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.
Tuesday, December 10, 2002
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.
Wednesday, May 29, 2002
Get Lucas a Cattle Prod
Submitted by Melinda Murphy
God help us, the annual summer blockbuster season is here. Have you noticed it comes earlier and earlier?
In the stalwart tradition of an ex-movie critic, I decided to see a few of the new releases. I'm way too fond of my VCR - the relationship is becoming obsessive. So, I returned to big, dark places full of sticky floors and strangers who will not shut up.
It being May '02, I had to get the juggernaut out of the way. Juggernaut is what my favorite comic, Denis Leary, called Titanic. And he was right. Mainstream films are so bloated, so expensive and so over-done, they need a company logo, a dozen lawyers and good lighting just for the press junket. So I gave in and saw Star Wars: Episode II - Attack of the Clones.
The ass-numbing effort reminded me of carnie show rides. When I was 12, I got on a ride, liked it for about five minutes; but when it speeded up, things started swinging at my head and I started sliding out of my seat and then - I just wanted to get off.
The special effects in Attack of the Clones are like that. Things fly at your face and after awhile you just want it to stop before the headache starts. There's either a mechanical whatsit or an enraged creature lunging at the audience every five minutes for two hours and twelve minutes.
I'm not sure if Lucas' mid-life crisis, a hidden drug problem, or enough money to roll around in built the foundation for this film and its depressing predecessor, Star Wars: Episode I - The Phantom Menace.
The dialogue? God, what happened, George? Where are the memorable one-liners like "Well excuse me, your worshipfulness?" I had no idea that Ewan McGregor and Samuel L. Jackson could be that boring. They do voice-overs on car commercials with more verve.
Character development? There isn't any. I was so annoyed by C3P0 and R2D2 that I hoped one of the angry grasshopper critters would finish them off. C3P0 was cute in the earlier films, but now his plumy Brit accent and incessant whining had me fantasizing about him getting stomped into the stadium ground by an angry whatsit. Natalie Portman and Hayden Christensen were no better, but it's not their fault. Everybody is wooden and dull; even the computer-generated characters have poor line delivery.
Plot? It's even worse than I feared. While in the first one, it turned out our heroes' struggles were precipitated by a trade dispute (NAFTA in space), this story stumbles from point to point. Politicians vie for power and somebody's lying, though it's easy to forget exactly who (think Watergate). The characters blather on in monotone; an assistant director should have randomly zapped the actors with a cattle prod just to get a screech out of them!
The romantic sub-plot is butt awful. Pull two socks out of a dryer and rub them together - they will have more energy between them than Anikan and the former-Queen-turned-Senator. At one point, they're frolicking - on I forget which planet - running in alpine meadows. For a second I thought I was watching The Sound of Music. Most of the time, Anikan utters forgettable, awkward lines that might as well have been written by one of Lucas' adopted kids; kind of how a fourteen year-old would imagine great love.
The only up side to this mess, is one of the last scenes where Yoda - that's right - Yoda takes on one of the heavies in a light saber duel. I don't think Lucas intended this response, but it was like watching Kermit the Frog do Kung Fu. The kids in the front row were howling with laughter.
Lucas decided that good writing and editing are needless details that would only hinder a story better suited to the Sci-Fi Channel on a Sunday night. Speaking of cable television, one of the characters even makes mention of "spice mining" - is Lucas scamming the venerable Frank Herbert?
Thank God I saw something coherent before I saw Attack of the Clones - the new Hugh Grant vehicle, About a Boy, which is a wonderful surprise, like a torte that tastes as good as it looks. Yeah, it's fluffy but it was fun, not an ordeal that you don't want to run out of water during.
Grant plays a useless, wealthy cad who has frittered away his life chasing chicks and shopping for compact discs. He meets a kid and the kid gradually weasels his way into the cad's life, changing him forever, and helping him develop empathy for someone other than himself. Grant's dead-on in this role, just like he was in Bridget Jones' Diary, and maybe that's not a compliment.
