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Archive Three
May 4, 2005
- The Riefenstahl Connection -
Grabbing a
little history, and some adventure along the way ...
About four years ago I began writing a script about a real person,
which I had never tried doing before. Of course this
required a fair amount of research, and the more I did the more
excited and fascinated I became by this character. He had
been a German pilot in WWI (second only in kills to the famous Red
Baron), was a documentary filmmaker, Hollywood consultant on
flying films and a world-traveled stunt flyer between the wars.
Then in WWII he was involved in building up the Luftwaffe, the
German Air Force. But in late 1941, he took his own life,
under mysterious circumstances. He had been the highest
ranking officer in the German military who was not a Nazi (he had
refused to become one). My research led me to find out that
the last person he had spoken to the night he committed suicide
was the world-renown German filmmaker
Leni Riefenstahl. And imagine my surprise when I found
out she was still alive, at the age of 99 ...
 For
those of you not up on who this extraordinary woman was, here's a
little history lesson. In the early 20th century she started
out as a dancer and actress, and starred in several German films
in the 1920's and early '30's. She later became a filmmaker,
as director, producer, writer and editor, mostly in documentaries.
She's well known for Triumph of the Will and Olympia,
both considered Nazi propaganda films. Even though she was
not a Nazi, and also cleared of any such complicity, her
reputation was tarnished for most of her life. However, she
is still considered one of the greatest women filmmakers of all
time, especially of the German cinema. The filmic techniques
she pioneered in her sports documentaries are still used today in
sports broadcasting ...
Anyway, I
began tracking down Ms. Riefenstahl to get some more info, fully
realizing that she was probably the only one still alive who had
known him, and who knew how much longer she would be among us.
After trying a number of avenues over the following three months
or so, I finally found someone who had access to her. (I had
even called Jodie Foster's production company, because I had heard
she was developing a film project and planning to play her, but
they refused to talk to me.) I also learned that my film
subject had worked on several of Leni's films, as well as studied
filmmaking under her ...
Finally,
through an intermediary, I got approval to begin an email
correspondence with her. As she did not speak English, we
had to go through an interpreter to make this happen. Over
the next several months, I conjured up all kinds of questions for
her. Most she answered, but not all. She seemed very
fond of this man, this close friend of hers, and told me things I
could not have read anywhere else. And of course, she
finally told me about that last night she spoke to him, even
though initially she didn't want to. But she understood what
I was trying to do in creating a true-to-life portrait of this man
(possibly to be a film). During this period she turned 100,
and there were several celebrations, even though it was still hard
for her to show up at public events because of the hard feelings
that still existed. Later on, my emails went unanswered,
until finally her companion and interpreter informed me she was
not up to doing this any more. I asked for one more
exchange, and after a time got it. She answered a couple
more questions, and then I said good bye to her. I actually
got it in my head for awhile to fly to Munich and meet her face to
face, but alas, a few months later at 101, she passed away.
The following year there was a short tribute to her at the Academy
Awards ...
I don't
know if my script will ever become a film, but I do know that I do
know some things about this man that no one else living probably
does. And if someone else ever does a film about him, they
may have the facts as written in the history books, but I will
have a much better portrait of who this man was, because of this
woman, this grand woman of the cinema ...
501 days and counting ...
J-Alden
May 9, 2005
- The Script Consultant -
A spoonful of
sugar helps the medicine go down ...
Well, I finally got the word, or actually quite a few. The
script consultant got back to me, after a fairly long time
perusing my script and trying to figure out what the hell I was
trying to do with it. Anyway, I had mixed feelings about
reading his critique. In fact, I only skimmed it the first
day, and didn't go over it in detail until two days later.
You know, that love hate thing, where you know you gotta take your
medicine because it's good for you, even though it may taste
horrible or hurt taking it. Yeah yeah, blah blah ...
So,
thought I'd toss out a bit of his enlightening elocution -- "found
your story to be a delight ... obviously intelligent ... some
major concerns ... needs an outer quest to challenge an inner need
... you have a good ear for dialogue ... a case of scenus
interruptus ... some very touching scenes ... quite a long speech
... dig deeper for inner actions ... push more into that
uncomfortable emotional territory ... you're a very good writer
... " Whew, there's plenty more, but you get the general
idea without me dumping all the brass tacks ...
