Comments?

I actually did it ... finally.  My film project, a green light.  But first, a little history - please bear with me a bit ...

In 1980 I started writing my first screenplay.  Aaughh, really horrible.  After critiquing art exhibits and writing movie reviews for the student newspaper at the University of Texas,  I thought I'd try a hand at scriptwriting.  The poor flicks I'd been reviewing offered no real clues, but it looked easy enough.  Right.  Little did I know the factors concerning a film release, not until I worked for a major studio ...

Through the 80's I worked sporadically in film production (everything from production assistant to co-producer) while learning more craftiness in visual wordsmithing.  After about my fifth or sixth script I thought I was finally starting to understand what I was doing.  Ha, right.  Maybe I needed both hands?  As the later part of the decade came around I moved from Texas to California and wound up at that film studio, learning more about the biz than I really cared to ...

As the 90's rolled around a number events transpired.  I had several scripts optioned.  I got hired to write on a few occasions.  Actual money was involved.  I quit the studio.  Deals fell through.  Development hell ensued.  A couple projects ready for pre-production fell apart at the last minute.  I took a sabbatical from the biz and became CEO of an Internet company.  Something about monetizing original content for the web.  Yeah, right.  I did a couple digital shorts, and got to write, direct and produce a few animated webisodes for the net.  Anyway, after some true wackiness, I did survive the dot-com coaster ride/craze in all its flaming gore and famous glory ...

Once the new millennium rolled around I was ready for new challenges.  Filmmaking was changing at lightning speed, what with digital technology and the net, opening up new possibilities for independent filmmakers.  Then something dawned on me ... finally.  If I was ever going to see one of my feature scripts shine on the silver screen, I'd have to produce it myself ...

Now, twenty-five years and seventeen screenplays after my initial scriptwriting attempt, I have greenlit my first feature film ... myself.    With both hands (and both feet) I have jumped into the ring to duke it out with my destiny.  This blog is my diary of the process.  I have given myself a deadline -- September 15, 2006 -- to get it in the can, or more correctly, in my computer as a digital file.  Exactly eighteen months from this day ...  countdown 550 days ... and counting ...

Check back as often as you like.  I will try to update at least twice a week (maybe more) , and certainly try not to bore you ...

Tidbits:  Periodically I may have some words about film events, pass on resources to filmmakers and just scribe about other film stuff -- This past weekend I went to the Damah Film Festival in L.A.  A friend emailed me about it, as I had never heard of it.  I had toyed with the idea of going to Austin (my old stomping grounds) this week to SXSW, which combines film, music and interactive.  I've been several times, and it's always a real blast and actually quite an eclectic scene.  I noticed there's a lot about blogging there this year, so that would have been a fit for me right now.  But no, I went over to the City of Angels to see what this festival was all about.  Its theme concerns exploring spirituality in filmmaking, which actually I have some interest in.  I love interspersing mystical and metaphysical levels into my stories.  But I also hoped preaching or proselytizing wasn't a part of it, as that can obviously be quite a turnoff.  To my relief that was minimal and I enjoyed a number of the panels and films (all shorts).  So next year for something different give it a consideration.  Lastly, a resource site to check out - Indie Club ...

J-Alden

Unknowingly to me, this past year was a part of the picture ...

Even though it’s only been a couple days since I gave myself the permission to produce my own film, I have actually spent the past year developing a new script.  I just didn’t know this would be the one for me embark on the whole filmmaking deed …

The idea for this one first hit me about two years ago, and so with a stack of 3 x 5 index cards I started scratching out characters and scenes, until I was ready to outline the whole script.  By June (04) I was heavy into the first draft.  Now usually I can punch out a first draft fairly quickly, but a number of things in my life demanded my attention.  This one took longer than normal.  And I didn’t feel any undue deadline, so I let it breath some as I wrote it in bits and pieces.  Plus, the first draft is usually from the heart anyway, so I don’t worry about the real mental stuff until subsequent drafts …

Finally, a first draft at the end of October.  I let it sit about a month before I went over it and cleaned it up.  I let a few industry people (and a few friends) read it, then cleaned it a bit more.  Now I’m ready for a professional script analyst.  Or am I?  When I first started writing screenplays I don’t believe those creatures existed.  Or if they did, there were so very few of them.  I think they were called script doctors and usually the studios hired them to fix their problem scripts, which of course they always had plenty of.  They’ve since multiplied into the hundreds (the script analysts) and are loose among us all struggling screenwriters trying to make a living on us not being able to.  Oh well, a necessary evil (help), huh?  I finally narrowed the fifty or so I considered down to five.  I plan to hire one to help me take my script to another level or two.  Hopefully I can get the right prescription.  If I don’t, who do I see about that?  Don’t think my insurance covers script doctors.  I’ll get back to you later on how that part of the process plays out …