The plot and character development are good. Aussie Toni Collette is brilliant as a screwball London hippie who feeds her kid soymilk and "Ancient Grains" cereal for breakfast, tells him he's "not a sheep" and then sends him off to school in enough wool and organic fiber to make him look like a rainbow-colored lamb. Grant's character meets her through a self-help group that made me laugh out loud - S.P.A.T. or Single Parents Alone Together. The subtle pokes at contemporary life, which earn giggles and some serious laughs, are reminiscent of Fight Club. When Grant's character is doing a voice-over about a frightening ride to an emergency room, he doesn't hesitate to say it was scary "but driving really fast behind the ambulance was fun!" It's exactly this sort of black, poking-at-political-correctness humor that made flicks like The Opposite of Sex a classic.
It's sad that the entertainment biz continually disappoints with warring egos spewing crap like Attack of the Clones, when you consider that the movie's budget was bigger than Zaire's gross national product. Or, better yet - and this has been said before - for what it costs to make one summer blockbuster, Hollywood could produce two dozen independent films.
God help us, the annual summer blockbuster season is here. Have you noticed it comes earlier and earlier?
In the stalwart tradition of an ex-movie critic, I decided to see a few of the new releases. I'm way too fond of my VCR - the relationship is becoming obsessive. So, I returned to big, dark places full of sticky floors and strangers who will not shut up.
It being May '02, I had to get the juggernaut out of the way. Juggernaut is what my favorite comic, Denis Leary, called Titanic. And he was right. Mainstream films are so bloated, so expensive and so over-done, they need a company logo, a dozen lawyers and good lighting just for the press junket. So I gave in and saw Star Wars: Episode II - Attack of the Clones.
The ass-numbing effort reminded me of carnie show rides. When I was 12, I got on a ride, liked it for about five minutes; but when it speeded up, things started swinging at my head and I started sliding out of my seat and then - I just wanted to get off.
The special effects in Attack of the Clones are like that. Things fly at your face and after awhile you just want it to stop before the headache starts. There's either a mechanical whatsit or an enraged creature lunging at the audience every five minutes for two hours and twelve minutes.
I'm not sure if Lucas' mid-life crisis, a hidden drug problem, or enough money to roll around in built the foundation for this film and its depressing predecessor, Star Wars: Episode I - The Phantom Menace.
The dialogue? God, what happened, George? Where are the memorable one-liners like "Well excuse me, your worshipfulness?" I had no idea that Ewan McGregor and Samuel L. Jackson could be that boring. They do voice-overs on car commercials with more verve.
Character development? There isn't any. I was so annoyed by C3P0 and R2D2 that I hoped one of the angry grasshopper critters would finish them off. C3P0 was cute in the earlier films, but now his plumy Brit accent and incessant whining had me fantasizing about him getting stomped into the stadium ground by an angry whatsit. Natalie Portman and Hayden Christensen were no better, but it's not their fault. Everybody is wooden and dull; even the computer-generated characters have poor line delivery.
Plot? It's even worse than I feared. While in the first one, it turned out our heroes' struggles were precipitated by a trade dispute (NAFTA in space), this story stumbles from point to point. Politicians vie for power and somebody's lying, though it's easy to forget exactly who (think Watergate). The characters blather on in monotone; an assistant director should have randomly zapped the actors with a cattle prod just to get a screech out of them!
The romantic sub-plot is butt awful. Pull two socks out of a dryer and rub them together - they will have more energy between them than Anikan and the former-Queen-turned-Senator. At one point, they're frolicking - on I forget which planet - running in alpine meadows. For a second I thought I was watching The Sound of Music. Most of the time, Anikan utters forgettable, awkward lines that might as well have been written by one of Lucas' adopted kids; kind of how a fourteen year-old would imagine great love.
The only up side to this mess, is one of the last scenes where Yoda - that's right - Yoda takes on one of the heavies in a light saber duel. I don't think Lucas intended this response, but it was like watching Kermit the Frog do Kung Fu. The kids in the front row were howling with laughter.
Lucas decided that good writing and editing are needless details that would only hinder a story better suited to the Sci-Fi Channel on a Sunday night. Speaking of cable television, one of the characters even makes mention of "spice mining" - is Lucas scamming the venerable Frank Herbert?
