Showing posts with label business. Show all posts
Showing posts with label business. Show all posts

Thursday, December 4, 2014

Is Hollywood a "White Industry"?

Chris Rock recently wrote an essay about being black in Hollywood.

While I agree with Chris Rock on many points, I feel his argument is a little actor-centric. He did state that key decision-makers/creatives are rarely black. Too many blacks in the industry focus on being in front of the camera instead of behind it. Therein lies the problem. We also have to move beyond black showrunners, black screenwriters, black directors, and black producers. We also need black executive producers, black distributors, black theatre owners, black editors, black DPs, black MPAA raters, and black entertainment professionals.

When I was interviewing at many production companies post-graduation, I noticed how "white" many of these companies actually are. Some companies had no racial or ethnic minority visible. It's a terrible feeling to know you may be wasting your time. And unfortunately, many black production companies cannot afford to hire you, as they may be folding next month. But as a young emerging creative who happens to be a minority, you are often pigeonholed into creating films that emphasize your otherness, not the next Wizard of Oz. The plus side is that many young professionals are passionate about diversifying Hollywood, and if enough of those passionate people get together, Dear White People, or films like it, emerge.

The following quote struck a chord with me the most:
I don't think the world expected things to change overnight because Obama got elected president. Of course it's changed, though, it's just changed with kids. And when you're a kid, you're not thinking of any of this shit. Black kids watch The Lord of the Rings and they want to be the Lord of the Rings. I remember when they were doing Starsky and; Hutch, and my manager was like, "We might be able to get you the part of Huggy Bear," which eventually went to Snoop Dogg. I was like: "Do you understand that when my brother and I watched Starsky and Hutch growing up, I would play Starsky and he would play Hutch? I don't want to play f—ing Huggy Bear. This is not a historical drama. This is not Thomas Jefferson. It's a movie based on a shitty TV show, it can be anybody. Who cares. If they want me to play Starsky or Hutch, or even the bad guy, I'm down. But Huggy Bear?"
Rock's frustration resonates with me because my mother, my brother, my fiancé, and I are huge science fiction fans. We are able to enjoy science fiction just like anyone else and largely do not understand why #blackstormtrooper is so controversial. Black people cannot star in science fiction, fantasy, or superhero films? The new Spiderman received the same racial backlash as #blackstormtrooper, and so did Hunger Games despite the character being originally written as a black girl.

I wrote an unproduced pilot for a production company that folded called The Adventures of Maxis and Kevin. It's about this adventure-like video game character and this everyman community college student. I wrote no racial identifiers for Kevin, but envisioned him in my mind to be a black kid. He could easily be any race. But the reason I wrote this story was because I grew up on video games. I'm a Gen-Yer born in 1984. I related to Oregon Trail, Super Mario, and Zelda. I didn't feel the need to write that Kevin was black because it added nothing to the story, however, just because I didn't specify doesn't mean he's automatically a white character either.

Once a minority filmmaker can make films without them being consider "race" films, we can say we have arrived. But we are not there yet.

Happy Filmmaking.

Wednesday, June 12, 2013

Best kept secret in filmmaking? Another shoot in Mobile!

 So...now South Alabama is apparently a great place to shoot! Duh. I already touched on this two years ago, but it is worth repeating. Last year, I worked in the Production Office on Yellow Day. This year, Tokarev is shooting. It starts Nic Cage and is directed by Paco Cabezas.

Look out, New Orleans! Mobile is stealing your productions! It's almost enough for me to ALMOST not miss Los Angeles. Almost.

When Nicolas Cage Comes to Town: TOKAREV to Shoot in Downtown Mobile | Mod Mobilian

Happy Filmmaking!

Saturday, November 27, 2010

Amazon Studios: The Good, the Bad, and the Ugly

Amazon Studios has been making a lot of noise around the blogosphere. Because there is so much information out there about it, I originally was not going to comment about it. But given that this is an indie film blog, I now feel I have to give my two cents.

If you haven't heard already, Amazon decided to launch an indie crowdsourcing venture called Amazon Studios. Writers can upload scripts in order to win cash prizes and possibly receive a deal through Amazon and Warner Bros. I'll just touch on the good, the bad, and the ugly.

