films good, bad, and mediocre for ages.
After watching these films I read two books by contemporary, pulp fiction writers; both extremely successful. One is one of the most successful fiction writers of all time. The first was Clive Barker’s twisted horror-erotica Coldheart Canyon and the second was Stephen King’s Dreamcatcher. Barker is so determined to see his made into a film, he dropped enough names in the book to fill the Shrine Auditorium. In Coldheart Canyon, all the A-list stars from the thirties are sexual deviants and both Julia Roberts and Brad Pitt are “present” when the lead character has a meltdown at a Malibu party. There’s the obligatory asshole studio exec, the morally lost talent agent, ad naseaum. There’s also some good character description, although the book is cumbersome and the lead, Todd, steps out of character halfway through without so much as a backward glance at his motivations. I’m certain Barker, another ex-pat Brit now ensconced in balmy Hollyweird, has already had his first sit-down with someone at Fox or Universal about Coldheart Canyon. So I’m thinking now the whole novelist thing is probably a good idea. Not really the back door into filmmaking, but not quite so thoroughly beaten a path as spec scripts and the whole script contest merry-go-round.
King’s Dreamcatcher surprised me. He was back to his “aw shucks” Maine roots again and the tried-but-true buddy story. He eternally takes us all down memory lane, ever since River Phoenix and company brought the short story The Body to life in Stand By Me. In King’s literary memory, the music was better, the soda was sweeter, and the friendships were always true, a la the maudlin Hearts in Atlantis. This must really hit a nerve with baby boomers; he’s worth something like thirty-five million and, as my college writing professor said years ago, “King never misses a house payment, ever.”
The nice thing about Dreamcatcher was I got caught up in it in a chilly winter night, fat pulpy novel kind of way. You root for the flawed heroes from the get go and the bad guys are nicely over the top, though a few are just average Joes who’ve gone astray.
Of course, the movie rights to Dreamcatcher were optioned before the ink on the front cover was dry. Lawrence Kasdan filmed it in British Columbia last winter and it’s slated to hit American theatres at the end of March 2003. (British Columbia in January? Kinda like sending the cast and crew of The Mummy to Tunis in July.) And - this was a thrill to those who read the book - there will be special effects bad guys. That’s right, America’s favorite author has envisioned the ultimate movie baddy - shit weasels from outer space. No vamps, no demons, no E.T., just full-on shit weasels.
King has inspired me. I’m no longer snubbing mainstream movies or novels. Now if I can just incorporate a few shit weasels into my romantic drama...maybe boy meets girl, boy meets...shit weasel?
I gave up on script writing last summer. While setting a personal record on unemployment insurance, I went nuts and decided to become a novelist. This was probably a good career move. I’ve got something new to put down on the welfare form under “occupation.”
I remember living with my brother in central Washington state in the late seventies when he went through the first of many novelist periods. He said, “Kid, you can write your tome, smoke pot, buy a big house, pass out drunk in your own pool, and everyone will think you’re a genius. And then you can just fuck off for five years between books because you’re blocked.”
It seemed like an agreeable lifestyle and not too different from what my brother was doing right then, minus the big house and the pool. He had a medium-sized shack in a crappy suburb and the only large body of water was the mosquito-infested Yakima River three blocks away.
So in the relentless heat of August 2002, I ploughed through what turned into a 230-page (single-spaced) contemporary romantic drama. Mind you, there’s a whole lot of classical literary references, a la Bridget Jones’ Diary and Jane Austen, I have yet to work into the novel - about thirty pages worth of Shakespeare. Every time I crack a copy of Shakespeare, I have a sophomore English class flashback where my teacher is yelling because none of us read Brutus’ speech the night before. I set another personal record - I cranked out the first rough draft in about twenty-three days. That’s right, not months or years, but days. Psychologically, the whole thing quickly turned into the same creative experience I had when I wrote the spec script, My Island, in the summer of 1998. I’ll try and explain.
First, it helps greatly in fiction writing if you’re deranged, depressed, or preferably, have split personality disorder. A good dose of abuse during childhood always helps. I became the characters. I felt what they felt, struggled with their obstacles, fell in love, perished, and got second chances just like them. It’s sort of like a psych student empathy lab without the other people. It was exhausting. I’d stop writing between 11 p.m. and 3 a.m. and go to bed with unwritten dialogue ringing in my head. I forgot to videotape re-runs of Buffy. I forgot to comb my hair.
When it was done, I gave the mess to a half dozen friends. I got mixed reviews that I’m still dealing with in therapy. Overall, everybody thought it was good but rough. There was this weird separation anxiety afterward, like I’d had a relationship with the novel and it had come to an abrupt end. The novel had skipped town, darted out the door when I’d gone to sleep, gotten on a bus, Gus. I couldn’t even have a successful relationship with imaginary people.
So it’s interesting that this last movie season seemed to pick up the cumbersome idea of writers and their inner demons and run with it...for about three feet.
One of my favorites was Neil LaBute’s Possession, which was based on the Booker-winning novel by A.S. Byatt about a fictitious Victorian novelist with fluttering lamb chop sideburns who has an affair with a lesbian (okay, people person) poet. LaBute (who used to be an indie film darling before he actually started making a living as a filmmaker) once again waded deep into unfamiliar water and, despite what those sniping prigs at The Guardian newspaper said, did a bang-up job. I like his work. I hated, hated, hated In the Company of Men simply because no deaf woman alive is that stupid, but I liked his other flicks. Your Friends and Neighbors was flawless in an ferocious sort of Harmony Korine way and Nurse Betty pushed and pulled at stereotypes.
In Possession, smoldering Jeremy Northam and elfish Jennifer Ehle struggle with writing but mostly just sex and the fairytale idea that two writers can live and love together without heaving typewriters or pitching ink bottles at each other. Oh, and they totally skip the whole Victorians-didn’t-bathe-much issue. I heard rumors that guys dragged to this film on dates actually stayed awake through two-thirds of it, but those were only rumors.
A few weeks back, The Hours premiered, trumpeting the arrival of a movie that looks at women writers and how they deal with sex, the heaving of typewriters, and that whole split personality thing I was talking about earlier. This was sort of an update on Julia, the film where Jane Fonda wandered around with a bottle of gutrot under one arm and complained to Jason Robards, “I need to write!” Nicole Kidman put on an impressive prosthesis, Julianne Moore became even more manic-depressive than she was in either of those P.T. Anderson’s films, and Meryl Streep was a freaked out New Yorker who shopped a lot. Half the characters smoked like chimneys (apparently that’s what writers do when they’re not pinning those inner demons to the mat, they’re becoming emphysemic) and Virginia Woolfe became just another apprehensive suburbanite who missed the smog of London. The Hours will probably roll off with a wheelbarrow of Oscars.
Of course, not just writers, but the novels they create have been the fodder for films good, bad, and mediocre for ages.
After watching these films I read two books by contemporary, pulp fiction writers; both extremely successful. One is one of the most successful fiction writers of all time. The first was Clive Barker’s twisted horror-erotica Coldheart Canyon and the second was Stephen King’s Dreamcatcher. Barker is so determined to see his made into a film, he dropped enough names in the book to fill the Shrine Auditorium. In Coldheart Canyon, all the A-list stars from the thirties are sexual deviants and both Julia Roberts and Brad Pitt are “present” when the lead character has a meltdown at a Malibu party. There’s the obligatory asshole studio exec, the morally lost talent agent, ad naseaum. There’s also some good character description, although the book is cumbersome and the lead, Todd, steps out of character halfway through without so much as a backward glance at his motivations. I’m certain Barker, another ex-pat Brit now ensconced in balmy Hollyweird, has already had his first sit-down with someone at Fox or Universal about Coldheart Canyon. So I’m thinking now the whole novelist thing is probably a good idea. Not really the back door into filmmaking, but not quite so thoroughly beaten a path as spec scripts and the whole script contest merry-go-round.