People always ask me whether I come up with a theme, character or story first.  To tell you the truth I never consciously know.  It’s always bits and pieces of subconscious material that rises to the surface in my consciousness, over a long span of time.  And not until I get several of these pieces linked up, do they ever make any sense to me.  By then there are parts to all of these things.  So if there is a clear answer, all of them are there before I can make any sense out of what to do with them.  In a way it’s actually a check for me to see how viable it is for me to move forward, since once I have enough I can begin the writing process.  Right now I’d bet I have pieces for at least a half dozen other stories that haven’t gelled enough for me to do anything about it.  Some might consider this a curse, because these things in a way grab hold of you until you are ready (or able) to write them out of your consciousness and off your back.  Others might call it job security (if you’re actually paid for it) because the stories never really seem to stop coming …

About theme.  I’ve noticed that there seems to be one deep underlying theme to about every script I write, even if there are others that are more obvious.  That there is more to life than is obvious in a physical sense, that more exists beyond our senses to perceive and that a type of transformative process or transcendent experience must occur for the character(s) to achieve their objective(s) in the story.  Somewhat mystical for sure, but I’m reminded of an Edgar Allen Poe quote - ‘Life is but a dream within a dream’.  In a sense my stories exist in the subconscious layers of these different dreams, and spring forth when they are ready to inhabit the conscious world, but still maintaining elements of both worlds  …

Tidbits:  A note about M. Damon’s and B. Affleck’s Project Greenlight.  It’s going for its third year and aired its first episode of their process Tuesday night (3/15) on Bravo, the same day I greenlit my project.  No biggee, but in its first year, I entered a script and made a couple cuts (out of thousands I was down to the final 50 or so).  Anyway, I wasn’t into watching any of these episodes the last two years, but found this year’s premiere episode while surfing around.  I decided to watch it and got hooked in, so I may comment on it periodically, since it does seem fitting.  A couple observations about this episode; I admired Damon’s creative integrity and intent, wasn’t as impressed with Affleck, but he has some horse sense and likes to play the kidding aw-shucks dude, Wes Craven had less spine and more mildness than what I would have thought (guess his intense horror films are only a fantasy wet dream for him, or maybe he's uncomfortable being on this side of the camera), and Chris Moore seems like the proto-typical politician, fluctuating here and there, collating all views, going with the majority view, although in the end he may be the one to actually make sure it actually all gets done.  Probably all put together they are a balanced group with varying views, and it may work out …

The Dimension Films people are what you would expect, studio-type mentality and all.  I get their point of view, but to knowingly choose the worst script of the three because it seems like it can hit a homerun by appealing to the lowest common denominator might be suspect at best, but it is the Hollywood way.  They don’t give the audience much credit, and seem to prefer to appeal to our lowest natures.  I think it’s because they can find and target that audience demographic easier than any other, since the more intelligent audience would take more time and energy (and thus money) to find, nurture and manipulate into those theater seats.  That’s why it’s show business, not show art.  Sure, the previous two projects made no money (but then there was minimal distribution), so Miramax (actually Dimension is a division of them, or more correctly is a part of Disney – hell its hard to tell these days) wouldn’t sign on this time, and so they had to go totally exploitive with the horror genre (of course no artsy fartsy stuff).  As far as matching the right director to this script, I think Damon was right.  If it had been one of the other two scripts, I doubt this director would have been the one.  Because they chose this script, they needed a different, possibly even quirky take with the most visual talent overseeing it.  This guy was pretty unimpressive in the interview though, and will run into serious trouble with the development process and the crew.  Being mostly a skilled cameraman, he of course had a good clip, but now he's got to articulate and communicate his vision to a complete team.  A whole different ball game.  I predict the script will need serious rewriting and that this director will need to be heavily managed.  The battle will probably be between the producers (Damon, Affleck, Craven, Moore) and the Dimension team on how to manage all that.  This could be a complete disaster or high success, no middle ground …