The Good: Uploading to Amazon Studios is free. Contests usually cost an entry fee. This option might be attractive to a struggling filmmaker or writer. Also, the contest is a monthly one, with cash as a prize. Who doesn't love that? Also, Amazon Studios seems serious about democratizing the filmmaking process. Amazon Studios forms a community and encourages collaboration. Also, scripts do not have to be in English, which is usually a requirement for many other screenwriting contests. Now for the caveat.

The Bad: I think this speaks for itself:
You grant us a worldwide, royalty-free, non-terminable, sub-licensable, transferable right, during the License Period, as defined below, to copy, use, edit, add to, modify and otherwise alter any Original Property you contribute to Amazon Studios and to create, develop and produce derivative works based on the Original Property on and off of Amazon Studios in the form of treatments, screenplays, writer 's pitches, trailers, videos and other written, audio or audiovisual works (each a "DerivativeWork" and these rights, our "New Content Creation Rights"). Our New Content Creation Rights are exclusive during the License Period and you will not grant similar rights in your Original Property to anyone else during the License Period. After the License Period, if we don' t exercise the Option, our New Content Creation Rights will expire and you may grant similar rights to others. --Amazon Studios Development Agreement
In order words: a free option. For 18 months, you cannot shop around the same script to others for a better deal. For free. Usually, when given an option, you would receive some cash incentive not to shop around the script, per WGA rules. I do not know about you, but to me this is a major deal-breaker. Working as a writer, unless you have an exclusive personal relationship with a producer AND you are receiving a co-producer credit, I would avoid the so-called "free option." Even if you do not have a free option, you would at least want a negotiable term option. At Amazon Studios, you would receive neither. In addition, when your screenplay is optioned, you will be eligible for the WGA. Submitting your script to Amazon Studios will not qualify.

If you are a filmmaker, you have to create a "test movie" in order to test the script's validity. The test movie does not need to be a full scale production. However, Amazon expects you to test the entire script. Here, Amazon should have just asked for a trailer or a scene from the movie instead. It seems pointless to make a "test movie" for a potential production. You would be making the movie twice. If I were to create a feature-length test movie, I might as well produce the film myself and call it a day. Plus, Amazon seems to forget that the internet crowd has a short attention span. Who is gonna sit at their computer and watch a semi-produced movie?

The Ugly: John August already pointed this out, but I would make another point. We writers are a paranoid bunch. Many of us are too paranoid. I'm not as worried about others "stealing" my ideas, because if a writer was truly afraid of that, he or she would be afraid to pitch ideas to others. You have to let that go in order to market your work. You must learn to protect your work in a legal way. That being said, losing your rights to your work by uploading to Amazon Studios is not the worst part of Amazon's terms. Amazon is very vague about its procedure facing copyright and attribution issues. Further murking that up, other users can add revisions to your original work, without your permission. And if Amazon agrees to the changes, you have to recognize Goompykid94 as a co-writer.

Whenever I send a script to someone, I send it as a .pdf. Amazon Studios likes the obsolete file format .rtf instead. Not .doc or .docx. Not any Movie Magic or Final Draft format. Not even Celtix. But the same file format used in Wordpad. If you are like me, you predict major formatting issues. Last time I used this file format for a major project, I was wearing butterfly clips and waiting for my dial-up internet to connect via CompuServe. It was also the same time I was allowed to turn in a paper written in Comic Sans.

Last ugly point: Amazon expects the winning script to make $60 million in the box office before they pay you any more money. You might as well bend over. I'm assuming that's Domestic Box Office. This is assuming your script is any good and the resulting film is worthy of a theatrical distribution and release. Also, what about ancillary markets? Foreign release? Digital distribution. Not only does this deal overpromises, the deal is bad for you regardless of how well the film does. Amazon comes out on top. Either way, you will be underpaid and screwed out of your true compensation.

I expected more from the company that owns IMDb. Maybe I expected too much. But I guess it'll be useful for some script you care less about. I would not recommend Amazon Studios for your really good stuff, regardless of the promise of a first look from Warner Bros. Just use Vimeo or YouTube instead.

Happy Filmmaking.

Tuesday, August 10, 2010

Best Advice I Received While in Film School: Art for Business' Sake!

I credit this pearl of wisdom to Professor Drew Casper, Alma and Alfred Hitchcock Chair for the Study of American Film at the University of Southern California's School of Cinematic Arts. The Man, the Legend. Let's face it: if you were a cinema major at USC in the past *CENSORED* years, Dr. Casper was the first person to tell you that your knowledge, as well as your taste, in films was pathetic. Guess what? He was right. He's always right. Hang your head in shame. He also taught you a valuable lesson on day one in his "Introduction to Cinema and Television" (CTCS 190) class. Film is an art, but it is also a business.