King’s Dreamcatcher surprised me. He was back to his “aw shucks” Maine roots again and the tried-but-true buddy story. He eternally takes us all down memory lane, ever since River Phoenix and company brought the short story The Body to life in Stand By Me. In King’s literary memory, the music was better, the soda was sweeter, and the friendships were always true, a la the maudlin Hearts in Atlantis. This must really hit a nerve with baby boomers; he’s worth something like thirty-five million and, as my college writing professor said years ago, “King never misses a house payment, ever.”
The nice thing about Dreamcatcher was I got caught up in it in a chilly winter night, fat pulpy novel kind of way. You root for the flawed heroes from the get go and the bad guys are nicely over the top, though a few are just average Joes who’ve gone astray.
Of course, the movie rights to Dreamcatcher were optioned before the ink on the front cover was dry. Lawrence Kasdan filmed it in British Columbia last winter and it’s slated to hit American theatres at the end of March 2003. (British Columbia in January? Kinda like sending the cast and crew of The Mummy to Tunis in July.) And - this was a thrill to those who read the book - there will be special effects bad guys. That’s right, America’s favorite author has envisioned the ultimate movie baddy - shit weasels from outer space. No vamps, no demons, no E.T., just full-on shit weasels.
King has inspired me. I’m no longer snubbing mainstream movies or novels. Now if I can just incorporate a few shit weasels into my romantic drama...maybe boy meets girl, boy meets...shit weasel?
Tuesday, December 10, 2002
An Insider's View of Triggerstreet.com
Submitted by Peter John Ross
I have just uploaded my fourteenth movie to Triggerstreet.com, Kevin Spacey's attempt to imitate Matt Damon and Ben Affleck's highly successful Project Greenlight, which recently completed it's second run. I've been to countless film festivals, screenings, and networking events. I have submitted my films to every short film site on the web, but I have never experienced anything like Triggerstreet.com.
It costs nothing, and in a strange ironic twist, Budweiser is picking up the tab for once. You can upload and review short films for free. Similar to Project Greenlight's recently completed Director's Contest, you must review two other shorts before you can upload one. You can upload RealMedia or QuickTime files. They also accept feature length screenplays in addition to short films. Short films must be less than ten minutes long, in RealMedia or QuickTime format, and under 15MB in size.
So far every single one of my movies has been universally panned. Sometimes I got slammed and complimented for the exact same thing. For instance, on the same short I heard comments like "your actors are so horrible" in one review, while the next reviewer says "the only thing redeeming is the performances from the actors who outclass your pathetic script." Even worse is when I get a review like "you suck... you suck... you suck..." This is repeated until there are fifty words, the minimum requirement for a review. If you have never lived in Los Angeles or New York, Triggerstreet.com is the next best thing. You'll get slammed by anonymous reviewers with screen names like "Dogmatic Carl" and "Digital Bonzai," and believe me, anonymity can bring out brutal honesty. In one review of my movie Friend or Foe, I even had someone claiming they would seek out my characters and attempt to strangle them. I would file assault charges except for the fact that they are fictional characters.
Having reviewed twenty-eight movies and viewed even more, I can say the quality ranges from high end 35mm shorts that are well shot with great scripts and performances to some of the crappiest digital video shorts ever conceived. Apparently, those are mine.
Unlike Project Greenlight, the only reward a filmmaker or screenwriter can receive for exposing their work to potential theft is getting your work included on a DVD. Big deal, I can do that at home with a two-dollar DVD-R, but I like getting my work seen, even if every bit of it gets slammed by other wannabe filmmakers with a chip on our collective shoulders. The real goal is to become "discovered" by getting your work seen by Hollywood bigwigs and/or agents with some clout. Since the highest rated shorts are the ones that draw the most attention, the urge to critique and nit-pick suddenly turns into a need to draw blood.
Opinions are like assholes, everybody has one. Apparently opinions and assholes alike have found a home on the internet at Triggerstreet.com.
There is a series of shorts on the site called Cap'n Ken's Corner that is driving me mad with laughter. It's a spoof of a series like Blue's Clues, but with a very dark edge. After reviewing a lot of movies on the site thus far, it's the best thing on there by a long shot, including my own movies. I am really rooting for their production team to make it because both the concepts and execution are brilliant. It's worth registering just to see. They call themselves "Twisted Mojo." They have other shorts that are good too, but the Cap'n Ken series stands out. There's something about that ultra cheery guy looking through the "reality scope" and seeing a doctor trying to convince him he is not the host of a children's show. Even though I should be cynical as hell of any competitor on the same playing field with me, I can't help but applaud these guys and send out happy thoughts that they will be whisked away from obscurity and into the limelight where they belong. Best of luck and kudos the "Twisted Mojo" team. Overall, their movies are getting good reviews, but there are also some severe criticisms as well.
Overall, the Triggerstreet.com site is a slick idea. It's an eye opener to every slack ass with a camcorder that fancies themselves the next Kevin Smith. Stop getting compliments from your friends and family and let a few film school brats take a crack at reviewing your short, then see if you still want to be a filmmaker. My mom once told me "if you can't stand the heat, then get out of the kitchen." She also told me that I was neither planned nor wanted, so maybe my confidence is not what it should be. But at least I can look in the mirror and still call myself a filmmaker after every one of my flicks gets a horrible review on Triggerstreet.com. If you think you'll win the contest, don't bother submitting. If you want to have your movie seen and probably ripped apart, then this is the site for you. I guess I view it as looking into the abyss and finding out why I really made the movies.
I have just uploaded my fourteenth movie to Triggerstreet.com, Kevin Spacey's attempt to imitate Matt Damon and Ben Affleck's highly successful Project Greenlight, which recently completed it's second run. I've been to countless film festivals, screenings, and networking events. I have submitted my films to every short film site on the web, but I have never experienced anything like Triggerstreet.com.
It costs nothing, and in a strange ironic twist, Budweiser is picking up the tab for once. You can upload and review short films for free. Similar to Project Greenlight's recently completed Director's Contest, you must review two other shorts before you can upload one. You can upload RealMedia or QuickTime files. They also accept feature length screenplays in addition to short films. Short films must be less than ten minutes long, in RealMedia or QuickTime format, and under 15MB in size.
So far every single one of my movies has been universally panned. Sometimes I got slammed and complimented for the exact same thing. For instance, on the same short I heard comments like "your actors are so horrible" in one review, while the next reviewer says "the only thing redeeming is the performances from the actors who outclass your pathetic script." Even worse is when I get a review like "you suck... you suck... you suck..." This is repeated until there are fifty words, the minimum requirement for a review. If you have never lived in Los Angeles or New York, Triggerstreet.com is the next best thing. You'll get slammed by anonymous reviewers with screen names like "Dogmatic Carl" and "Digital Bonzai," and believe me, anonymity can bring out brutal honesty. In one review of my movie Friend or Foe, I even had someone claiming they would seek out my characters and attempt to strangle them. I would file assault charges except for the fact that they are fictional characters.
Having reviewed twenty-eight movies and viewed even more, I can say the quality ranges from high end 35mm shorts that are well shot with great scripts and performances to some of the crappiest digital video shorts ever conceived. Apparently, those are mine.
Unlike Project Greenlight, the only reward a filmmaker or screenwriter can receive for exposing their work to potential theft is getting your work included on a DVD. Big deal, I can do that at home with a two-dollar DVD-R, but I like getting my work seen, even if every bit of it gets slammed by other wannabe filmmakers with a chip on our collective shoulders. The real goal is to become "discovered" by getting your work seen by Hollywood bigwigs and/or agents with some clout. Since the highest rated shorts are the ones that draw the most attention, the urge to critique and nit-pick suddenly turns into a need to draw blood.
