Thursday, November 6, 2014
Bryan Cranston’s Advice for Actors
Written by Casting Frontier, November 2nd, 2014
Originally Posted on Casting Frontier
Bryan Cranston was driven to be a “good, respected, working actor”–and he’s achieved this goal with flying colors. Not only has he been a working actor for 30 years, but he’s won several Emmy awards to boot. Cranston is best known for playing the calloused chemistry teacher, Walter White in AMC’s drama series Breaking Bad, as well as Hal, the father on the Fox comedy series Malcolm in the Middle.
In this 2013 AreUaStar video, Bryan shares acting advice based on what he learned while on his quest to maintain a career as a working actor. He advises, “My easy answer is: ACT. Find a place to act.” Cranston himself got his start at the Granada Theatre in the San Fernando Valley in California after college. As he was studying police science he was required to take elective courses, so decided to take acting and stagecraft classes. Mind you, both his parents were actors, and they didn’t want Bryan to follow them into the business. This means Bryan didn’t pursue acting seriously until he reached his late twenties.
Another suggestion he discusses is for actors to, “Go do your job, and go home.” No matter how desperate you are for work, he asserts, “No casting director will ever say, ‘That person really needs a job, let’s hire them.’” So he counsels actors to be ready to give their best interpretation of the material, and be satisfied they tried their best. Also, be ready and willing to keep working other side jobs–even for years–to sustain the ability to audition. For instance, Bryan’s other jobs included being an ordained, part-time minister. As he previously said, “I learned long ago to focus on things you can control, and don’t even pay attention to things you don’t.”
Cranston encourages actors to keep the faith that “it’s going to work for you.” Sometimes a lost opportunity can be a blessing in disguise. When disappointments arise, Bryan advises actors to keep the mind frame, “Maybe there’s something that’s really right for me right around the corner.” Indeed, Cranston once demonstrated his faith in achieving his career goals when he said, ”I’ve got a whole mantel just waiting for those awards to come, a whole big mantel. There’s just so much available space. I’ve got the light fixtures hanging from the ceiling, all ready to shine on them. I dust it off every day.”
Hoping his words inspire you in your quest to become the actor you most aspire to be!
Wednesday, June 25, 2014
Friday, June 20, 2014
Tuesday, March 11, 2014
Hollywood Continues to Flee California at Alarming Rate
Originally posted on www.Variety.com by Dave McNary
Film Reporter
@Variety_DMcNary
http://variety.com/2014/film/news/even-films-set-in-california-are-shooting-elsewhere-to-save-money-1201125523/
When Paul Audley took the job as president of FilmL.A. in late 2008, he was astounded to discover that physical production on the $70 million pic “Battle: Los Angeles” wasn’t being done in Los Angeles.
“It stunned me that the movie was shooting in Louisiana, and that the state of California was letting this happen,” he recalls.
In the subsequent five years, the situation has only worsened, despite the film production incentive program California enacted in 2009, which provides for $100 million a year in tax credits for what’s usually 20% of production costs. That’s significantly smaller than programs offered by other states such as New York, which offers $420 million a year in credits for 30% of production costs.
The trend has been mounting for high-profile films set in the Golden State to be filmed almost entirely outside California, due to lucrative tax breaks elsewhere that producers can’t turn down. One key component of new legislation to strengthen California’s incentive program, introduced Feb. 19, would raise to $100 million the current budget cap of $75 million on eligible productions. To drive home the need for state support, attendees at a Feb. 22 rally in Burbank held by Hollywood unionists were handed petitions to send to Sacramento citing that only one of 41 big-budget feature films shot in 2012 and 2013 was shot entirely in California.
The latest example of a locally set runaway is New Line’s upcoming earthquake thriller “San Andreas,” in which a helicopter pilot played by Dwayne Johnson rescues his daughter in San Francisco after a 10.0 quake. Except for six planned days of shooting in San Francisco, the entire $100 million movie will be made in Australia at the Village Roadshow Studios in Gold Coast, Queensland.
In December, “San Andreas” was granted a portion of Australia’s $20 million film fund set up specifically to attract overseas movies. Additionally, the film benefits from offsets from the Queensland Production Incentive Scheme, as well as local payroll tax rebates and federal rebates. Queensland officials have estimated that the movie will pump $30 million into the state economy, employ 70 local production crew, and provide roles for more than 2,000 extras.
“It’s frustrating to get only a few days shooting in San Francisco, but it’s better than nothing,” said San Francisco film commissioner Susannah Robbins. “Once again, the producers are going to where they’re getting the best incentive.”