He
actually gave some very good feedback, but on the other hand some
of the screenwriting 101 advice was a bit overworked and obvious.
I got the feeling he was trying to get me on the path of a
mainstream studio film, not a true indie film, and didn't truly
understand what I was trying to do (mainstream films reassure the
audience, indies challenge it, remember?). Granted, part of
that is on me possibly not communicating and/or articulating my
ideas, and I will need to address those issues in the rewrites ...
So now
it's time to dig in again, and rewrite, rewrite, rewrite.
'Cause that's all writing is any way, just more rewriting, always
searching and reaching for that elusive perfection, thinking one
moment you're getting closer, and others you're moving away -- but
you gotta keep trying 'cause all the words you need are right here
in front of you, in this perfect big book so perfectly called a
dictionary -- you just gotta find a new order to put them words
in, and your perfect little masterpiece will be a real screenplay
ready to go before that perfect little camera. Sheesh, I
think I better get some snooze time before I get going on this
again ...
Tidbits:
And we think we got it bad here in the U.S. Well, check out
true guerilla filmmaking in Iraq, as reported by the
LA Times Column One ...
496 days
and counting ...
J-Alden
May 12, 2005
- Webcinema -
A few words from
others ...
A number
of years ago, I subscribed to an online film discussion list
called Webcinema (basically an unmoderated list dedicated to the
independent filmmaker, which created an online film community
where subscribers discussed the latest digital film technologies,
networked, promoted their projects, did business, etc.), where at
times there were some very enlightening discussions going on.
As apparently there were some snafus in keeping its domain name
and mostly inactivity from many of the local groups that tied into
the main list, I quit getting my daily email digests, and then
over time completely forgot about them. Then suddenly
recently (after several years) I started getting them again, I
guess through some kind of recent reorganization and integration.
Anyway, I thought I'd do something different today and publish a
couple their recent posts here (with their permission of course).
Enjoy ...
Subject: Out of pocket!
This who technological revolution was supposed to allow US to get
our projects done wasn't it? Does no one even consider doing a
project out of pocket anymore? It sounds to me like, "The
technology is cool, but let's go back to the old studio way of
making pictures."
I read an article about George Lucas in Wired online and the man
who pioneered this revolution, the man responsible for the
creation of much of the technology behind it, is stuck in that
same mode of thought, even though he could make whatever he wanted
out of pocket.
I look at the cameras available to us today, like the DVX100, to
say nothing of this new HD stuff and I think, "I'll buy that." I
would own the means of production. At look at sites that show how
to build and do professional style crane shots, dolly shots, car
shots all with stuff you may have around the house. I see
everything we need is there. So who is doing it? Who made a
decision to "just make their movie"?
I know people who have knocked on doors and went to studio pitch
meetings for ten or fifteen years and never got anything
accomplished. Some are broke and in despair now. How much was
spent in both time and money during that long period that could
have gone to making an actual movie, even if a small one? If it
made no money at all they would be in the same place at worst, but
at best they have a movie done.
I would like to hear reasons why digital artists don't "just make
their picture". Why not? What is in the way? If it's too big, why
not make a smaller picture to raise fund for the larger one? Why
try to do a huge Ridley Scott style picture the first time out? I
really want to know.
Terrence Walker
Studio ArtFX
http://www.studioartfx.com
Subject: Re: Out of
pocket!
Well said, Terrence.
Some of us have picked up the gauntlet and are "just doing it" but
the jury's still out on whether "independent film" is merely a
marketing hook or some sort of reality.
The means of production may be in the hands of the people, but the
distribution channels are still owned by a very few multi-national
corporations. It may only take a few bucks to make a film
these days (and know-how, luck, and an enormous amount of time and
perseverance), but in the long run, you need some way to get your
film seen and your investment (both time and money) returned.
Competing against Sony and Warner Brothers and Viacom, etc., is
tough without the advertising and promotion dollars they can bring
to the market. You can make a film in hopes one of these companies
will love it and in essence, "take you in," but my impression is
the range of things they like is narrowing (remakes, sequels and
comic-books) and besides, they have a host of "independent" films
to look at in the 1-20 million dollar range, which is beyond
self-financing, I think.