Opinions are like assholes, everybody has one. Apparently opinions and assholes alike have found a home on the internet at Triggerstreet.com.
There is a series of shorts on the site called Cap'n Ken's Corner that is driving me mad with laughter. It's a spoof of a series like Blue's Clues, but with a very dark edge. After reviewing a lot of movies on the site thus far, it's the best thing on there by a long shot, including my own movies. I am really rooting for their production team to make it because both the concepts and execution are brilliant. It's worth registering just to see. They call themselves "Twisted Mojo." They have other shorts that are good too, but the Cap'n Ken series stands out. There's something about that ultra cheery guy looking through the "reality scope" and seeing a doctor trying to convince him he is not the host of a children's show. Even though I should be cynical as hell of any competitor on the same playing field with me, I can't help but applaud these guys and send out happy thoughts that they will be whisked away from obscurity and into the limelight where they belong. Best of luck and kudos the "Twisted Mojo" team. Overall, their movies are getting good reviews, but there are also some severe criticisms as well.
Overall, the Triggerstreet.com site is a slick idea. It's an eye opener to every slack ass with a camcorder that fancies themselves the next Kevin Smith. Stop getting compliments from your friends and family and let a few film school brats take a crack at reviewing your short, then see if you still want to be a filmmaker. My mom once told me "if you can't stand the heat, then get out of the kitchen." She also told me that I was neither planned nor wanted, so maybe my confidence is not what it should be. But at least I can look in the mirror and still call myself a filmmaker after every one of my flicks gets a horrible review on Triggerstreet.com. If you think you'll win the contest, don't bother submitting. If you want to have your movie seen and probably ripped apart, then this is the site for you. I guess I view it as looking into the abyss and finding out why I really made the movies.
Tuesday, November 12, 2002
Filters
Submitted by Peter John Ross
I have used several filters on my Canon GL1 but the main one used for New World was an enhancing filter from Tiffen. This particular filter brings out flesh tones and the gradation of the color of leaves in the fall, namely oranges, yellows, and browns. We also used neutral density filters to soften the video look, but it darkened the image, so be sure and open up your iris on the camera.
For other projects, unrelated to New World, I have used red, yellow, and blue filters to get a look similar to Steven Soderbergh's film Traffic. Using filters during the shoot saves time in post if you already know what look you want ahead of time. I also use an 80A filter when I know I am going to convert the footage to black and white. In the title sequence for a short film called Concupiscence (www.sonnyboo.com/othershort.htm) I used a horizon filter, often employed by Tony Scott and Michael Bay in their commercials and feature films to make the horizon line look a gradient colored sky. I used it for an effect I wanted on the titles. Shooting this way saved me hours of Adobe After Effects render time.
Filters may say "for daylight use" or "black and white still photography use," but experiment and try them anyway with color video. One filter can have multiple uses and give numerous looks. A circular polarizer filter is made for two things. One, it kills reflections on glass surfaces shot at an angle. You can rotate the filter until the reflections are cancelled out. A second use for a polarizing filter, which is why I bought one, is to get the richest, most realistic blue skies from whatever camera you use. I used a polarizing filter on my Super-8 film camera for a thirty second commercial I did (www.thecfc.org/movies/PSA33B.mov). Shooting in July, aiming at the sky, the filter brought out so much blue that the sky looked perfect, without compromising the other colors.
If you can't afford the cost of numerous filters for your lenses, you can use your camera's manual white balance to achieve filter-like effects. If you white balance to colors or even gray sheets of paper, you can get some really wild results and cool looks if you need something a bit more radical. If you want something subtle, try using soft yellow or off-white colors to set the white balance. Tinker around and find what works and what doesn't.
Too many digital video shooters don't study cinematography in general or bother to learn some basic techniques borrowed from still photography. Filters work on digital video lenses and come in a variety of sizes, and can be used with even the cheapest cameras. I learned about filters from Emmy Award winning director of photography Scott Spears. He taught me a lot about filters and affecting the image with light, the cinematographers best friend, even when shooting digital video. Too many people take the nearly automated process of digital video for granted and forget that the use of focus, light, filters, and zoom are brushes in the hands of artists, not buttons on a machine.
For additional information on filters check out the Tiffen page at www.tiffen.com/filters.htm.
A sampling of what the Tiffen site has to offer:
Ultraviolet Protector - Protects lens from dust, moisture, scratches, and breakage.
Sky 1A - Popular general use protection filter. Absorbs a significant amount of ultraviolet light. Slightly warm-tinted for better colors. Useful when shooting outdoors in the shade and on overcast days.
Haze 1 - Reduces excessive blue haze caused by ultraviolet light by absorbing 71% of ultraviolet radiation. Great all-around ultraviolet control.
Haze 2 - Absorbs all ultraviolet light. Reduces haze and maintains color and image clarity. Best for high altitude and marine scenes.
Polarizer and Circular Polarizer - Essential for outdoor photography. Deepens intensity of blue skies and reduces or eliminates glare. Use circular polarizers for auto-focus cameras as recommended by the camera manufacturer.
Warm Polarizer - For color imaging, a combination of an 812 filter and polarizing filter. Warms skin tones and scenics.
Neutral Density - For all film types, color or black and white. Absorbs varying degrees of light. Provides balanced exposures and depth-of-field control. Eliminates overly bright, washed out images. Great for video.
Soft - Ideal portrait filter. Softens and minimizes facial imperfections while retaining overall clarity.
Warm Soft - Combines a soft and an 812 warming filter. Smoothes facial details while adding warmth to skin tones for color imaging.
Center Spot - Clear central area for dramatic focus, surrounded by ring of moderate diffusion to minimize distracting background detail.
Warm Center Spot - Combines a center spot filter with an 812 warming filter. Clear central area for dramatic focus, surrounded by ring of moderate diffusion to minimize distracting background detail. Warms image for more vibrant results.
Pro-Mist - Most popular motion picture effect. Creates special "atmosphere" by softening excess sharpness and contrast. Creates a soft glow around highlights. Great for portraits and landscapes.
Warm Pro-Mist - Combination of a Pro-Mist filter and an 812 warming filter. Warms and softens image giving skin a healthy, natural glow.
Black Pro-Mist - Similar characteristics to the Pro-Mist filter, but providing a more subtle effect. Less lightening of shadows and a reduction of contrast.
Ultra Contrast - Recognized by an Academy Award for Technical Achievement, this filter series redistributes ambient light to capture details that would be lost in shadows. Lowers contrast evenly throughout image with no flare or halation.
Low Contrast - Spreads light from highlights to darker areas and leaves bright areas bright, lowering contrast and muting colors. Makes videos look more like film.
Star - Achieve dazzling star effects from any direct or reflected point light source. Add sparkle to water scenes, candle flames, product shots, and more.
Fog - Adds drama to your scene by producing a misty atmosphere. Lights flare while softening contrast and sharpness.
Double Fog - Creates the natural look of fog, especially on overcast days.
Sepia - Creates a warm brown tone for that old time feeling.
Grad - Half color, half clear with a graduated density transition for a smooth blending of color. The perfect solution to transform a pallid sunrise or sunset into something spectacular. Available in a rainbow array of useful colors.
80 Series - Use with daylight film to shoot indoors with tungsten lighting to achieve the correct color in your image.
85 Series - For shooting tungsten corrected film outdoors. Produces natural colors in your images.
FL-D and FL-B - Provide pleasing skin tones and corrects color under fluorescent lighting. Use the FL-D with daylight-corrected media and the FL-B with tungsten-corrected media.