There were even fewer days — four — shot in San Francisco for Legendary’s upcoming tentpole “Godzilla,” with most of the filming being done in Vancouver and Hawaii. Fox took a similar tack with its forthcoming summer release “Dawn of the Planet of the Apes” and that pic’s 2011 predecessor “Rise of the Planet of the Apes,” both of which were shot primarily in Canada with a few days of establishing shots in San Francisco.
“Producers tell us, ‘I’d love to shoot here but I have to go where the incentives are,’ ” Robbins notes.
Robbins has been touting San Francisco’s rebate program — which provides for up to $600,000 of production costs including rentals, street closures, permit fees, payroll taxes and police officers — in order to overcome the ingrained belief that such programs don’t exist in California. “We had eight productions use the rebate in its first six years, and we’ve had seven more since July.” San Francisco has a tradition as an iconic film location, with such titles as “Bullitt,” “Dirty Harry” and “Vertigo” having filmed in the city.
Further south, not a frame of “Rock of Ages,” set on the Sunset Strip, was shot in Los Angeles, although filming did take place in Hollywood — Florida, that is — at the Hard Rock Casino, along with a six-block section of North Miami Avenue in downtown Miami, decorated as a late-1980s version set of the Strip, replete with the Whisky-a-Go-Go, Frederick’s of Hollywood, Tower Records and the Angelyne Billboard.
Even the ruins of a future Los Angeles shown in “Elysium” were shot in Mexico and Canada.
Steve Dayan, who serves as vice chairman of the state film commission and secretary-treasurer of Local 399 of the Intl. Brotherhood of Teamsters, spoke at the Feb. 22 labor rally, promising his union would be willing to repeat its 1999 action of encircling the State Capitol in Sacramento with 200 Teamster trucks — a tactic used to campaign for incentives. “We are not going to let other states poach our jobs,” he said, evoking loud applause from the 700-plus attendees.
Audley’s agency is tasked with troubleshooting and simplifying the permit process. He’s been pressing the point that although location-based feature production increased by 18% in Los Angeles last year, to 6,900 days, that number is only half what it was in 1996. And the growth is not coming in higher value projects. Audley said. “(Other states are cherry picking the best stuff away from us,” he noted.
Dayan admits that producers have been substituting locations for as long as films have been shot. “Downtown L.A. has been used for New York City many times,” he said. But he noted that production costs on big features are now so high that it’s impossible for producers to shoot in town.
“We’re making the argument that by creating and retaining jobs, the new legislation would pay for itself,” he explained.
While statistics abound that show the extent of the economic impact of locally set runaways, on another level, the issue is emotional. The Feb. 22 rally featured an impassioned declaration by Maria Elena Durazo, secretary-treasurer of the Los Angeles County Federation of Labor, who pledged that organized labor will back the push for an improved film incentive.
“We are going to stand with you to make sure Hollywood does not become Detroit,” she declared. “I’ll be damned if we’re going to stand by and see the last film industry worker here turn out the lights. Hell, no!”
http://variety.com/2014/film/news/even-films-set-in-california-are-shooting-elsewhere-to-save-money-1201125523/
When Paul Audley took the job as president of FilmL.A. in late 2008, he was astounded to discover that physical production on the $70 million pic “Battle: Los Angeles” wasn’t being done in Los Angeles.
“It stunned me that the movie was shooting in Louisiana, and that the state of California was letting this happen,” he recalls.
In the subsequent five years, the situation has only worsened, despite the film production incentive program California enacted in 2009, which provides for $100 million a year in tax credits for what’s usually 20% of production costs. That’s significantly smaller than programs offered by other states such as New York, which offers $420 million a year in credits for 30% of production costs.
The trend has been mounting for high-profile films set in the Golden State to be filmed almost entirely outside California, due to lucrative tax breaks elsewhere that producers can’t turn down. One key component of new legislation to strengthen California’s incentive program, introduced Feb. 19, would raise to $100 million the current budget cap of $75 million on eligible productions. To drive home the need for state support, attendees at a Feb. 22 rally in Burbank held by Hollywood unionists were handed petitions to send to Sacramento citing that only one of 41 big-budget feature films shot in 2012 and 2013 was shot entirely in California.
The latest example of a locally set runaway is New Line’s upcoming earthquake thriller “San Andreas,” in which a helicopter pilot played by Dwayne Johnson rescues his daughter in San Francisco after a 10.0 quake. Except for six planned days of shooting in San Francisco, the entire $100 million movie will be made in Australia at the Village Roadshow Studios in Gold Coast, Queensland.