Whew, a winded tidbit, huh?  548 days and counting …

J-Alden

Any decent ones out there? …

I’m frustrated and am going to vent some here.  I’ve been looking at director reels for about four months now, because before I greenlit myself I thought if I could get some director involved in one of my projects, I’d have a better chance of getting a package together for a producer with clout (meaning cash and connections mostly) that something would or could happen.   Well, over a hundred reels later, I’m quite disappointed.  It’s not my normal nature to judge or harshly criticize, but I gotta tell ya’, many of them are barely watchable.  I really can’t believe these people actually sent these reels out.  I’m honestly embarrassed for them.  Anyway, I narrowed them down to about fifteen on my first pass, and in the final analysis only three or four of them might have real merit.  I then called each of them.  All of them seemed wrong, so I didn’t meet with any of them.  Back to the drawing board?  Guess I’m not looking hard enough.  I’m beginning to think this is all a numbers game.  Just hope the chances of getting it right aren’t tied to the lotto …

An uncomfortable thought has been forming deep down in my mind, whispering to me.  ‘Direct it yourself, dummy.’  That last word certainly doesn’t inspire my confidence, but I have to admit that for several years now I’ve wondered if this was a door I should open.  I’ve just avoided opening up.  But yeah, I did go to a directing seminar last month, just to get a glimpse of it, and also so I could understand the directing language to better communicate with one.  Hhhmmm, is my subconscious telling me now that that motivation is a ruse, an illusion?  That I should actually direct? …

I have directed a couple shorts from my scripts, so I’m not a total neophyte, and of course have worked in production and observed others in action.  I thought wearing two hats would be plenty, but three (writer-producer-director)?  Wow!  Success or failure in triplicate …

Tidbits: Box Office Numbers.  I don’t understand why our society is so obsessed by how much money movies make.  Can you imagine if the news reported how much toilet paper was sold, or how much gas was pumped, or any other product?  Who would care?  Then why are we so concerned by how much money a film made at the box office last week?  I suspect it’s a byproduct of our celebrity society, our culture of pop-ness.  But how did we get here?  And do we really care?  Or is it because many of our news organizations are a part of a larger corporate structure with entertainment divisions that create films for a mass audience?  And as part of their marketing schemes, is it just another way for their products to get hyped in the media, and thus get branded into our minds? Seen any good flicks lately?  …

545 days and counting …

J-Alden

A little of this and that ...

Music.  I started the chore of finding a composer, as music definitely is an important element in my project, and many indie guerilla films are not quite up to snuff in this area.  It may seem very early, but I want plenty of time to find the right composer to bring the right stuff to the table.  I’m usually quite aware of sound and music design in most films I watch, as it can add (or even subtract) to the wholeness of the storytelling, as long as it isn’t too obvious.  More an extra veil of subtext and color than anything …

Script.  After talking with the five script consultants I had narrowed down, I finally decided on one today.  Not an easy choice, but I think I got one of the better ones.  They say (who does?) the script and the cast are 90% of the whole deal, so we’ll see.  But I’m jazzed, since we hit it off good, and I think he will inspire me to expand my storytelling to another level (or two or three?) and grow the vision …

Cast.  I'm on the fence about whether to go with one of the SAG low budget agreements or going completely non-union.  Plenty of arguments both ways, as I’ve worked on union and non-union films.  I know there is quite a bit of good unknown acting talent out there (finding it isn't always easy), but then there’s the distribution argument.  Meaning of course, no recognizable talent, no (traditional) distribution.  Ah well, on this type of project you can’t have everything.  You think and think and intellectualize yourself into a corner, but in the end you have to go with your gut, and bust out from there.  Just not sure what my gut is trying to articulate (burp) yet …

Tidbits: I want to mention some of the filmmaker forums and boards out there to check out; Indietalk, Indiefilmmaker, DVinfo, Filmmaker, Student Filmmakers, Moviemakers Portal, Film Arts, Student Films, Microcinema Magazine, Film Crew Forum.  There are certainly others, and I will mention more later.  The second episode of the Project Greenlight was on Bravo last night.  Yikes!  More comments in the future as more episodes unfold this drama (or disaster) …

542 days and counting …

J-Alden

Comments --

I Stumble, Therefore I Am! -- 3/25

My name is Aaron and I've just stumbled upon your blog.  I kind of chuckled when I read your history, mine was very similar but in the music industry!  I am in the midst of building an independent label, visit www.aeonsmultimedia.com. Now, I am in the relatively quiet domain of web production.  I have produced 50+ websites and I've recently decided that after years of helping independent record labels and bands I wanted to target some independent film companies.  So, if you are interested, let me know.  You can also check out my site www.xn28dstudios.com to view some of those client sites.