812 Color Warming - Improves color of all skin tones. Absorbs blue cast often caused by electronic flash or outdoor shade. Adds warmth to pale, washed-out flesh tones. Ideal for portraits.
Enhancing - Creates brighter, more saturated reds, browns, and oranges with minimal effect to other colors. Ideal for fall foliage, earth tone rock formations, and rustic barns.
Magenta - Balance excessive green cast and produce creative effects. Great for early morning tint.
I have used several filters on my Canon GL1 but the main one used for New World was an enhancing filter from Tiffen. This particular filter brings out flesh tones and the gradation of the color of leaves in the fall, namely oranges, yellows, and browns. We also used neutral density filters to soften the video look, but it darkened the image, so be sure and open up your iris on the camera.
For other projects, unrelated to New World, I have used red, yellow, and blue filters to get a look similar to Steven Soderbergh's film Traffic. Using filters during the shoot saves time in post if you already know what look you want ahead of time. I also use an 80A filter when I know I am going to convert the footage to black and white. In the title sequence for a short film called Concupiscence (www.sonnyboo.com/othershort.htm) I used a horizon filter, often employed by Tony Scott and Michael Bay in their commercials and feature films to make the horizon line look a gradient colored sky. I used it for an effect I wanted on the titles. Shooting this way saved me hours of Adobe After Effects render time.
Filters may say "for daylight use" or "black and white still photography use," but experiment and try them anyway with color video. One filter can have multiple uses and give numerous looks. A circular polarizer filter is made for two things. One, it kills reflections on glass surfaces shot at an angle. You can rotate the filter until the reflections are cancelled out. A second use for a polarizing filter, which is why I bought one, is to get the richest, most realistic blue skies from whatever camera you use. I used a polarizing filter on my Super-8 film camera for a thirty second commercial I did (www.thecfc.org/movies/PSA33B.mov). Shooting in July, aiming at the sky, the filter brought out so much blue that the sky looked perfect, without compromising the other colors.
If you can't afford the cost of numerous filters for your lenses, you can use your camera's manual white balance to achieve filter-like effects. If you white balance to colors or even gray sheets of paper, you can get some really wild results and cool looks if you need something a bit more radical. If you want something subtle, try using soft yellow or off-white colors to set the white balance. Tinker around and find what works and what doesn't.
Too many digital video shooters don't study cinematography in general or bother to learn some basic techniques borrowed from still photography. Filters work on digital video lenses and come in a variety of sizes, and can be used with even the cheapest cameras. I learned about filters from Emmy Award winning director of photography Scott Spears. He taught me a lot about filters and affecting the image with light, the cinematographers best friend, even when shooting digital video. Too many people take the nearly automated process of digital video for granted and forget that the use of focus, light, filters, and zoom are brushes in the hands of artists, not buttons on a machine.
For additional information on filters check out the Tiffen page at www.tiffen.com/filters.htm.
A sampling of what the Tiffen site has to offer:
Ultraviolet Protector - Protects lens from dust, moisture, scratches, and breakage.
Sky 1A - Popular general use protection filter. Absorbs a significant amount of ultraviolet light. Slightly warm-tinted for better colors. Useful when shooting outdoors in the shade and on overcast days.
Haze 1 - Reduces excessive blue haze caused by ultraviolet light by absorbing 71% of ultraviolet radiation. Great all-around ultraviolet control.
Haze 2 - Absorbs all ultraviolet light. Reduces haze and maintains color and image clarity. Best for high altitude and marine scenes.
Polarizer and Circular Polarizer - Essential for outdoor photography. Deepens intensity of blue skies and reduces or eliminates glare. Use circular polarizers for auto-focus cameras as recommended by the camera manufacturer.
Warm Polarizer - For color imaging, a combination of an 812 filter and polarizing filter. Warms skin tones and scenics.
Neutral Density - For all film types, color or black and white. Absorbs varying degrees of light. Provides balanced exposures and depth-of-field control. Eliminates overly bright, washed out images. Great for video.
Soft - Ideal portrait filter. Softens and minimizes facial imperfections while retaining overall clarity.
Warm Soft - Combines a soft and an 812 warming filter. Smoothes facial details while adding warmth to skin tones for color imaging.
Center Spot - Clear central area for dramatic focus, surrounded by ring of moderate diffusion to minimize distracting background detail.
Warm Center Spot - Combines a center spot filter with an 812 warming filter. Clear central area for dramatic focus, surrounded by ring of moderate diffusion to minimize distracting background detail. Warms image for more vibrant results.
Pro-Mist - Most popular motion picture effect. Creates special "atmosphere" by softening excess sharpness and contrast. Creates a soft glow around highlights. Great for portraits and landscapes.
Warm Pro-Mist - Combination of a Pro-Mist filter and an 812 warming filter. Warms and softens image giving skin a healthy, natural glow.
Black Pro-Mist - Similar characteristics to the Pro-Mist filter, but providing a more subtle effect. Less lightening of shadows and a reduction of contrast.
Ultra Contrast - Recognized by an Academy Award for Technical Achievement, this filter series redistributes ambient light to capture details that would be lost in shadows. Lowers contrast evenly throughout image with no flare or halation.
Low Contrast - Spreads light from highlights to darker areas and leaves bright areas bright, lowering contrast and muting colors. Makes videos look more like film.
Star - Achieve dazzling star effects from any direct or reflected point light source. Add sparkle to water scenes, candle flames, product shots, and more.
Fog - Adds drama to your scene by producing a misty atmosphere. Lights flare while softening contrast and sharpness.
Double Fog - Creates the natural look of fog, especially on overcast days.
Sepia - Creates a warm brown tone for that old time feeling.
Grad - Half color, half clear with a graduated density transition for a smooth blending of color. The perfect solution to transform a pallid sunrise or sunset into something spectacular. Available in a rainbow array of useful colors.
80 Series - Use with daylight film to shoot indoors with tungsten lighting to achieve the correct color in your image.
85 Series - For shooting tungsten corrected film outdoors. Produces natural colors in your images.
FL-D and FL-B - Provide pleasing skin tones and corrects color under fluorescent lighting. Use the FL-D with daylight-corrected media and the FL-B with tungsten-corrected media.
812 Color Warming - Improves color of all skin tones. Absorbs blue cast often caused by electronic flash or outdoor shade. Adds warmth to pale, washed-out flesh tones. Ideal for portraits.
Enhancing - Creates brighter, more saturated reds, browns, and oranges with minimal effect to other colors. Ideal for fall foliage, earth tone rock formations, and rustic barns.
Magenta - Balance excessive green cast and produce creative effects. Great for early morning tint.
Tuesday, October 29, 2002
Independent Films on Public Access
Submitted by Peter John Ross
Take Advantage. Independent filmmakers should put their movies on public access television.
Be realistic and question the motive for why you made your movie. Very few theaters can exhibit your movie unless you have a 35mm film print. If your movie was shot on digital video, then chances are you couldn't afford 16mm film, never mind 35mm film, and you surely can't afford to get a 35mm film print made of your digital video movie at $375 to $450 a minute, and even if you did, it wouldn't look very good. If you made your movie to be seen, put it where people can see it. Public access television offers a chance for your film to be seen. A lot.
Cable public access is an untapped gold mine. It's piped into 1.2 million homes here in central Ohio and it's free. It's the channel that no one watches, but everyone sees. Ever notice how no one talks about what they saw on public access like it was Alias, but mention the cheesiest show and you'll find that everyone knows what it is and have at least seen it.
Why? People are channel surfers. Most people flip by every channel on their way too see Seinfeld re-runs or a Charlie's Angels marathon on TNN. Most people don't know what channel the TV is on when they start going up or down. If something good or different is on, people will stop and check it out. Good god, even if it's bad people tend to stop to at least give it a look.
