"What's Your Survival Job?" - call for real-life stories

Backstage is looking for New York-based actors and filmmakers with stories about their "other" life. You know, the so-called "survival job" and all the trials, tribulations, and successes therein. Check out the link to answer the call. If you can't view the link, you can email Daniel Holloway at daniel.holloway@backstage.com.

Happy Filmmaking!

Do I Smell a SCAM???: Wrong turn at Albuquerque

Local Albuquerque news broke quite an intriguing story: a former local filmmaker was "loaning" out his insurance policy to other filmmakers in exchange for producer credit. Talk about copy and credit!

The former filmmaker also made some scratch on the side, charging filmmakers for the use of his insurance policy. Herein lies the grey area: Mr. Porter is not an insurance agent and therefore cannot provide insurance to anyone, yet he asked for co-producer credit on all the films, cementing his "involvement" on the film or films. Dare I say, scam???

This is fraud, plain and simple. You can be sympathetic towards the filmmakers and to Mr. Porter, but Mr. Porter can't name himself co-producer on a project AND collect a fee. Most producers and filmmakers here in Los Angeles would've laughed him out of their offices and hire someone else with a license. Even if Mr. Porter did not know what he was doing was illegal, the insurance company--who knew--should have taken responsibility. The company merely informed him it was illegal (or, at least, that is what it told KRQE).

Listen, s**t happens. You're gonna need insurance on your shoots. If you drop your camera off a cliff, your main actor breaks his arm, or have your tripod or dolly stolen (my God, please steal ANYTHING!), you might want to have a little insurance to back you up. In fact, it's the law in many places. But please, buy insurance from reputable sources. Even State Farm sells insurance for filmmakers. In the unlikely event one of the above occurs, your policy will actually cover you, instead of covering some guy who knows close to diddly squat about your film.

Here is a short list provided by my alma mater (Fight on, ol' SC!) for film insurance providers:

Abacus Insurance Brokers

ISU Vansa Insurance Services

Truman Van Dyke Company

Happy Filmmaking!

Holding out for a hero: Pulling the Plug on Recession Filmmaking

Is it really smart to invest in independent filmmaking during a recession? Sure, the Indie industry is always risky (everything from risky investors to one-hit wonders), but how smart is it to actually shoot and produce a film in times like these?

I personally am taking the time to venture very carefully. Just as in the Writer's Strike, I am concentrating on planning and writing. Besides, both of those activities require virtually no money. Also, now is a great time to check out how well your competition is doing. That is the studios.

Recession is very vulnerable to indies because of the niche audiences. Even studios are cutting back on production. Production is not where it is at!!! But I know the time will come when the demand will rise again.

Post, on the other hand, is something worth investing. You should finish any cuts started since an unfinished film is more money down the drain. Your editor (or just you) should be mindful of wasteful cuts, while keeping the "when in doubt, cut it out" rule.

Be prepared by prepping your film package and laying out the groundwork for your production company. You know what they say: failure to plan is planning to fail. Investors are getting harder and harder to entice, so make the package as concise as possible during this time. And maybe one day, the money will flow freely once more.

Happy Filmmaking!

The Science of Filmmaking

I came across an interesting article in the LA-based free street periodical Brand X today. Under the title “Quantum Filmmaking,” there was a woman filmmaker named Valerie Weiss. Weiss transitioned from a biophysicist with a Harvard PhD to a filmmaker, currently in pre-production for her first film.

Many filmmakers have a “day job,” but this article demonstrates how one can use aspects and experiences in that day job in order to shape their creative streak. Weiss explains how scientists use creativity in order to form theories and hypotheses and take risks. She believes science and filmmaking should coincide, based on their career similarities. In that sense, Weiss used her background to her advantage.

When it comes to science, however, most filmmakers wing it. There are plenty of websites dedicated to so-called “movie physics.” Everything from warp speed, to flashing bullets, to window glass that shatters on impact, to mid-90s era Macbooks taking down alien motherships, to living blobs with a taste for human flesh. Even recently, Cracked readers played homage to film science. One cannot really blame filmmakers for the misconception since most audience members will suspend their disbelief for a good story.