Good luck on your journey!
Aaron

Reading your film blog -- 3/23

Hi there!  I stumbled onto your blog through Indieclub. Interesting read and I bookmarked it to follow your journey. I'm doing something similar trying to raise funding and support for a feature film and production company I've been working on for a while now. You can check out my blog at http://www.livejournal.com/~domzook though if you're not familiar with Seattle it may be a little cumbersome. I'm sure a lot of the trials are the same. Anyway... best of luck on your journey!

Dom Zook
GadZook Films  http://www.gadzookfilms.com

The whispers are getting louder ...

This directing thing keeps rearing its head.  I know I know the script better than anyone, obviously because I wrote it, yet …

Reading every book I can find about directing, talking to everyone I can about it, going to seminars and classes, searching for the place inside myself where I know this is what I should do – the answer is there but not quite ready to reveal itself.  Ha, the question has barely been asked, let alone for there to be an answer.  When I know one way or another I know I will know.  Make sense? …

As an extra and P.A. on the Coen brothers (Joel and Ethan) first feature (BLOOD SIMPLE), I got to watch a couple eccentrics at work.  Fresh out of film grad school, no one at the time knew they’d be as successful as they became.  In fact, I remember people on the set whispering that they didn’t know what the hell they were doing.  Barry Sonnenfeld (who of course went on to be a big time director and producer) was their DP and at times they all seemed confused and overwhelmed.  But one day I remember sitting there, going over the script thinking, you know there’s something about this script, something special about it.  Yet I wondered how they were going to shoot a few of the scenes.  They were well-written, but I had no idea how they could be shot as I certainly didn’t have their vision of their words.  Luckily for us, they figured it out and came up with an original debut film …

When I write a scene I can’t write it unless I actually see it in my imagination.  In other words, I can’t just write words.  The scene has to play out in front of me, and then I write it.  So in a way, I’ve already directed it in my head.  But I couldn’t imagine directing something someone else wrote, so if I ever directed it would have to be my own script.   I guess that’s what the Coen’s do, as well as other writer/directors.  Hhhmm, I may be getting closer …

539 days and counting …

J-Alden

Comments --

Love the spirit of your site! -- 3/26

Just wanted to let you know that my partners and I have just completed a short film adaptation of Irvine Welsh's "Bad Blood" from the novel "Trainspotting". We shot it on 35mm over 4 days and had Alan Cumming play the lead (bless his wee-big heart!). We're excited to be selected to Tribeca Film fest this year. Our web site is www.badbloodthemovie.com, where you can check out the (fairly low quality res.) trailer. I can't tell you how gratifying, humbling and inspiring it was to have all Vancouver's considerable film community come out and help us out with their technical and artistic skills, and just plain old love for a story worth telling.

Roger Paul
Campfire Films

I find your blog very interesting and informative -- 3/26

Are you shooting  in the L.A. area?  Usually it is better to work with people you know and  respect.  Through the years, I am surprised you haven't made closer contact  to a director who you might like to work with.   If you don't have  anyone in mind, it does seem like you would be the logical  choice.  Just be prepared for the stress.  Big name directors  come with big price tags.  However, funding is easier to get.  You  have to usually go through their agents.

All the best,
ML

No, not a cart before a horse …

Since obviously there is no guarantee once an indie film completes production that it will be picked up for distribution, distribution is the last real frontier of the independent filmmaker.   Even if new technologies may be helping filmmakers get control of their creative destinies, it’s still quite an uphill battle.  Post-production has already been transformed, production is being transformed and distribution is next on the horizon … well, possibly …

And because of the realities of market growth, technological advancements and lower cost of entry, the distribution hurdle is not as imposing as it once was.  A number of possibilities are now available to the digital producer, ones not previously open to the traditional independent filmmaker … Real or Hype? …

Why am I concerning myself with distribution so early in the game?  (I just love these one-sided conversations where I can ask myself a question because there's a great chance I have an answer that makes me seem so damn smart.)  Anyway, back to pseudo-reality.  The answer lies in some experiences I had back when I worked at that major studio.  (I'm not saying who because I was sworn to secrecy on some items I am about to mention, but in general terms so as not to fan any flames here) ...