The connotation for public access or cable access (same thing) is that everything on it is bad. A lot of what is on cable access is horrid and amateurish. Well, put your own movies on there. For some reason, people believe that they cannot put their stuff on cable access because everything on the channel is bad, and somehow, like a bad magic trick, if they put their good movie on public access television, it will transform into a bad movie. If you truly believe what you are making is good, then you should have no fear.
There is a flip side for independent filmmakers too, which is this fanciful belief that their movie is such a prized intellectual property that is so in demand, they don't want anyone but the highest studio executives to see it. We're talking about a movie written by amateurs (like you and me) who shoot with a camcorder over a weekend or two with no name stars. Something happens and delusions of grandeur permeate and make the director, writers, and producers of such digital video shorts think that this is a hot property and has some intrinsic value. The thought that putting it on cable access might disqualify them for Sundance scares them. Sundance is a pipe dream from hell. Do some homework. You think you have a chance at Sundance? The Sundance Film Festival features shorts shot on 35mm film written and directed by Danny Glover and Gary Oldman and they have to compete for the same slots. These guys kiss ass in person at Sundance to get selected. Where do you think Slamdance came from? And then No Dance? People couldn't get into Sundance.
For most markets, there is a public access station, and they accept tapes of your movies on VHS, or ¾" tape, and at some of the more sophisticated places, digital video. You can submit your short films as filler, meant to round out the half hour or full hour shows submitted. Or work with others and put together a thirty or sixty minute show of compiled short films. Or wait until you have thirty to sixty minutes of your own material and make a show. Find out the unadulterated opinion of the public about your movies. If they talk about your movies in the same way they do about the guy who's show is thirty minutes or staring at a yacht, then maybe you need to rethink your once burgeoning movie career. Or maybe people might become fans of your work. You won't know until you try.
Get the exposure. Get your movie seen by people. Don't live in a dreamland where you think film festivals with their $30 to $200 entry fees are your only option. I've said it before, and I'll say it again, if you want to be discovered you have to be somewhere they can find you.
Take Advantage. Independent filmmakers should put their movies on public access television.
Be realistic and question the motive for why you made your movie. Very few theaters can exhibit your movie unless you have a 35mm film print. If your movie was shot on digital video, then chances are you couldn't afford 16mm film, never mind 35mm film, and you surely can't afford to get a 35mm film print made of your digital video movie at $375 to $450 a minute, and even if you did, it wouldn't look very good. If you made your movie to be seen, put it where people can see it. Public access television offers a chance for your film to be seen. A lot.
Cable public access is an untapped gold mine. It's piped into 1.2 million homes here in central Ohio and it's free. It's the channel that no one watches, but everyone sees. Ever notice how no one talks about what they saw on public access like it was Alias, but mention the cheesiest show and you'll find that everyone knows what it is and have at least seen it.
Why? People are channel surfers. Most people flip by every channel on their way too see Seinfeld re-runs or a Charlie's Angels marathon on TNN. Most people don't know what channel the TV is on when they start going up or down. If something good or different is on, people will stop and check it out. Good god, even if it's bad people tend to stop to at least give it a look.
The connotation for public access or cable access (same thing) is that everything on it is bad. A lot of what is on cable access is horrid and amateurish. Well, put your own movies on there. For some reason, people believe that they cannot put their stuff on cable access because everything on the channel is bad, and somehow, like a bad magic trick, if they put their good movie on public access television, it will transform into a bad movie. If you truly believe what you are making is good, then you should have no fear.
There is a flip side for independent filmmakers too, which is this fanciful belief that their movie is such a prized intellectual property that is so in demand, they don't want anyone but the highest studio executives to see it. We're talking about a movie written by amateurs (like you and me) who shoot with a camcorder over a weekend or two with no name stars. Something happens and delusions of grandeur permeate and make the director, writers, and producers of such digital video shorts think that this is a hot property and has some intrinsic value. The thought that putting it on cable access might disqualify them for Sundance scares them. Sundance is a pipe dream from hell. Do some homework. You think you have a chance at Sundance? The Sundance Film Festival features shorts shot on 35mm film written and directed by Danny Glover and Gary Oldman and they have to compete for the same slots. These guys kiss ass in person at Sundance to get selected. Where do you think Slamdance came from? And then No Dance? People couldn't get into Sundance.
For most markets, there is a public access station, and they accept tapes of your movies on VHS, or ¾" tape, and at some of the more sophisticated places, digital video. You can submit your short films as filler, meant to round out the half hour or full hour shows submitted. Or work with others and put together a thirty or sixty minute show of compiled short films. Or wait until you have thirty to sixty minutes of your own material and make a show. Find out the unadulterated opinion of the public about your movies. If they talk about your movies in the same way they do about the guy who's show is thirty minutes or staring at a yacht, then maybe you need to rethink your once burgeoning movie career. Or maybe people might become fans of your work. You won't know until you try.
Get the exposure. Get your movie seen by people. Don't live in a dreamland where you think film festivals with their $30 to $200 entry fees are your only option. I've said it before, and I'll say it again, if you want to be discovered you have to be somewhere they can find you.
Tuesday, July 30, 2002
Movies on the Internet
Submitted by Peter John Ross
Two years ago, the word on the street said that all the undiscovered talent was on the internet. Sites like ifilm.com and atomfilms.com were getting unknown talents onto A-list movies. Lately, we aren't hearing anything like that. Is the internet dead for distribution? Hardly. Broadband and other faster internet connections are making it even more viable to get your movie seen. Everyday more people get faster internet connections which means you can put higher quality movies on the net and generate an audience.
Movies like 405 The Movie, Troops, and George Lucas In Love, showed that the internet can elevate unknown filmmakers into the stratosphere. All of those filmmakers landed feature movie deals. And the bmwfilm.com lot starring Madonna, Clive Owen, and Mickey Rourke showed that Hollywood bigwigs, like directors Ang Lee, John Frankenheimer, (R.I.P.), and Guy Ritchie are willing to do short films for the internet in style.
Is the internet good for feature films? Not yet. There are already some sites such as movieflix.com and cinemanow.com streaming feature length films, but the quality is dreadful. Both sites do buy the distribution rights to independent films, but the price is so low it's not going to reimburse your craft services bill.
The internet is ripe for short films, even movies shot on digital video. Since they are shorter, you can make a manageable, easy-to-download size file that even people with a 56K modem (you know, the Amish) can download. Virtually every single editing software package now includes some kind of output for the web feature.
Why put movies on the internet?
No, you won't get rich, at least that isn't likely. People are leery of the pay sites, unless it's a porn site. If there is a site offering you money for your movie, that's cool, but it won't be much. Most offer a "revenue sharing" program which means with each paid viewing, you get a percentage. That means you have to share that five dollars a month with that company and their overhead. Don't lose any sleep waiting for the check.
So where is the power you ask? The power is in getting exposure. You need to be visible to be discovered. If you have that magical talent that Hollywood is looking for, you need to be somewhere they can see you. Even if they don't see your work online in horrible real video quality, there is a validation that someone, somewhere liked your work enough to host it on the internet for you.
It's not the same when you host all your own movies on your own web page. Any moron can do that. To get "selected" to have your movie played makes a movie executive or an investor think, "someone else liked their movie too," and that means they are more likely to consider your work.
Will putting the movie on the internet instantly make you a star? Hell no. Getting your movie on the internet is only the half-way mark. Getting people to know it's there is the other half.
At the very least, you will get unadulterated feedback. It's funny how the internet can empower people. Some little weasel of a guy in Iowa who's never been assertive in his life will make up a screen name like "BUBBA_BAD_MUTHA" and rip apart your movie because he can safely hide behind anonymity. Get used to bad reviews. Not everyone will love your movie. But you might learn something from these relentlessly honest viewers.