In December, “San Andreas” was granted a portion of Australia’s $20 million film fund set up specifically to attract overseas movies. Additionally, the film benefits from offsets from the Queensland Production Incentive Scheme, as well as local payroll tax rebates and federal rebates. Queensland officials have estimated that the movie will pump $30 million into the state economy, employ 70 local production crew, and provide roles for more than 2,000 extras.
“It’s frustrating to get only a few days shooting in San Francisco, but it’s better than nothing,” said San Francisco film commissioner Susannah Robbins. “Once again, the producers are going to where they’re getting the best incentive.”
There were even fewer days — four — shot in San Francisco for Legendary’s upcoming tentpole “Godzilla,” with most of the filming being done in Vancouver and Hawaii. Fox took a similar tack with its forthcoming summer release “Dawn of the Planet of the Apes” and that pic’s 2011 predecessor “Rise of the Planet of the Apes,” both of which were shot primarily in Canada with a few days of establishing shots in San Francisco.
“Producers tell us, ‘I’d love to shoot here but I have to go where the incentives are,’ ” Robbins notes.
Robbins has been touting San Francisco’s rebate program — which provides for up to $600,000 of production costs including rentals, street closures, permit fees, payroll taxes and police officers — in order to overcome the ingrained belief that such programs don’t exist in California. “We had eight productions use the rebate in its first six years, and we’ve had seven more since July.” San Francisco has a tradition as an iconic film location, with such titles as “Bullitt,” “Dirty Harry” and “Vertigo” having filmed in the city.
Further south, not a frame of “Rock of Ages,” set on the Sunset Strip, was shot in Los Angeles, although filming did take place in Hollywood — Florida, that is — at the Hard Rock Casino, along with a six-block section of North Miami Avenue in downtown Miami, decorated as a late-1980s version set of the Strip, replete with the Whisky-a-Go-Go, Frederick’s of Hollywood, Tower Records and the Angelyne Billboard.
Even the ruins of a future Los Angeles shown in “Elysium” were shot in Mexico and Canada.
Steve Dayan, who serves as vice chairman of the state film commission and secretary-treasurer of Local 399 of the Intl. Brotherhood of Teamsters, spoke at the Feb. 22 labor rally, promising his union would be willing to repeat its 1999 action of encircling the State Capitol in Sacramento with 200 Teamster trucks — a tactic used to campaign for incentives. “We are not going to let other states poach our jobs,” he said, evoking loud applause from the 700-plus attendees.
Audley’s agency is tasked with troubleshooting and simplifying the permit process. He’s been pressing the point that although location-based feature production increased by 18% in Los Angeles last year, to 6,900 days, that number is only half what it was in 1996. And the growth is not coming in higher value projects. Audley said. “(Other states are cherry picking the best stuff away from us,” he noted.
Dayan admits that producers have been substituting locations for as long as films have been shot. “Downtown L.A. has been used for New York City many times,” he said. But he noted that production costs on big features are now so high that it’s impossible for producers to shoot in town.
“We’re making the argument that by creating and retaining jobs, the new legislation would pay for itself,” he explained.
While statistics abound that show the extent of the economic impact of locally set runaways, on another level, the issue is emotional. The Feb. 22 rally featured an impassioned declaration by Maria Elena Durazo, secretary-treasurer of the Los Angeles County Federation of Labor, who pledged that organized labor will back the push for an improved film incentive.
“We are going to stand with you to make sure Hollywood does not become Detroit,” she declared. “I’ll be damned if we’re going to stand by and see the last film industry worker here turn out the lights. Hell, no!”
Thursday, February 27, 2014
We’re Just Making Movies
Originally Posted on http://wehaveembarked.com/
By Zach Goldberg
There are things more important than getting that shot.
This wasn’t what I was planning on writing about this week. Then again, one can’t exactly plan for tragedy.
A young woman, Sarah Jones, 27, was killed on set of “Midnight Rider,” a Greg Allman biopic that’s been shooting in Georgia, after being struck by a freight train.
God dammit.
27. That’s a year older than me. Despite feigning the appearance of an adult, I still very much feel like a kid. I’m sure Sarah did as well over these past few years, navigating through the film and television industry and hoping to settle into her career.
Sarah was 2nd AC (Second Assistant Camera). For those reading this not in the industry, the 2nd AC is a valuable position on the camera crew, assisting the 1st AC, Camera Operator, and Director of Photography. They are a linchpin on set, ensuring the smooth operation of the camera so we can produce all the pretty pictures that end up projected on that grey canvas in your local multiplex.