Because of the overwhelming stereotypes of science and scientists in cinema, many foundations issue grants and awards to filmmakers who portray the field in a positive and groundbreaking light. The two career fields benefit from such a marriage because the filmmaker will receive the support needed for a project, and the scientific industry will receive a renewed interest from aspiring scholars. The Alfred P. Sloan Foundation Grant, for example, grants current film students production and screenwriting funds in exchange for a non-stereotypical depiction of a scientist or engineer:

The one condition of all submissions is that they portray science and/or scientists in realistic, non-stereotypical ways. They do not necessarily have to be sympathetic characters, and the story does not have to be strictly about science. Sloan is interested in reading about scientists as human beings whether they’re fallible or heroic. The stories can be totally fiction or based on an actual event or person.

For accuracy, the scripts have to be approved by an actual scientist, such as a faculty member of the awarding university. Weiss joined a program called the Catalyst Workshop, sponsored by AFI. The program only takes professional scientists interested in filmmaking and is partially funded by the US Department of Defense.

One thing is for certain, real or not, you can always count on cinema to make science cool. Think about all the times CSI must have blown your mind.

Happy Filmmaking!

Legal permits vs. good ol' fashion shoot-and-run

Coming home from work today, I noticed a "Notice of Filming" posted on the front door of my apartment building. I am very familiar with these signs, and every time I see one, my face lights up. They bring me back to my film school days, when students always ran into one universal problem: permit, or no permit?

Fundamentally in Los Angeles, it is illegal to shoot a film in a public area without securing a permit. Especially if you would be obstructing the normal traffic or pedestrian flow. Thus, Los Angelinos expect the notices. If you don't have one of these, there is nothing you can do when some asshole decides to take a shortcut straight through your shoot.

But permits take time away from your shoot, they cost money, and sometimes you find a locale you love, but you can't secure the location through a permit. What are you gonna do? Go guerrilla, of course! Guerrilla filmmaking tends to happen quite often in indie and student films. I did it myself. And despite the clearly laid-out rules at USC about shooting without permits, the school itself turned a blind eye to it in regards to its students. There was even a class at 'SC about Guerrilla filmmaking. Guerrilla filmmaking only works if you have a small cast and crew and very few equipment, or if you are shooting a documentary. That way you can shoot and move more quickly.

If you are caught by authorities, however, you could face legal issues. Big legal issues. And who wants that when they are trying to make something meaningful to humankind? The compromise is to secure a permit with a small crew. Here in LA, if your crew is small enough and you have no stunts or SFX, your permit may be free. Small crews are favored over large ones, and you can control the locale to your liking. In other cities, you may even get the support of the local chamber of commerce or film commission, and even some soft financing (that's price cuts and in-kind donations). Sometimes it's worth following the rules. For a list of film commisions, click here.

Happy Filmmaking!

Can Indies survive the bear market?

That is the question. Whereas most economists call the Hollywood film industry "recession-proof," the opposite exists for us small guys, the indie film geeks. Over at fivesprockets.com, blogger Ann Curry pleas with her readers to support those who give us more cinematic bang for our buck.

Indie filmmaking is similar to other small business. In a bear market, they are the first to fold, while the public still supports the big guys, deemed "too big to fail." Unlike other small businesses, however, the success of production companies depend more so on the public's opinion of its entertainment, rather than any inherent demand or need. John Q. Public may still go to blockbuster superhero movie rather than small art house film because he feels art house films do not speak to him or for him.

Filmmaking is an expensive and elitist endeavor, but as the nation's most recognizable artform, it preserves our American way of life. Who says it should only be for the studios?

Personally, I don't let my lack of funds or resources stop me from reaching my filmmaking goals. One just has to be smart and one step ahead of the snake oil salesmen on craigslist and the like.

Happy Filmmaking.

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!