There is also a benefit of ownership. If some other site, other than your own, hosts your movie and someone else rips off the idea, or steals elements, you have an unbiased third party that can prove when you had your movie online. It establishes your idea and date and time.
What are the pitfalls?
Some sites, like ifilm.com, want to get you to buy your exhibition package. It's only $150 for three months of hosting. What a scam. Since several other short film sites went under, and they had exclusive rights on 405 The Movie, they started charging everyone to host their movies. You are a filmmaker, and you should never pay someone else to host your movie.
The other thing to be careful of are the web sites with exclusive contracts. Be sure and read all contracts carefully. Some of them want all rights to your movie (like atomfilms.com, who wants DVD rights, television rights, theatrical rights, everything). If you are willing to give these up because it was something simple you did in the backyard with a camcorder, then go for it, but be aware of the consequence. You just gave away all rights to a movie you wrote and directed. Read the contracts on their web sites carefully before signing. Each site is different with different needs and wants.
Why wouldn't you want to get your movies online?
You increase your exposure, you get honest reviews, and have an excuse to let the media know you have a movie, and virtually every site lets you submit your film for free.
List of Sites
http://sho.com/alt - Showtime's Alternative Media Festival.
http://atomfilms.shockwave.com/af/home - Atom Films.
http://www.bijouflix.com - Bijou Flix , also does a "Best Of" DVD.
http://www.thebitscreen.com - The Bit Screen.
http://craptv.com/co_info/submissions.html - Crap TV.
http://www.ifilm.com - The big baddy of short film sites, ifilm.com boasts the most shorts and the best success ratio of filmmakers going from rags to riches. You can see their "success stories" articles on the site. It's also the most annoying with horrendous pop up screens.
http://www.inetfilm.com - Internet Film Community.
http://www.movieflix.com - Movieflix is one of the coolest new sites and has a broad range of titles of royalty free old movies and new independent short films.
http://www.neokino.com - NeoKino.
http://www.pepper-view.com/en - A French run web site.
http://www.reelscreen.com - The British web site run by the magazine Total Movie and Total Film. Several submissions wind up on their monthly DVD that goes out with the magazine.
http://www.rewindvideo.com/artman/publish/index.shtml - Rewind Video Magazine reviews and links to movies online.
http://www.robofilms.com - Robofilms is silly but fun. Check out the "robo-manifesto."
http://www.shorttv.com - Short TV out of New York also has a TV show counterpart in New York City.
http://studiocities.net - Studiocities has a ton of movies and a great layout.
http://indie.hollywood.com/submitfilm.asp - Indie Film from Hollywood.com, anyone who's been in an AMC theater in the last eighteen months will recognize the name, Hollywood.com, which has theater listings and showtimes. They bought a small formerly Cincinnati based short film site called "alwasyi.com" and converted it to their own.
http://www.undergroundfilm.com - Saving the best for last, Underground Film was recently purchased and will soon be run by the University of Southern California. Underground Film is one of the best independent film sites in the world.
Two years ago, the word on the street said that all the undiscovered talent was on the internet. Sites like ifilm.com and atomfilms.com were getting unknown talents onto A-list movies. Lately, we aren't hearing anything like that. Is the internet dead for distribution? Hardly. Broadband and other faster internet connections are making it even more viable to get your movie seen. Everyday more people get faster internet connections which means you can put higher quality movies on the net and generate an audience.
Movies like 405 The Movie, Troops, and George Lucas In Love, showed that the internet can elevate unknown filmmakers into the stratosphere. All of those filmmakers landed feature movie deals. And the bmwfilm.com lot starring Madonna, Clive Owen, and Mickey Rourke showed that Hollywood bigwigs, like directors Ang Lee, John Frankenheimer, (R.I.P.), and Guy Ritchie are willing to do short films for the internet in style.
Is the internet good for feature films? Not yet. There are already some sites such as movieflix.com and cinemanow.com streaming feature length films, but the quality is dreadful. Both sites do buy the distribution rights to independent films, but the price is so low it's not going to reimburse your craft services bill.
The internet is ripe for short films, even movies shot on digital video. Since they are shorter, you can make a manageable, easy-to-download size file that even people with a 56K modem (you know, the Amish) can download. Virtually every single editing software package now includes some kind of output for the web feature.
Why put movies on the internet?
No, you won't get rich, at least that isn't likely. People are leery of the pay sites, unless it's a porn site. If there is a site offering you money for your movie, that's cool, but it won't be much. Most offer a "revenue sharing" program which means with each paid viewing, you get a percentage. That means you have to share that five dollars a month with that company and their overhead. Don't lose any sleep waiting for the check.
So where is the power you ask? The power is in getting exposure. You need to be visible to be discovered. If you have that magical talent that Hollywood is looking for, you need to be somewhere they can see you. Even if they don't see your work online in horrible real video quality, there is a validation that someone, somewhere liked your work enough to host it on the internet for you.
It's not the same when you host all your own movies on your own web page. Any moron can do that. To get "selected" to have your movie played makes a movie executive or an investor think, "someone else liked their movie too," and that means they are more likely to consider your work.
Will putting the movie on the internet instantly make you a star? Hell no. Getting your movie on the internet is only the half-way mark. Getting people to know it's there is the other half.
At the very least, you will get unadulterated feedback. It's funny how the internet can empower people. Some little weasel of a guy in Iowa who's never been assertive in his life will make up a screen name like "BUBBA_BAD_MUTHA" and rip apart your movie because he can safely hide behind anonymity. Get used to bad reviews. Not everyone will love your movie. But you might learn something from these relentlessly honest viewers.
There is also a benefit of ownership. If some other site, other than your own, hosts your movie and someone else rips off the idea, or steals elements, you have an unbiased third party that can prove when you had your movie online. It establishes your idea and date and time.
What are the pitfalls?
Some sites, like ifilm.com, want to get you to buy your exhibition package. It's only $150 for three months of hosting. What a scam. Since several other short film sites went under, and they had exclusive rights on 405 The Movie, they started charging everyone to host their movies. You are a filmmaker, and you should never pay someone else to host your movie.
The other thing to be careful of are the web sites with exclusive contracts. Be sure and read all contracts carefully. Some of them want all rights to your movie (like atomfilms.com, who wants DVD rights, television rights, theatrical rights, everything). If you are willing to give these up because it was something simple you did in the backyard with a camcorder, then go for it, but be aware of the consequence. You just gave away all rights to a movie you wrote and directed. Read the contracts on their web sites carefully before signing. Each site is different with different needs and wants.
Why wouldn't you want to get your movies online?
You increase your exposure, you get honest reviews, and have an excuse to let the media know you have a movie, and virtually every site lets you submit your film for free.
List of Sites
http://sho.com/alt - Showtime's Alternative Media Festival.
http://atomfilms.shockwave.com/af/home - Atom Films.
http://www.bijouflix.com - Bijou Flix , also does a "Best Of" DVD.
http://www.thebitscreen.com - The Bit Screen.
http://craptv.com/co_info/submissions.html - Crap TV.
http://www.ifilm.com - The big baddy of short film sites, ifilm.com boasts the most shorts and the best success ratio of filmmakers going from rags to riches. You can see their "success stories" articles on the site. It's also the most annoying with horrendous pop up screens.
http://www.inetfilm.com - Internet Film Community.
http://www.movieflix.com - Movieflix is one of the coolest new sites and has a broad range of titles of royalty free old movies and new independent short films.
http://www.neokino.com - NeoKino.
http://www.pepper-view.com/en - A French run web site.
http://www.reelscreen.com - The British web site run by the magazine Total Movie and Total Film. Several submissions wind up on their monthly DVD that goes out with the magazine.
http://www.rewindvideo.com/artman/publish/index.shtml - Rewind Video Magazine reviews and links to movies online.
http://www.robofilms.com - Robofilms is silly but fun. Check out the "robo-manifesto."
http://www.shorttv.com - Short TV out of New York also has a TV show counterpart in New York City.
http://studiocities.net - Studiocities has a ton of movies and a great layout.
http://indie.hollywood.com/submitfilm.asp - Indie Film from Hollywood.com, anyone who's been in an AMC theater in the last eighteen months will recognize the name, Hollywood.com, which has theater listings and showtimes. They bought a small formerly Cincinnati based short film site called "alwasyi.com" and converted it to their own.
http://www.undergroundfilm.com - Saving the best for last, Underground Film was recently purchased and will soon be run by the University of Southern California. Underground Film is one of the best independent film sites in the world.