A business. Artists forget that part. In fact, most film majors forget that one single most important lesson for the rest of the time in film school. I learned about producing because no one else wanted to do it. We preferred storyboarding to boardrooms. MOS to ROI. Ask a film student about incorporation, and he'll say "LL-what, now?" We made fun of business students for having no vision. After all, they will all end up in human cages, colloquially known as cubicles.

When you leave the palm-tree laced campus of 'SC, you quickly come back to earth. Yes, you know how to make a film from start to finish, creatively-speaking. But can you promote it out of the bowels of Development Hell? Do you know how to sell distribution rights? Can you negotiate for soft money or tax reimbursements? What about raising the money for the film's production in the first place?

Not that 'SC didn't remind its students of these things. It's just no one listened. They were too busy memorizing all the cool lingo used on professional shoots, like OTS (over the shoulder) and "dutch angle" (that overused sideways perspective). No one told us the b-school students would be our bosses! And now they are pissed due to the years of snarky comments from artsy-fartsy types, as Temp X and the Anonymous PA would tell you. Because of the lack of business skills and marketing, many former film majors will get frustrated and eventually go to law school when they get tired of eating spam and Ramen for 600 days in a row. Or when they knock someone up. Whichever comes first.

But it's not too late. Remember most people are in the film business to make money (even the ultracool indies). Most films, even runaway budgets, are funded with equity, and your investors want their money back! Now more than ever, the indie filmmaker has to be a salesperson. Making deals is where the money is at! Lucky for us, good businesspeople are made, not born. One good book to check out is The Producer's Business Handbook. It covers everything from gap financing to completion bonds. At least, once you have the business side down pat, you can move up from Ramen to boxed macaroni and cheese. Just remember milk costs money.

Happy Filmmaking.

Friday, July 30, 2010

Know the Law!


Introducing a new mini-series topic: "Know the Law!" There are many, many, MANY laws governing the entertainment industry, and unfortunately filmmakers dive into the industry with very little legal knowledge. "Know the Law" will cover some basic laws enforced in the film industry, in layman's terms. Please note I am not a lawyer, nor do I play one on TV, so please use my advice for informational purposes only. It is still worthwhile to seek legal counsel, if you can afford it.
I also realize I have a few out-of-state and international readers (thank you for your support!). Most of these laws are California state laws, but many states will have similar laws governing employers, creative industries, and the like. California is the gold standard, so many film industry laws carry over to other states. You should check with your state's (or nation's) film commission.

Happy Filmmaking!

Saturday, July 24, 2010

Another Indie ProCo Falls Victim to Bad Times

Overture Films is no more. Although only three years old, Overture Films was a powerhouse in the world of indie film. Relativity Media has acquired Overture's operation duties. What's very unfortunate about Overture's demise is how the owner lost interest in the film business and had hoped to sell the company to potential buyers. Only two bidders were interested, and their deals were not high enough.

In a time such as this, we need to focus on rebranding independent film. Indie ProCos are just like any other small business, they are the backbone to true American enterprise. As one of the few true American exports, cinema must allow for competitors and a fair exchange of ideas. If all independent filmmaking goes away, we will be stuck with the over-inflated, over-budgeted, unimaginative monotony that is today's studio system.

LA Times article is here:
Overture Films ends three-year run, hands off marketing and distribution to Relativity Media | Company Town | Los Angeles Times

Happy Filmmaking.

Sunday, April 11, 2010

Do I Smell a SCAM???: Working for Free

Kudos for LA Times and the Hollywood Reporter for shedding some light on this subject. Very few industries can get away with the whole "privilege-of-working-with-us-is-enough-compensation" as much as Entertainment Industries. These industries thrive on enthusiastic wannabe players who will do next to anything for that one lucky shot. Unfortunately, these prospective players drive down the market for others, as well as shoot themselves in the foot.

I'm all for volunteering and collaborating. It's a great way to network. But there is a very thin line between volunteering to help out and being used as free labor. It's so commonplace, many now-professionals even stress going the extra mile on these "free" positions in order to keep your foot in the door. As the practice spreads in other industries due to the economy, unemployed workers and the government are starting to question the legality of the so-called "adult internship."