I'm committed to DIY digital filmmaking--I'm sick of remakes,
sequels and comic-books--and wish it had existed thirty years ago,
but art doesn't live in a vacuum and without some economic
reinforcement, it will wither and die (like any hand-made product)
unless there are enough people who seek it out and support it.
I don't know if that answers your well-framed question, Terrence,
but as someone who has pounded his head against this wall a few
times, I know the smart money's still on that huge Ridley Scott
style picture.
Good luck to all,
Dave Eisenstark
THE WEDNESDAY NIGHT SAVE-THE-WORLD SOCIETY
http://www.smartindiefilms.com
(in video stores May 31)
MONKEY LOVE
http://www.monkeylove-themovie.com
(in video stores July 29)
Just a little snippet of what's going on over there. So
anyway, if you have any interest in getting involved in the
discussion, you can sign up at
Webcinema
...
493 days
and counting ...
J-Alden
May 15, 2005
- The Script Consultant, Part 2 -
Those pesky
sequels, oh how gauchely mainstream ...
Wow. I had a meeting with the consultant who critiqued my
script. Double wow. Looks like this little story of
mine is headed in a new direction, one I had not foreseen,
whatsoever. Now change doesn't bother me, nor does going in
different directions. But creating a new theme (and a new
character?) for a script I thought was headed in a cool direction
can be a bit disconcerting for us insecure writer-types ...
But you
know what, I'm really jazzed. After thinking about it all a
couple hours later, I realize how much of a better path I'm on
now. In fact (I know I say that a lot, so get over it - it's
a tiny security thing that helps me believe what I'm saying,
writing, or thinking, could actually be true, ha), where I'll be
going with the next rewrite has got me so excited I can't wait to
start hammering it out ...
I realize
now how I let my script get away from me. I'm writing a
family drama that has certain metaphysical elements to it.
Being an ensemble piece, I let the characters get away with too
much. Meaning, I let them write their parts too much.
I'm sure you writers out there know what I'm talking about.
Once you get really deep into it, a lot of the time the characters
will start writing their own parts. Which can be all right
at times, except then they start competing for screen time and
they all want to be the main character. Sheesh. I got
trouble with prima donnas already and I'm not even off the page
yet. Anyway (yes, yes, I say that a lot too - no
explanation), the story is more focused now and I believe elements
will fall into place better. As should the characters --
okay you guys and gals, let's not be so childish. I know
where you're coming from now, so shut up already. You'll
have nice juicy, satisfying parts, so let me take this to the next
level and finish if off. And then we can get the right
players to flesh you out, and all will be happy in fantasy land. Gotta go, the kids are making noise and I gotta
remind them who the creator (the boss?) is ...
Tidbits:
I made a bit of an error (yes I did). The post I made on May
4th got people thinking that the script I'm currently developing
and plan to produce (the subject of this blog) is the one I'm
taking about in that post. Actually that was another project
I was developing, which obviously could not be done low budget,
and is entitled SWORDS ON THE WIND. My current project is
entitled, WHERE HEAVEN MEETS EARTH (which I will discuss later in
more detail). I thought the Riefenstahl story was an
interesting tidbit, so I just threw it out there. Sorry for
the confusion, but I can see how it happened. The following
post eludes to my meaning. Hey, but you got a good idea.
Any German studios out there interested? ...
490 days
and counting ...
J-Alden
Comments --
Good luck
with your project! -- 5/14
A film about a flying ace sounds very expensive for an independent
movie. You might be able to get a German studio interested: I
think they're desperate for subjects that might 'travel'.
Anything would be better than that awful 'Red Baron' movie made in
the late 60's!
Best wishes,
Michel
May 20, 2005
- Plagiarism -
The finest
compliment - yes or no? -- not! ...
In these
days of digital, technological wizardry and proliferating content,
and people on both sites of the aisle screaming for and against
open access to this content, it's easy to see the possible erosion
of an artist's creative rights (and possible ability to make a
living). I for one am certainly not up on all the complex
elements confronting us on this issue, but I do believe the issue
of plagiarism is a real travesty. Now there are some valid
points on all sides of the aisle for open use of some content, but
my point here is a bit different ...