All the major studios are continually fighting off lawsuits (or at least the threat of them) in their distribution skirmishes with filmmakers.  I just happened to be in a unique position to watch some of this from the inside out.  And I have to tell you, it's a whole lot worse than one might expect.  It sent those proverbial chills up and down my spine on a few occasions ...

First of all, most lawsuits that should happen, never do.  Because most of us don't have the cash, clout, or connections to ever get out of the gate and pull it off.  But several years ago a very big case came before the public, and each of the studios banded together to help the studio that was getting sued, and all filed 'friends of the court' legal briefs.  I happened to be involved with a team of studio people that filed such a brief on behalf of the studio I worked for.  Without going into all the details, 'creative accounting' is a whole lot more creative than I ever imagined.  There are ways to play with numbers that I had never realized ...

Another instance at the studio involved a TV big star over foreign syndication money.  There was a bunch of hoopla between the studio and this star in the industry press, but they settled out of court, which is usually how these things get settled.  The kicker though, was I would have had to testify in the case for the studio in case it did go to court.  Not sure what would have happened there, but I was relieved to not find out ...

Bottom line.  Never trust the numbers a distributor gives you.  I saw way too many cases to ever believe a distributor ever gives up the straight stuff.  So, since the distribution agreement is the most important agreement a filmmaker will ever make, you make sure you have a top notch entertainment attorney on your side of the table.  And be sure he (or she) is someone who is an advocate for indies, because you never know what 'other arrangements' (conflicting relationships) they may have which they don't reveal to you.  Attorneys can be real weasels, but they are a necessary evil  (If you don't hear from me any more, the studio gestapo tracked me down and I won't be able to tell you what happened until I reincarnate) ...

536 days and counting …

J-Alden

Not too much fluff and puff ...

I have to tell you, I'm not too enamored with the whole industry 'star system'.  But as one of the early instigators of this star paradigm, the boy wonder Irving Thalberg (along with a few of his buddies) knew what he was doing in helping develop this new emerging industry and art form.  Course it probably helped that he was married to one of the biggest stars of that era, and that he was one the best creative producers ever.  But it was truly pure marketing genius.  The public really needed a sense of familiarity to help decide if parting with its hard earned dollars (or cents back then) was worth it.  The star paradigm helped them decide that.  And that's probably what helped the industry grow and flourish.  Course I think good storytelling might have a little to do with it.  But the right name in lights drove that baby home ...

Now look where we are.  The tail wags the dog so much, we can't tell half the time we have a dog.  I've heard it said that mainstream films reassure the audience, while indie films challenge the audience.  The Hollywood star-driven films do seem to mostly reassure the audience, which isn't necessarily bad.  In this tense, insecure world a little reassuring can go a long way.  But what does seem a bit ironic is the pumped up negative imagery in so many films isn't exactly reassuring, is it?  I'm not making value judgments of this content (violence, sexuality, etc.), only trying to understand it.  Maybe because it's so cartoonish and unrealistic, that we draw some type of reassurance that, 'hey it's not real, so let's just kick back, watch and try to enjoy it'.  I guess we're getting more blitzed out and desensitized to the point where that makes it reassuring because we don't have to think about anything else ...

Whereas indie films seem to make us think more (though not always), they try to challenge us in more ways than normal media.  Which may not be reassuring for some.  Some indies try to do their thing within the studio-star paradigm, but that can be a mistake as the 'gatekeepers' of this paradigm usually require some concessions to play their game.  I suggest that true indies find other elements in their project to base their marketing on.  Since the main reason for the star system is the marketing (wonder how the stars feel about that), indies don't really need the stars because it's really not a part of their paradigm.  How about the story?  The uniqueness of it?  Its niche?  Whether it be about skateboarders in Lawrence, KS or a hospice in Montgomery, AL, there is a niche market for your film.  It might take some work finding it, but it's there, hungry for your original story.  Get to cracking and cranking ...