Thank God I saw something coherent before I saw Attack of the Clones - the new Hugh Grant vehicle, About a Boy, which is a wonderful surprise, like a torte that tastes as good as it looks. Yeah, it's fluffy but it was fun, not an ordeal that you don't want to run out of water during.
Grant plays a useless, wealthy cad who has frittered away his life chasing chicks and shopping for compact discs. He meets a kid and the kid gradually weasels his way into the cad's life, changing him forever, and helping him develop empathy for someone other than himself. Grant's dead-on in this role, just like he was in Bridget Jones' Diary, and maybe that's not a compliment.
The plot and character development are good. Aussie Toni Collette is brilliant as a screwball London hippie who feeds her kid soymilk and "Ancient Grains" cereal for breakfast, tells him he's "not a sheep" and then sends him off to school in enough wool and organic fiber to make him look like a rainbow-colored lamb. Grant's character meets her through a self-help group that made me laugh out loud - S.P.A.T. or Single Parents Alone Together. The subtle pokes at contemporary life, which earn giggles and some serious laughs, are reminiscent of Fight Club. When Grant's character is doing a voice-over about a frightening ride to an emergency room, he doesn't hesitate to say it was scary "but driving really fast behind the ambulance was fun!" It's exactly this sort of black, poking-at-political-correctness humor that made flicks like The Opposite of Sex a classic.
It's sad that the entertainment biz continually disappoints with warring egos spewing crap like Attack of the Clones, when you consider that the movie's budget was bigger than Zaire's gross national product. Or, better yet - and this has been said before - for what it costs to make one summer blockbuster, Hollywood could produce two dozen independent films.
Tuesday, May 07, 2002
Filming What We Know
Submitted by Joseph Gaines
I'll start by saying that I am not a filmmaker. Rather, I am someone who finds himself in the right place at the right time with a story that tells itself. I am lucky enough to have all the resources I need to let this story be retold on film. I don't have to spend a dime on props, the sets are already built and the characters have no need to rehearse their parts. It's just myself, a circle of friends (who know far more about the nuts and bolts of film than I do) and a story that is screaming to be told.
It begins with an accident.
In the fall of 1989, something happens which surprises pretty much everyone in the entire world, especially those who are right in the middle of it. A series of nation-wide demonstrations to change one government's oppressive policies seem certain to provoke a violent response from the military and state police. If this were Tiennamen Square in Beijing, then the story ends here. The government brings the resistance to a bloody and indisputably final end. However, it is not Beijing.
A political and economic system which posited itself as the only viable alternative to fascism disintegrates rather suddenly under the weight of its own dysfunction. The Deutsche Demokratische Republik (German Democratic Republic), the socialist dictatorship which had governed east Germany for the last forty years, collapses seemingly overnight. A "peaceful revolution" takes place, without one shot fired or one drop of blood spilled.
Perhaps "overnight" is an exaggeration. For weeks, protests and prayer vigils have been precipitating just such a collapse. But in one night the Berlin Wall, the ruling Socialist Unity Party's greatest symbol of its real and lasting power, is opened. And blood really is shed; by the time the border opens, three party chiefs have committed suicide. More will do so before the dust settles.
As I said, it begins with an accident. Towards the end of a press conference on November 9, Guenther Schabowski, a DDR Politburo member, lets slip a press briefing which should have been released the next day, announcing a relaxing of the DDR's stringent travel restrictions. Word spreads among DDR citizens even faster than it does to the state police. Hundreds of thousands cram border crossings and the border guards have no choice but to let them through.
And so it goes. More protests, revelations of wide-spread corruption, families and friends reunited - the beginnings of a real public dialog. All of this leads to the eventual reunification of east and west Germany in the following year.
This story is nothing new for Germans. They have talked and written this topic to death.
Why then would anyone want to make a documentary film about it? Who would even watch it?
People will watch this film for the same reason why, when I moved to Leipzig, I thought that the DDR was really just a puppet state of the Soviets and therefore really not very interesting in and of itself - I just didn't know what had really happened here.
I didn't know that many people here had forged a strong sense of independence, of a national identity independent of west German capitalism, of pride in the socialist ideal of equality and support for all citizens, however flawed that reality ultimately proved to be.