I think
most people who create original content on a regular basis,
whether it be words, sounds, images, or whatever, have probably
experienced some level of plagiary. If not, good for you,
because it can sting. Well, I have my own story.
Actually, more than one, but one is enough for now. In the
film industry you see it all the time, at least the claim of it,
as some of the time it isn't always true. However, I have a
true tale for you ...
In the
early '90's I wrote three spec scripts for a TV series, which
isn't an area I'm normally interested in, but this particular
program sparked my imagination. Anyway, I got the call that
they were interested in one of the scripts. Cool! As
they had already shot all the episodes for the current season, my
script would be a go the following fall (this was about
April/May). Then a month or so later I got the call that the
network canceled the show, so that script went back in the
almost-made-it pile. Bad timing, huh? Talk about
anti-climactic ...
So, a
couple of years later, my wife and I are in our friendly little
neighborhood movie theater, enjoying the latest blockbuster fare
from Hollywood, and...at the precise same moment in the middle of
the film my wife and I look at each other in shock. Oh my
God, that five to six minute scene sure looked awfully familiar.
After it was over, I ran home, dusted that old script off, went
back to the theater and sat through it again. Shit, can you
believe it?! Almost word for word, about a five page segment
lifted from my script is in this film! I checked the credits
of the film, and lo and behold, I recognized one of the writers
(there were several, which is the accepted Hollywood way of
literary confusion) as one of the story editors of the TV show
where the script had been accepted. I began to fume.
What could I do? ...
After
initial consultations with a couple attorneys, they laid it out
all plain and simple. It might seem I had a case, but I
would have a monumental battle on my hand, which would cost me a
fortune to wage. Plus the fact they hadn't really stolen my
whole script, just a scene from it. They of course slung all
types of legal mumble jumble at me, explaining what a weak
position I was in. Of course, if I really wanted to pursue
it, they'd certainly be willing to take my money. Great
legal system. You get screwed once without even knowing
about it, then the second time you have to pay for it.
Obviously, I passed, but it took me a while to get over it.
Not the fact I didn't get any money, credit, fame, whatever, but
the fact that someone had actually consciously done that. It
felt like a violation. Am I naive, or too pollyannish?
Whatever the case, I wouldn't have minded meeting that guy in a
dark alley somewhere, and collecting on that debt. Oh well,
dream on, deam on, write on, right on ...
Tidbits:
My token response to all the Star Wars hype now upon us once again
(the last time according to Lucas) - an
interview with the god called Lucas. A couple
copasetic
points ...
485 days
and counting ...
J-Alden
Comments --
Plagiarism -- 5/22
When I graduated
college in the late 60s, I tried sending ideas for television
shows to different networks. I thought that if I showed some
creativity, they might hire me in some entry position. One was
for a news magazine that was sent to CBS.
Afterwards, "60 Minutes" aired. Somebody told me that I might
stand a chance with a court of equity. I previously spent some
money for lawyers who said I didn't stand much of a chance. I
decided to try pursuing it on my own. You know what they say
about a fool being his own lawyer. I did find some legal
precedents that were never addressed by the judge. I knew I was
in trouble when she asked the opposing lawyer how his family was.
Needless to say I lost. I stated that I would drop the case if
Don Hewitt stated under oath that he came up with the idea prior
to my submission. CBS never did this.
Unfortunately, you cannot copyright an idea. The worst part is
that some people have won cases before a jury and then had the
judgment overturned by a judge.
ML
May 24, 2005
- Film Finance -
An
oxymoron hidden somewhere, or an idiot asking y
we need an ox?
...
Sheesh, just thinking about the intricacies and complexities of
the film finance world is enough to make most get jello knees,
glassy eyes or airy heads. I for one have a decent knowledge
of that world, but I still get queasy in my midsection when
reviewing the options. Most people I know head for the
nearest exit at the mention of me trying to finance a film.
I guess most of the wise ones know (?) a lot of films loose money.
But do they actually? ...