Finally, we probably all have our 'star sighting' stories.  Well, I have some, mostly odd occurrences, experiences and coincidences with me as an unwitting partner.  (1) When I was but a wee whippersnapper of three my family took us to Disneyland, which at that time had only been open three months (I'm aging myself here).  Back in those days, old Walt himself used to greet and talk to people as they made they way down Main Street.  He chatted with my family, as my mother held me.  Something possessed him to take me in his arms, which on cue I unloaded a big one in my diapers.  He wasn't amused, as within a couple of minutes he handed me back, and went on his merry way.  My debut into star territory was unimpressive, and I guess the feeling was mutual.  (2) Growing up in a journalism family, my dad and his buddies on occasion got the opportunity to interview such stars, and sometimes I tagged along.  I don't remember most of them (I was between six and twelve), but a couple made an impression; Martha Hyer was nice, cute and smelled heavenly, but Dale Robertson had a rank smell (later learned he was a rabbit rancher), which I couldn't hide in the picture I was in with him (he was a tall dude).  (3)  Near where I worked for awhile in Venice, I used to see Arnold S. (you know who) walk across the street from his production office to his gym at mid-afternoon - one day he tripped over a curb and fell flat on his face - I hurried out of my office but he was gone - yet there it was, red blood on the street - wow, it was red.

(4) At the studio I was always running into someone; (a) the time I was stuck in a full elevator with Princess Leia and blurted out 'may the force be with us' and boy the dirty look she shot me; (b) being in an elevator (again) with only Robert Mitchum (just months before he died) and trying to make small talk and all he did was mumble incoherently (was amazed at how small he was as I'd assumed he was a tall dude); (c) walking across the studio lot and across the street was casually-dressed Kevin Costner surrounded by several well-dressed oriental gentlemen (he seemed taller than he was) all simultaneously trying to have a conversation  with him, he nodded to me as if searching for an excuse out of this, but I ignored the situation and moved on; (d) the time I was in a elevator (yes again) by myself, but at the last moment Michael Douglas and Steven Spielberg hurry in, arguing with each other, moving around the elevator all animated in the middle of this heated 'conversation' and me having to get out of their way to keep being run over, as if they're not even aware I'm there; (e) numerous times I saw Denzel Washington around, but this particular time he was the very last one to get into a completely full elevator (one last time) - and with his nose practically on the elevator door and me standing right next to him I eventually turned my head and looked up at him (he was taller than me) - but he didn't look at me - but I kept looking one way, then back to him - gradually a small smile grew on his face - but he never looked at me and hurried out of the elevator - yet I had a satisfying feeling that he was actually a class guy who didn't care to acknowledge the star adulation thing.  -- Anyway, forget about the stargazing.  They're just human beings on planet earth, riding elevators, getting on and off them, or searching for the next one ...

Tidbits:  Wow, this Project Greenlight thing on Bravo is getting a bit wacked.  Three episodes now, and I'm wondering if anyone knows what the hell they're doing.  If I was the Dimension team, I'd be sweating too.  Course, a lot of this is part of the process, and of course it's probably being edited to make it all more dramatic for TV.  Anyway, J. Gulager (the director) needs to drop the family nepotism bit.  Sure, it's rampant in this industry as well as others, but to be so entrenched at possibly the detriment of the film is not the cool way to go.  Of course, he says that's why he needs them, but it's obvious that his insecurities are feeding it.  Casting is so prime that you can't blow it, or the film's dead before the shooter pulls out his gear.  Gulager can be irritating, but I feel for the guy.  He does need to realize though that this is his big chance, which many of us don't ever get, so he should take advantage of it and not blow it.  As far as the budget problems, jeez if I had $3M I could shoot a half dozen films.  In fact, I've got at least that many scripts I could shoot in that range, and one of them is bound to shoot the moon at the box office.  Anybody listening out there!  Sorry, wrong paradigm, wrong star system ... Interesting article from digital maverick Mark Cuban ... For all you Hi-Def (HD) filmmakers, the Mike Curtis site is a must ...

534 days and counting …

J-Alden

Comments --

Thoroughly enjoying the blog!  -- 3/31

Personally I'd ignore those suggesting you direct it yourself, it's not something you can just start doing because you know the script, especially when you're producing as well, bear in mind all those other writer/director/producers out there have a long trail of film school/shorts, plus at least one utterly awful feature they have tried to bury. And speaking of the Coens; besides some amount of natural genius they also have each other to bounce ideas off of, ten years of reading features has taught me there will be numerous gaping plot holes in any script that the writer will never notice because he's spent so long with the material, go proposition someone who made a cool short at the Damah festival; if you don't get on get another director.

Steve
www.coffeefilms.com
www.microcinemamagazine.com
 

Mark Cuban is setting up a no lose situation for himself.  -- 3/31

From  what I saw, his potential cable distribution deal is basically giving him a free showing of your film over his channels.  He will graciously convert  film to DVD and give you a free copy.  For my investment, I want something  more.

ML
 

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