Responsibilities of the position include, but are not limited to, loading film or media into the camera, changing and charging batteries, changing lenses, operating the slate (again, for those on the outside, that’s the clapper board), filling out camera sheets, marking up actor’s position’s in frame so that the 1st AC can hit their focus, and organizing all the camera equipment for the day’s work.
I wrote that (very limited) look at what a 2nd AC does for a couple reasons. For starters, I want to shed light on the kind of position in the film industry that is incredibly important, yet vastly overlooked by the regular viewing audience. When the credits roll at the movies, people recognize the actor’s names, the function of a writer and director (and maybe an editor), but as soon as positions such as 1st AC, 2nd AC, Gaffer, and Best Boy Electric come up, they don’t know what to make of them.
If only they knew. If only they knew the work that goes into making a film. If only they knew it’s these people in these roles that clock the most hours and put in the most labor. It is a sad reality that 14-16 hour days are not uncommon in the film and television world and, for those in these craft and tech positions, the longest and most trying.
No man is an island, certainly on a film set. It takes an entire crew to conjure that movie magic.
The other reason I listed out a 2nd AC’s many jobs on set is simple: they are, in no way shape or form, responsible for safety protocol. Yes, at one point we all take personal responsibility and ownership for our own actions, but yet.. Someone, be it a producer or director or 1st AD, has the job of making sure that everyone on set is safe and that the work they are doing does not jeopardize the health or well being of the crew. That was not Sarah’s call.
Because really… we’re just making movies. We’re not splitting the atom here. We’re not curing cancer. We’re not ending genocide. We’re creating a product, albeit an entertaining and hopefully enlightening and insightful product, for an audience.
That’s it.
This fatal accident could have and should have been avoided. Details are still coming in, but it appears that while the film crew had permission to shoot in the general area, they did not clear anything with the railroad, nor have permission, to shoot on the train tracks.
They were aware of two trains that would be passing through and waited until they did to set up their shot. When a third and unexpected train arrived, they could not clear the set on time.
God dammit.
Sarah was a “kid” like me. I didn’t know her, but believe me, I understand her. When you’re young and working in this industry, you do as you’re told. You want to make a good impression, especially on the pros that have been working this job for decades. You want to appear fearless and up for anything.
We must get this shot. We must get this shot.
See, a weird thing happens on set. You really do feel kind of invincible. You become convinced that the project you’re shooting is the most important thing in the world (be it a 30 second commercial or a two hour feature film) and you go above and beyond to make sure it’s brought to proper completion. This is true whether you are a Production Assistant desperately arranging the craft services table (“The crew must eat. Without me, there would be no food and therefore no movie!”) or a 1st AC pulling focus on camera.
Group mentality takes over. You’re all in it together.
We must get this shot. We must get this shot.
This is when the “adults” are supposed to step in. The producers. The directors. Those actually in charge. A 2nd AC will not speak up. She will not always say, “This doesn’t feel safe. I’m not sure if we should be doing this.”
A producer or a UPM on the other hand can say these things—and has the moral responsibility to do so. Because, in addition to making sure the show is coming in on budget, they are responsible for the well being of every single living person on set.
We must get this shot. We must get this shot.
A producer gains the proper permits and permission from the county to shoot on train tracks. A producer ensures that no trains are coming within the timeframe of the shoot. A producer is an adult who understands that we’re just making silly moving pictures and that that a feature film is not worth the life of a young girl.
I wish someone spoke up. I wish the director said, “This doesn’t feel safe.” I wish a line producer asked, “Are we sure we cleared this with the railroad?”
I wish these things were said because Sarah Jones never could. Because she was a kid at the age of 27. Because it wasn’t her job to ask these questions. Because someone should have had her back and didn’t.
We must get this shot. We must get this shot.
I wonder what Sarah’s dreams and aspirations were? Did she eventually want to become a cinematographer? What were her favorite movies? What inspired her?
Hopefully we will learn from this. It’s been long known that a film set is not exactly the healthiest of environments. You work long days, you sometimes skip meals, your social life is non-existent, and you get very little sleep.
These are frustrating components of this industry. And they are, for now, the standard bearer for many sets. However, one should never fear that they might be killed. It’s absurd when dwelled upon.
We’re just making movies.
Someone in this production should’ve known better. Someone should’ve raised a red flag before arriving on the day.