Back when
I worked at one of the major studios, I had access to a lot of the
real numbers. Not just domestic box office, but also video,
cable, television and foreign markets. I learned that on an
average about 7 out of 10 films lost money at the domestic box
office. However, in the long run, when all markets were
exploited over time, about 7 or 8 out of 10 wound up turning a
profit for the studio. Where the issue usually gets muddled
is in the creative accounting, and then of course the reporting of
such monies to interested parties, and the timing of such
reporting ...
What this
actually means, is the theatrical domestic market is the loss
leader for the industry. It is the marketing and publicity
campaign for the markets that follow, creating an long term
awareness of the product, a film as a brand if you will. So
actually, in the end when all rights and markets are exploited,
more films make a profit than not. Doesn't that make it a
better investment that it appears to be? Not necessarily ...
At least
for indies, because they don't usually get those choice
distribution deals or theatrical marketing that brand them for
continuous exploitation. And of course if you don't know,
the money in filmmaking is in the distribution, not the
production (like most industries). That puts us back at the
beginning. Trying to find a few bucks to get our vision on
the screen. I suspect we have to be as creative in finding
the dough as we are at all the other stages of our long journey
...
It has
been suggested by a few that I should ask for donations on this
blog (not an investment, as that raises all kinds of security laws
problems with official federal and state people, who'd like
nothing better than an excuse to shut us all up), but I'm
currently resisting that. Plus the likelihood that enough
cash could be raised is highly unlikely. If I ever entertained such an idea, it would have to
be structured in a mutually beneficial way. Meaning?
Well, that would require some thought. But off the top of my
head, I'd say a free ticket to the film, or a free DVD (whichever
way it goes, or maybe a choice). Say for around a $25
donation, you'd get one or the other, or for more increments that
many more DVD's? I'm just in the moment brainstorming, so
don't get carried away with my ramblings. Maybe somebody's
already done this. Anyone out there know? Check in if
you got any comments or ideas about this. I know there are a
number of creative ways filmmakers are getting their mitts on moolah these days ...
Tidbits:
Television, is there a better future? Now, I probably watch
more than I should (yeah, yeah, I got hooked on
24 and just had to watch that
two-hour finale), but some new creative vision certainly needs to
happen in this media space. As a segue from this to the
current
Long
Tail paradigm, check out
Bright Cove, a company I just heard about. Internet
television with thousands of channels (finally?), it might be a
way this could all be headed ...
481 days
and counting ...
J-Alden
May 28, 2005
- Cinematography -
Painting with light, sculpting with darkness and finding the story
in between
...
I
should have been a cinematographer (doesn't that sound better than
DP or director of photography? - somehow maybe a right brain vs.
left brain thing?). I've already mentioned that I started
out as a photographer early on, which eventually led to film (and
writing in between). I remember seeing CITIZEN KANE and THE
GODFATHER for the first time. How did they do that, I
thought? Every frame a work of art. As a still
photographer struggling just to do that one still at a time, how
could they do that frame by frame, moment by moment? I was
in awe. Of course, those two films are not the only two I
discovered this way, but darn good examples. There have been
a few others over the years, but most films do not attain that
level. Which is partly what concerns me ...
My
intention is to shoot my project in Hi-Def, which obviously is not
film. I have viewed a few cool-looking Hi-Def films, though
certainly not in the class of the works of art I'm referring to.
Not that I have really grandiose ideas that I will create a work
of art the whole wide world will fall to their knees at, but ...
But, I do
want to shoot as high as I can (hhmmm, talk about multiple meaning
and subtext). Anyway, I will certainly grasp for the stars,
and hopefully grab a bit of stardust. My real point actually
being, that whatever images are created, they should always serve
the storytelling. Isn't that why we're doing this? ...
The past
couple years I have been trying to educate myself about the Hi-Def
world. It's not only like trying to hit a moving target, but
the target keeps changing as well as moving. With film I
know where I stand, with Hi-Def it's harder to get that world in
focus. Maybe by the time I shoot (in about 13 months?), more
will have settled out and down, or will it be more of the wild,
wild west? Oh well fine, I'll be ready for that adventure.
Isn't that why we're doing this? ...
477 days
and counting ...
J-Alden
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