Just as both articles point out, working for free for the direct financial benefit of a company is illegal. The "non-college intern" PA position on professional shoots has to stop. If the film cannot budget some type of compensation for you, then it probably will not help you advance your career. Be friendly and open to assignments, but be mindful.

Happy Filmmaking.

Monday, February 1, 2010

Film lingo list

Are people speaking another language to you on set? The good folks over at Microfilmmaker Magazine complied a really great list of industry lingo. Although I would not call it a complete list, it's a start for beginner people who can't quite talk the talk yet. Some examples:

Deep Focus:
A style of cinematography and staging that uses relatively wide angle lenses and small lens apertures by maintaining objects in the extreme background and foreground simultaneously focused. (Cinematography)

Dolly Shot:
Any shot made from a moving dolly. These may also be called tracking or traveling shots. (Production)

Room Tone:
The "noise" of a room, set or location where dialog is recorded during Production. Used by film and dialog editors as a "bed" to form a continuous tone through a particular scene. This is often confused with ambience, which might be sound effects and/or reverberation added when the dialog is mixed.

A/B Rolls:
Two or more rolls of film having alternate scenes intercut with opaque leaders in such a way tshat the 'A' roll presents its picture at the same time that the 'B' roll presents opaque leader, and vice versa. (Film Editing)

Pay or Play:
A contract provision which commits the production company to compensate a cast or crew member for a project whether or not that project ever goes into production.

The rest of the Film dictionary is here

Happy Filmmaking!!!

Wednesday, October 28, 2009

The Marketability of Independent Film

Exactly how marketable is independent film? All through college I was told that indie films are really not that marketable. And it seems my professors and industry insiders were right. However, Cinderella stories such as District 9 and Paranormal Activity are hard to ignore. And Precious, a film endorsed by Oprah and Tyler Perry may not be far behind.

So was I lied to? Were millions of film students lied to? Not really, but I believe the tides have turned. Nowadays, it is far easier to self-produce and fund independent films. Give me $10,000 or even $5,000, and I can probably make something watchable. With such a small budget, turning a profit on my film may not be as hard as people make it.

But will it sell? Ahh. There's the rub. One has to be completely original, yet remain within the framework of some familiarity. Such as District 9. At first, it sounds like a typical alien invasion story, but the twist reveals that these aliens live in the ghetto. And humans have put them there. And the movie takes place in Africa. The familiarity of the alien invasion story draws us in, while ghetto aliens in bras and panties who abuse cat food like crack keeps us there.

The genre rules are the same though. You still have the bankable horror film, crime drama, romantic comedy, or sci-fi adventure. Indies can play around with genre constructs, especially to drive up originality factor, but too weird and you might be another Ed Wood (one can argue Plan 9 was a genre experiment).

As much as we would hate to admit, the Industry is a business. You gotta play to the masses if you want to stay on top. Of course, the most bankable thing you can do is to bring "a name" to your project. Names come at prices, but sometimes the names alone sell. For example, Tyler Perry can take a crap on a piece of paper, call it Madea Goes to the Bathroom, and will still turn a profit because of the marketability of his name. Hell, may even be #2 at the box office, right after the Halle Berry/Angelina Jolie lesbian film, also co-starring Beyoncé as the jilted lover.

Are there some films that prove marketable even while failing at these "rules"? Sure, but for most of us, we might as well throw that $5,000 off a cliff because no one will see our films. Alternatively, you could shoot the money floating gracefully towards the bottom of the abyss and call it a social commentary about the American banking loan system. Then post it on YouTube. Take that, Keyboard Cat!

Happy Filmmaking!

Tuesday, July 14, 2009

What would you do for $1.5 million???

1.5M for Filmmakers? Cinereach and Sundance Unveil Three-Year Grant Program - indieWIRE

If not inspired by nothing else, Cinereach and the Sundance Institute decide to support small feature projects (both documentary and narrative) in order to discover new talent. The three-year program is a fellowship program that will allow filmmaker fellows access to immense industry resources.

The money is not much, considering the average American film is around $15-40 million. However, one can make a perfectly decent movie for, say, $100,000. You are only limited to your imagination. In the end, the budget is the budget. The importance is receiving more bang for your buck.