I didn't know that there were actually significant ideological differences between the Soviet Union and the DDR, some of which led to blunt political strife in the public arena.
I didn't know that, even though the socialist experiment failed, it wasn't all bad. Many people just lived their lives, left alone by the Stasi (the DDR secret police, often used by the government to terrorize its own citizens), confident that they would always have education, always have a job, and would be cared for from cradle to grave. In the end, everyone knew that the DDR had to clean house, that the ruling party had to go, and that the border had to be opened. Practically nobody expected the whole thing to cave in.
My trade and training is that of a classical musician. I am in Leipzig on a fellowship from the Rotary Foundation to study at the oldest music conservatory in Germany, the Felix Mendelssohn-Bartholdy College of Music and Drama in Leipzig. I confess that I'm a news junkie and I have a serious love for the study of politics and history, but I have no formal training as a filmmaker. More accurately, I have no formal training to interview and translate for a film, which are my tasks in this project.
I have the good fortune to have already begun interviewing my subjects without even knowing it. All I had to do was ask my speech and vocal diction teacher here about what it was like to work as an artist in the DDR and the stories just came. I cautiously experimented with other local artists of various trades, casually asking what was it like back then? I just had to ask the questions. They did all the talking.
It's said that, as a writer, you should write what you know. I'm hoping the same is true of filmmaking, that you should film what you know. I speak the language of actors, musicians, and artists in general. I know them, so I will retell the stories of the DDR through their eyes. Most Germans have seen some kind of documentary film about the DDR, but they have never seen one told in the words of the artists who lived through it.
Who will watch it?
During my first few weeks in Leipzig last fall, I had the good fortune of being able to attend many screenings and events for the 44th Annual Leipzig International Festival for Documentary and Animated Film. I saw dozens of animated shorts, full-length features, and documentaries of all shapes and sizes. Our film being about the history of the DDR as experienced by Leipzig-area artists, this festival seems a logical first venue and a worthy goal. We hope to have wrapped up post-production by July of 2003, in time for submission to the Leipzig "Dok-Festival" in October.
We will keep the original audio (i.e., the interviewees speaking in German) but add English subtitles. On a practical level, this format will serve both English and German-speaking audiences well. Germans are accustomed to hearing films in their own language (virtually all American films shown here are dubbed), so this will be nothing unusual for them. Americans are used to seeing most foreign films in the original language but with subtitles, so we will be accommodating them as well.
Love, betrayal, innocence, violence, corruption, espionage, you name it, the DDR had it all. All I have to do is ask the questions. I don't even have to worry about a script. As the producer, I have to make sure I get my non-German-speaking crew flown here from across the Atlantic, housed, fed, and kept out of trouble for at least a week. I have to make sure all the interviewees will be in town and available, that we have the right camera and that we stick to a relatively tight production schedule.
In the interviews, people will say what they want to, what they need to, but thankfully I don't need to plan that.
Besides, like I said, it all began with an accident anyway.
I'll start by saying that I am not a filmmaker. Rather, I am someone who finds himself in the right place at the right time with a story that tells itself. I am lucky enough to have all the resources I need to let this story be retold on film. I don't have to spend a dime on props, the sets are already built and the characters have no need to rehearse their parts. It's just myself, a circle of friends (who know far more about the nuts and bolts of film than I do) and a story that is screaming to be told.
It begins with an accident.
In the fall of 1989, something happens which surprises pretty much everyone in the entire world, especially those who are right in the middle of it. A series of nation-wide demonstrations to change one government's oppressive policies seem certain to provoke a violent response from the military and state police. If this were Tiennamen Square in Beijing, then the story ends here. The government brings the resistance to a bloody and indisputably final end. However, it is not Beijing.
A political and economic system which posited itself as the only viable alternative to fascism disintegrates rather suddenly under the weight of its own dysfunction. The Deutsche Demokratische Republik (German Democratic Republic), the socialist dictatorship which had governed east Germany for the last forty years, collapses seemingly overnight. A "peaceful revolution" takes place, without one shot fired or one drop of blood spilled.