Tuesday, July 16, 2002
Cinedictum: Self-Interview
Submitted by Shavkat Karimov
What in the hell is Cinedictum?
Cinedictum is a witty child, conceived in love by philosophy and art. From philosophy it has a manner to ask, and from art, a manner to answer.
Cinedictum is a new word in cinema. It's a short dictum stated in a figurative style by the film medium.
In other words, Cinedictum is a film-aphorism. It's a very short film (usually, no more than three minutes) whose concise narrative holds both entertainment and moral value, while addressing universal themes.
So what?
Cinedictum, like aphorism in literature, has very strong attraction. This occurs because ideas are expressed in bright form with precision. Some aphorisms are fundamentally wrong and unjust. Nevertheless, as a result of their ability to influence, they are often used as arguments in disputes.
Cinedicta are violence-free movies. We are opposed to scenes with violence, sex, drugs, use of weapons, cruel fighting, and the promotion of extreme ideologies such as terrorism and fascism. We can entertain and impress without showing violence on the screen.
Humor is our main power and it makes us live longer. Most of our films are comedies. And comedy is the world's most popular genre.
Cinedicta have wide audience. Kids, teenagers, young professionals, parents, and senior citizens will all find something for themselves in these movies. Any social group will accept them, as very common themes are explored in Cinedicta. We have also concentrated on making the movies silent in order to make it possible for anyone in the world understand them. We made them universal.
These films will never get old. They will stay forever young because they are made in classic style.
Cinedicta are great, precisely because they are so short. Their strength lies in their weakness. As William Shakespeare said, "Brevity is the soul of wit." So, we keep them short.
In this new millennium the tempo of our lives is continually accelerating. We don't have extra time, and sometimes people just don't want to spend two hours watching a feature, even if they love movies. We are short of leisure time, a trend that works to the advantage of cinedictum. You need only a few minutes to watch a cinedictum. And if you have twenty minutes of free time, you can stimulate your mind and enjoy watching ten cinedicta all at once.
Okay, how can I use it?
Cinedicta can be aired on television either in addition to other programming (lead-ins, infomercials, promos, visuals, fillers before and after programs) or independently, as a compilation of cinedicta made available to air together. Also, cinedictum can be used to fill in the gaps between programs. When the program ends a few minutes early, the television networks need something to help bring them to the top of the hour.
Cinedicta can also be used as in-flight programming or be shown in waiting areas at airports, hotels, supermarkets, and sports stadiums. For more ideas where cinedictum can be shown check out the list available at www.cinedictum.com/films/use.phtml
Despite language barriers cinedicta can be shown in numerous countries because their sense, and especially their humor is visual rather than verbal. Often there are no words at all in the films which gives them a timeless quality.
That's interesting. What do you propose?
We have thoroughly studied the best of the planet's short stories, world and ethnic literature, and national epics. We have explored the entire experience of humanity and used it in cinedictum. Today, we have fifteen-hundred screenplays selected for cinedicta in our database. However, we continue to replenish our list by adding more stories to our database daily.
The first batch consists of ten cinedicta and because of the considerable public interest in these brand new movies, we plan to create many more cinedicta in the future.
We invite everyone to take part.
Our films are absolutely independent. No one tells us what kind of cinedicta to create, or how to do it. We are an independent company and we are proud of it.
Cinedictum has a distinctive excellence. Viewers will always watch until the end.
I believe that Cinedictum will soon find its niche in the world of cinema.
Where can I find out more?
You're always welcome to visit the cinedictum home page at www.cinedictum.com.
What in the hell is Cinedictum?
Cinedictum is a witty child, conceived in love by philosophy and art. From philosophy it has a manner to ask, and from art, a manner to answer.
Cinedictum is a new word in cinema. It's a short dictum stated in a figurative style by the film medium.
In other words, Cinedictum is a film-aphorism. It's a very short film (usually, no more than three minutes) whose concise narrative holds both entertainment and moral value, while addressing universal themes.
So what?
Cinedictum, like aphorism in literature, has very strong attraction. This occurs because ideas are expressed in bright form with precision. Some aphorisms are fundamentally wrong and unjust. Nevertheless, as a result of their ability to influence, they are often used as arguments in disputes.
Cinedicta are violence-free movies. We are opposed to scenes with violence, sex, drugs, use of weapons, cruel fighting, and the promotion of extreme ideologies such as terrorism and fascism. We can entertain and impress without showing violence on the screen.
Humor is our main power and it makes us live longer. Most of our films are comedies. And comedy is the world's most popular genre.
Cinedicta have wide audience. Kids, teenagers, young professionals, parents, and senior citizens will all find something for themselves in these movies. Any social group will accept them, as very common themes are explored in Cinedicta. We have also concentrated on making the movies silent in order to make it possible for anyone in the world understand them. We made them universal.
These films will never get old. They will stay forever young because they are made in classic style.
Cinedicta are great, precisely because they are so short. Their strength lies in their weakness. As William Shakespeare said, "Brevity is the soul of wit." So, we keep them short.
In this new millennium the tempo of our lives is continually accelerating. We don't have extra time, and sometimes people just don't want to spend two hours watching a feature, even if they love movies. We are short of leisure time, a trend that works to the advantage of cinedictum. You need only a few minutes to watch a cinedictum. And if you have twenty minutes of free time, you can stimulate your mind and enjoy watching ten cinedicta all at once.
Okay, how can I use it?
Cinedicta can be aired on television either in addition to other programming (lead-ins, infomercials, promos, visuals, fillers before and after programs) or independently, as a compilation of cinedicta made available to air together. Also, cinedictum can be used to fill in the gaps between programs. When the program ends a few minutes early, the television networks need something to help bring them to the top of the hour.
Cinedicta can also be used as in-flight programming or be shown in waiting areas at airports, hotels, supermarkets, and sports stadiums. For more ideas where cinedictum can be shown check out the list available at www.cinedictum.com/films/use.phtml
Despite language barriers cinedicta can be shown in numerous countries because their sense, and especially their humor is visual rather than verbal. Often there are no words at all in the films which gives them a timeless quality.
That's interesting. What do you propose?
We have thoroughly studied the best of the planet's short stories, world and ethnic literature, and national epics. We have explored the entire experience of humanity and used it in cinedictum. Today, we have fifteen-hundred screenplays selected for cinedicta in our database. However, we continue to replenish our list by adding more stories to our database daily.
The first batch consists of ten cinedicta and because of the considerable public interest in these brand new movies, we plan to create many more cinedicta in the future.
We invite everyone to take part.
Our films are absolutely independent. No one tells us what kind of cinedicta to create, or how to do it. We are an independent company and we are proud of it.
Cinedictum has a distinctive excellence. Viewers will always watch until the end.
I believe that Cinedictum will soon find its niche in the world of cinema.
Where can I find out more?
You're always welcome to visit the cinedictum home page at www.cinedictum.com.