Tuesday, June 30, 2009

More Images from LAFF

I never did mention the movies I saw. I am a working girl, so many of the films I wanted to see previewed on the weekends. I saw:

Zero Bridge-touching tale about a pickpocket teenage orphan in Kashmir.
I Sell the Dead-very quirky, but fun.
Wah Do Dem-which won the narrative award, by the way! White boy lost in Jamaica. What's not to love about that?
The Wild and Wonderful Whites of West Virginia-just like it sounds. Produced by Johnny Knoxville.
Not a large list, but I missed quite a few I intended to see. My boyfriend volunteered at the festival so my tickets were gratis! It was at this same festival that he decided he wanted to produce some projects I'm working on. In LA for less than two months and he already caught the filmmaking bug!


Us in the Filmmaker's Lounge.

More photos. Excuse my Blackberry camera:


Tap dancing king of West Virginia.

Happy Filmmaking!

Monday, February 23, 2009

Hooray for Slumdog Millionaire

The Oscars are now old news and we shall rejoice once more that a very deserving film got all the recognition it needed. Slumdog Millionaire won a total of eight awards, including Best Picture, Best Director, and Best Adapted Screenplay. The film will probably spark a new interest in Bollywood cinema that was waned in the past few years.

Other recognized indies that won Oscars:
The Reader (Weinstein Company)
Milk (Focus Features)
Man on Wire (Magnolia Pictures)
Vicky Cristina Barcelona (Weinstein Company)
Departures (Regent Releasing)
Toyland (Mephisto Films)

If you are like me, you have some serious film watching to do! The rest of the winners are here.

Happy Filmmaking!

Sunday, February 22, 2009

SAG to Producers: REJECTED!

What a busy day in Hollywood. The Academy Awards are tonight, but looks like there is a cloud of uncertainy after all the glitz disappears.

SAG rejected the final offer from the Alliance of Motion Picture and Television Producers (AMPTP) Saturday night, Variety reports. So will there be a strike? Well, the board requires a voting member approval of 75% in order to strike. Saturday's vote fell short.

Will this affect Indies as well as Studios? The obvious answer is yes, but how exactly will the indies hurt is a more appropriate question. Only time will tell.

Happy Filmmaking.

Saturday, January 24, 2009

The Oscars: for they for real?

It's January, which means its time for film awards. Film awards, depending on whom you ask are either hokey popularity shows or prestigious lifetime achievements. Although some awards ceremonies have gone downhill as more Americans tire of all the unnecessary glitz and glamour, Hollywood still holds on this tradition like a small child holds on to his mother's pants leg. Award shows are Hollywood's pats on the back.

There is one American statue, however, that seems to hold more weight than, say, your average Golden Globe: The Oscar.



It's art deco design demands a classical respect from whomever cannot get their hands on one. Holding one is a common fantasy of all filmmakers, Hollywood or Indie. Nevertheless, Oscars are reserved for those who have achieved rare cinematic prestige, or at least those who have received the most press.

Enter Heath Ledger. One year ago, the electrifying actor was found with a lethal cocktail of legal drugs in his system. He was the main topic of discussion at Sundance 2008. This year, as everyone knows, he is up for Oscar for Best Actor in a Supporting Role. Hollywood loves young tragedy, so of course, he will receive this award. While Ledger's Joker makes Jack Nicholson's Joker look like a clown at a six-year-old's birthday party, one must one's self: would Ledger be a contender for this Oscar if he were alive?

Also enter Martin Scorsese. Last year, Marty finally won an Oscar for The Departed after being passed over too many times. Not wanting to make the same mistake as with Hitchcock, the Academy essentially granted him his Oscar for his past work.

Oscar also seems to follow this particular formula: Major awards go to arthouse films almost no one saw, and technical Oscars (sound mixing, art direction, special FX) go to those who do it best: Hollywood blockbusters. While people cry and moan over Dark Knights' "oscar snub," I wonder, "why did people expect this film to be an Oscar contender?" Oscar likes to avoid blockbusters in an attempt to appear to look classy. But with the scandals Hollywood places itself into these days, doesn't it almost seems hypocritical?

Whatever. Cinema is always a business and awards are good advertising. Enjoy the Oscar nominees. I'm sure all the nominees will enjoy their moment. I wish them luck.

Happy Filmmaking.

Saturday, November 29, 2008

Speaking of your career...

I came across this article titled, "Why Are So Many People Interested in Pursuing a Film Career?" on the Film-and-TV Career blog. In the article, Darren Alff addresses a good point: what exactly is your OWN motivation for pursuing such a competitive and stressful career?