Perhaps "overnight" is an exaggeration. For weeks, protests and prayer vigils have been precipitating just such a collapse. But in one night the Berlin Wall, the ruling Socialist Unity Party's greatest symbol of its real and lasting power, is opened. And blood really is shed; by the time the border opens, three party chiefs have committed suicide. More will do so before the dust settles.
As I said, it begins with an accident. Towards the end of a press conference on November 9, Guenther Schabowski, a DDR Politburo member, lets slip a press briefing which should have been released the next day, announcing a relaxing of the DDR's stringent travel restrictions. Word spreads among DDR citizens even faster than it does to the state police. Hundreds of thousands cram border crossings and the border guards have no choice but to let them through.
And so it goes. More protests, revelations of wide-spread corruption, families and friends reunited - the beginnings of a real public dialog. All of this leads to the eventual reunification of east and west Germany in the following year.
This story is nothing new for Germans. They have talked and written this topic to death.
Why then would anyone want to make a documentary film about it? Who would even watch it?
People will watch this film for the same reason why, when I moved to Leipzig, I thought that the DDR was really just a puppet state of the Soviets and therefore really not very interesting in and of itself - I just didn't know what had really happened here.
I didn't know that many people here had forged a strong sense of independence, of a national identity independent of west German capitalism, of pride in the socialist ideal of equality and support for all citizens, however flawed that reality ultimately proved to be.
I didn't know that there were actually significant ideological differences between the Soviet Union and the DDR, some of which led to blunt political strife in the public arena.
I didn't know that, even though the socialist experiment failed, it wasn't all bad. Many people just lived their lives, left alone by the Stasi (the DDR secret police, often used by the government to terrorize its own citizens), confident that they would always have education, always have a job, and would be cared for from cradle to grave. In the end, everyone knew that the DDR had to clean house, that the ruling party had to go, and that the border had to be opened. Practically nobody expected the whole thing to cave in.
My trade and training is that of a classical musician. I am in Leipzig on a fellowship from the Rotary Foundation to study at the oldest music conservatory in Germany, the Felix Mendelssohn-Bartholdy College of Music and Drama in Leipzig. I confess that I'm a news junkie and I have a serious love for the study of politics and history, but I have no formal training as a filmmaker. More accurately, I have no formal training to interview and translate for a film, which are my tasks in this project.
I have the good fortune to have already begun interviewing my subjects without even knowing it. All I had to do was ask my speech and vocal diction teacher here about what it was like to work as an artist in the DDR and the stories just came. I cautiously experimented with other local artists of various trades, casually asking what was it like back then? I just had to ask the questions. They did all the talking.
It's said that, as a writer, you should write what you know. I'm hoping the same is true of filmmaking, that you should film what you know. I speak the language of actors, musicians, and artists in general. I know them, so I will retell the stories of the DDR through their eyes. Most Germans have seen some kind of documentary film about the DDR, but they have never seen one told in the words of the artists who lived through it.
Who will watch it?
During my first few weeks in Leipzig last fall, I had the good fortune of being able to attend many screenings and events for the 44th Annual Leipzig International Festival for Documentary and Animated Film. I saw dozens of animated shorts, full-length features, and documentaries of all shapes and sizes. Our film being about the history of the DDR as experienced by Leipzig-area artists, this festival seems a logical first venue and a worthy goal. We hope to have wrapped up post-production by July of 2003, in time for submission to the Leipzig "Dok-Festival" in October.
We will keep the original audio (i.e., the interviewees speaking in German) but add English subtitles. On a practical level, this format will serve both English and German-speaking audiences well. Germans are accustomed to hearing films in their own language (virtually all American films shown here are dubbed), so this will be nothing unusual for them. Americans are used to seeing most foreign films in the original language but with subtitles, so we will be accommodating them as well.
Love, betrayal, innocence, violence, corruption, espionage, you name it, the DDR had it all. All I have to do is ask the questions. I don't even have to worry about a script. As the producer, I have to make sure I get my non-German-speaking crew flown here from across the Atlantic, housed, fed, and kept out of trouble for at least a week. I have to make sure all the interviewees will be in town and available, that we have the right camera and that we stick to a relatively tight production schedule.
In the interviews, people will say what they want to, what they need to, but thankfully I don't need to plan that.
Besides, like I said, it all began with an accident anyway.
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