Tuesday, June 18, 2002
The Story of Donald and Dot Clock
Submitted by Roger DeBris
John Edmund Parcher wanted to make his own damn movie. A decade of work as a part-time audition actor (entertaining casting directors who called him in to read for hundreds upon hundreds of roles) led him to realize that waiting on anyone to open doors for him would not work, and that the few times he was actually hired would not do. Several short film projects with a variety of aspiring directors gave him the where-with-all to finally make a feature film. The only problem was, what would the film be about?
Sometime in the mid-nineties, somewhere in the Midwest, was a daily newspaper with a tiny blurb proclaiming, "Donald and Dot Clock Found Dead in their Home." The story went on to state that the cause of death was not known, that the police did not suspect foul play and that there was no evidence of suicide. What happened to Donald and Dot Clock? This was the burning question that brought forth the idea for John Edmund Parcher's first feature film and transformed Parcher into "Donald Clock" for the silver screen. However, the "Dot" character was still missing.
At a reception after a random Sundance screening, John Edmund saw a tall, wiry, striking female figure, with a unique aura about her. He approached her and introduced her to the idea of Donald Clock and the part of Dot. Her name was Eugenie Bondurant, and she originally hailed from New Orleans. She said yes and several years later the first day of shooting began.
First time director, Michael Kowalski, was studying film in the Anthropological Department of the University of California. He had made a few short documentaries, including his final graduate thesis project. John Edmund had met Michael on a Greyhound bus ride from back east to Los Angeles. Michael expressed interest in the "Donald and Dot Clock" project and brought along a writer who came up with a loose outline of the story. The initial script played around with elements from "Marty" and "Ben," a shy loser and a rat. Since John Edmund was a strict Vegan for the past twenty-five years, the writer created several scenes as a dark satire, including a beating with dead rabbits, skinning rabbits, as well as a talking skinned rabbit.
The filming itself lasted twenty-three days and was spread out over four years. The first rough cut was shot over thirteen days and was cut on a Light Works system at Disney Studios. The editor of a Disney feature allowed Michael and John Edmund to sneak in and cut "Donald and Dot Clock" on the sly. The editor had dated Eugenie in years past. The first rough cut spanned two hours and needed a lot of work.
The director would spend the next eight months or so figuring out what to do. Finally, a crew was gathered and additional scenes were shot, and others were re-shot. Between film shoots, numerous ideas were shot on video in order to test out various plot developments. The footage was then plugged into the film on a Mac Final Cut Pro system Michael had set up in his home, the Disney show having been completed.
A dedicated group of professionals donated their time and showed up time and again; camera operator, gaffers, grips, and the actors who performed in a variety of roles. The director of photography, Mary Beth Bresolin was Michael¹s girlfriend and they had gone through an ugly breakup just after the principle photography. Despite this, she came and shot the film every time she was needed over the course of the four years it took to reach completion.
The filming took place in each participant's homes (actors, director, and producer) and all over Los Angeles without permits. One of the big "special effects" in the film took place when Donald throws himself into the La Brea Tar Pits. After he climbs over the fence and jumps towards the tar pits, the close up insert is that of John Edmund as Donald sinking into a kiddy pool filled with molasses, soy oil, and some dirt, to duplicate the tar pit look. This same mix was covered all over John Edmund when "Donald" finds himself in the afterlife, walking through the Los Angeles sewer system where he greets Dot, who had been mourning his death at the spot where she commiserates with rats earlier in the film.
When the film was fashioned into a presentable form, it was left in the hands of the person who got the whole thing started, pulled the train out of the station on the adventure bound for glory. John Edmund Parcher faced the daunting task of launching the film to the viewing public utterly alone.
Through the hundreds of rejections from film festivals including, Sundance, Slamdance, Nodance, Digidance, Slamdunk, Tromadance, and more, John Edmund felt lost, but not without hope, for he was finally found by the Lost Film Fest. The little film festival that could expressed true love for Donald and Dot Clock Found Dead in their Home and has screened the film out of their home base in West Philadelphia and all around the world.
John Edmund Parcher wanted to make his own damn movie. A decade of work as a part-time audition actor (entertaining casting directors who called him in to read for hundreds upon hundreds of roles) led him to realize that waiting on anyone to open doors for him would not work, and that the few times he was actually hired would not do. Several short film projects with a variety of aspiring directors gave him the where-with-all to finally make a feature film. The only problem was, what would the film be about?
Sometime in the mid-nineties, somewhere in the Midwest, was a daily newspaper with a tiny blurb proclaiming, "Donald and Dot Clock Found Dead in their Home." The story went on to state that the cause of death was not known, that the police did not suspect foul play and that there was no evidence of suicide. What happened to Donald and Dot Clock? This was the burning question that brought forth the idea for John Edmund Parcher's first feature film and transformed Parcher into "Donald Clock" for the silver screen. However, the "Dot" character was still missing.
At a reception after a random Sundance screening, John Edmund saw a tall, wiry, striking female figure, with a unique aura about her. He approached her and introduced her to the idea of Donald Clock and the part of Dot. Her name was Eugenie Bondurant, and she originally hailed from New Orleans. She said yes and several years later the first day of shooting began.
First time director, Michael Kowalski, was studying film in the Anthropological Department of the University of California. He had made a few short documentaries, including his final graduate thesis project. John Edmund had met Michael on a Greyhound bus ride from back east to Los Angeles. Michael expressed interest in the "Donald and Dot Clock" project and brought along a writer who came up with a loose outline of the story. The initial script played around with elements from "Marty" and "Ben," a shy loser and a rat. Since John Edmund was a strict Vegan for the past twenty-five years, the writer created several scenes as a dark satire, including a beating with dead rabbits, skinning rabbits, as well as a talking skinned rabbit.
The filming itself lasted twenty-three days and was spread out over four years. The first rough cut was shot over thirteen days and was cut on a Light Works system at Disney Studios. The editor of a Disney feature allowed Michael and John Edmund to sneak in and cut "Donald and Dot Clock" on the sly. The editor had dated Eugenie in years past. The first rough cut spanned two hours and needed a lot of work.
The director would spend the next eight months or so figuring out what to do. Finally, a crew was gathered and additional scenes were shot, and others were re-shot. Between film shoots, numerous ideas were shot on video in order to test out various plot developments. The footage was then plugged into the film on a Mac Final Cut Pro system Michael had set up in his home, the Disney show having been completed.
A dedicated group of professionals donated their time and showed up time and again; camera operator, gaffers, grips, and the actors who performed in a variety of roles. The director of photography, Mary Beth Bresolin was Michael¹s girlfriend and they had gone through an ugly breakup just after the principle photography. Despite this, she came and shot the film every time she was needed over the course of the four years it took to reach completion.
The filming took place in each participant's homes (actors, director, and producer) and all over Los Angeles without permits. One of the big "special effects" in the film took place when Donald throws himself into the La Brea Tar Pits. After he climbs over the fence and jumps towards the tar pits, the close up insert is that of John Edmund as Donald sinking into a kiddy pool filled with molasses, soy oil, and some dirt, to duplicate the tar pit look. This same mix was covered all over John Edmund when "Donald" finds himself in the afterlife, walking through the Los Angeles sewer system where he greets Dot, who had been mourning his death at the spot where she commiserates with rats earlier in the film.
When the film was fashioned into a presentable form, it was left in the hands of the person who got the whole thing started, pulled the train out of the station on the adventure bound for glory. John Edmund Parcher faced the daunting task of launching the film to the viewing public utterly alone.
Through the hundreds of rejections from film festivals including, Sundance, Slamdance, Nodance, Digidance, Slamdunk, Tromadance, and more, John Edmund felt lost, but not without hope, for he was finally found by the Lost Film Fest. The little film festival that could expressed true love for Donald and Dot Clock Found Dead in their Home and has screened the film out of their home base in West Philadelphia and all around the world.
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