Alff asked film students nationwide why they wanted in. The answers varied, but he pointed out it was rarely for the sake of art itself. Just like I wrote in a previous blog, money and fame can cloud the mind when choosing this career--or any career for that matter.

I have a friend who graduated with me who wants to be an actor-producer. He's really good and even made a short that his folks help fund. He apparently feels like a failure right now, since the reality of post-college life has sunk in. I reminded him that he just needs to be patient; it will come. Maybe he had visions of fame and fortune, like many film students. Once he gets past this, I think he will be more successful.

I even had those thoughts myself, knowing I should know better. I want to be a writer-director, and it is fun to imagine myself having dinner at a country club with Oprah and the Smiths, or collaborating with P.T. Anderson. Taking my mother shopping for a Hermes bag (and getting on that list in one week), or going on a shoot in Europe. And just like every other film student, I have imagined giving my acceptance speech at BAFTA, SAG, and the Oscars, in a beautiful Oscar de la Renta red dress. But I do not allow these fantasies to distract me from my ultimate goal, which is to make something meaningful and memorable. You could argue that in itself is a fantasy, but I believe it's a far more reachable one than an invitation to the White House to showcase your film.

The article is worth a read. And use it to reflect on yourself. Where are your ambitions taking you?

Happy filmmaking!

Saturday, November 22, 2008

Finding your rich uncle

The hardest thing about making a movie is finding the money and resources to do it. Film finance is an artform in itself that should be taken very seriously. It can be done, however. Just remember these helpful tips to make the daunting task easier:
  • Write a business plan. Would you give your money to a stranger or not-so-close acquittance who didn't do his homework? Have something to present to your potential donor.
  • Be organized in your business plan. Present a set budget. Know why you need money and how much.
  • Don't ask for $50,000 from one person. Ask for $500-1000 dollars from 50 people. Donors are more likely to give in smaller amounts.
  • Set up a website where people can look at your teaser trailer. On that website set up a donations box through Paypal. If your stuff is good, strangers would love to see the rest.
  • Look for and research film grants. State film commissions, non-profits, and patrons of the arts have plenty of film grants out there for the struggling filmmaker. Most are for making a documentary, but some out there do exist for narratives.
  • Look for local and state tax-incentives. Tennessee just announced great tax-incentives and resources for people who make a film in their state.
  • Consider in-kind donations. In-kind donations would be free food, free shooting location, free costumes, free props, anything of that sort. These are usually in exchange for promoting the service or product shown in the film. In-kind donations can cut your cost tremendously.
  • Consider product placement. Don't go overboard like I Robot or Minority Report, but you could present your script to companies and marketing houses for ideas on where to put certain products. For example, Forrest Gump drinks gallons of Dr. Pepper throughout the film.
  • Consider selling distribution rights in exchange for finishing funds. Hopefully, your main goal for your film is to get as many people to see it as possible. Selling distribution rights to the right company or studio grants two of your wishes.

Happy Filmmaking!

Sunday, October 26, 2008

Networking or Flirting?

Every now and then, I would meet a potential business contact in a casual setting. We would discuss films, filmmaking, and entertainment in general, usually over drinks, in a professional, yet friendly manner. Then my potential contact would ask me for my phone number.

Herein lies the dilemma: is this a legitimate business request, or a sly mack? As a woman, I tend to choose my business contacts very carefully; however, sometimes I believe many men--and perhaps some women--use networking as dating service. What is an aspiring estrogen-filled filmmaker to do?

Los Angeles has a reputation of chewing up and spitting out the naïve. And I have gotten some bad contacts before. However, some aspiring filmmakers and actors are just shy at heart and like to talk to someone of the opposite sex about their ambitions. Filmmaking is a sexy occupation, unlike accounting. It's an occupation that screams, "I make my own rules."

So, how do I evade this dilemma and separate the super ambitious from the super horny? I never give my phone number to anyone, unless it's a friend of a friend. Even then, situations can become questionable. I am less protective of my email address since they are a dime a dozen. Thus, I choose to give out my email address instead of my number. Not to mention, you can always stick any problem emails in your junk-folder and press “delete.” Then, only after regular platonic and professional contact, I will give out my number.

I don’t want to toot my own horn, but I’ve been known to be pretty hot, in an Afro-bohemian, artsy chick sorta way. I love to have fun, but I am about my business and taken! If you are serious about meeting me in order to talk shop, then step on up to the plate. If not, then flirt with the half-drunk skeezer at the end of the bar.

Happy Filmmaking!