Because there will always be that voice in the back of your head once you walk on set.
We must get this shot. We must get this shot.
Rest in peace, Ms. Sarah Jones.
By Zach Goldberg
There are things more important than getting that shot.
This wasn’t what I was planning on writing about this week. Then again, one can’t exactly plan for tragedy.
A young woman, Sarah Jones, 27, was killed on set of “Midnight Rider,” a Greg Allman biopic that’s been shooting in Georgia, after being struck by a freight train.
God dammit.
27. That’s a year older than me. Despite feigning the appearance of an adult, I still very much feel like a kid. I’m sure Sarah did as well over these past few years, navigating through the film and television industry and hoping to settle into her career.
Sarah was 2nd AC (Second Assistant Camera). For those reading this not in the industry, the 2nd AC is a valuable position on the camera crew, assisting the 1st AC, Camera Operator, and Director of Photography. They are a linchpin on set, ensuring the smooth operation of the camera so we can produce all the pretty pictures that end up projected on that grey canvas in your local multiplex.
Responsibilities of the position include, but are not limited to, loading film or media into the camera, changing and charging batteries, changing lenses, operating the slate (again, for those on the outside, that’s the clapper board), filling out camera sheets, marking up actor’s position’s in frame so that the 1st AC can hit their focus, and organizing all the camera equipment for the day’s work.
I wrote that (very limited) look at what a 2nd AC does for a couple reasons. For starters, I want to shed light on the kind of position in the film industry that is incredibly important, yet vastly overlooked by the regular viewing audience. When the credits roll at the movies, people recognize the actor’s names, the function of a writer and director (and maybe an editor), but as soon as positions such as 1st AC, 2nd AC, Gaffer, and Best Boy Electric come up, they don’t know what to make of them.
If only they knew. If only they knew the work that goes into making a film. If only they knew it’s these people in these roles that clock the most hours and put in the most labor. It is a sad reality that 14-16 hour days are not uncommon in the film and television world and, for those in these craft and tech positions, the longest and most trying.
No man is an island, certainly on a film set. It takes an entire crew to conjure that movie magic.
The other reason I listed out a 2nd AC’s many jobs on set is simple: they are, in no way shape or form, responsible for safety protocol. Yes, at one point we all take personal responsibility and ownership for our own actions, but yet.. Someone, be it a producer or director or 1st AD, has the job of making sure that everyone on set is safe and that the work they are doing does not jeopardize the health or well being of the crew. That was not Sarah’s call.
Because really… we’re just making movies. We’re not splitting the atom here. We’re not curing cancer. We’re not ending genocide. We’re creating a product, albeit an entertaining and hopefully enlightening and insightful product, for an audience.
That’s it.
This fatal accident could have and should have been avoided. Details are still coming in, but it appears that while the film crew had permission to shoot in the general area, they did not clear anything with the railroad, nor have permission, to shoot on the train tracks.
They were aware of two trains that would be passing through and waited until they did to set up their shot. When a third and unexpected train arrived, they could not clear the set on time.
God dammit.
Sarah was a “kid” like me. I didn’t know her, but believe me, I understand her. When you’re young and working in this industry, you do as you’re told. You want to make a good impression, especially on the pros that have been working this job for decades. You want to appear fearless and up for anything.
We must get this shot. We must get this shot.
See, a weird thing happens on set. You really do feel kind of invincible. You become convinced that the project you’re shooting is the most important thing in the world (be it a 30 second commercial or a two hour feature film) and you go above and beyond to make sure it’s brought to proper completion. This is true whether you are a Production Assistant desperately arranging the craft services table (“The crew must eat. Without me, there would be no food and therefore no movie!”) or a 1st AC pulling focus on camera.
Group mentality takes over. You’re all in it together.
We must get this shot. We must get this shot.
This is when the “adults” are supposed to step in. The producers. The directors. Those actually in charge. A 2nd AC will not speak up. She will not always say, “This doesn’t feel safe. I’m not sure if we should be doing this.”
A producer or a UPM on the other hand can say these things—and has the moral responsibility to do so. Because, in addition to making sure the show is coming in on budget, they are responsible for the well being of every single living person on set.
We must get this shot. We must get this shot.
A producer gains the proper permits and permission from the county to shoot on train tracks. A producer ensures that no trains are coming within the timeframe of the shoot. A producer is an adult who understands that we’re just making silly moving pictures and that that a feature film is not worth the life of a young girl.
I wish someone spoke up. I wish the director said, “This doesn’t feel safe.” I wish a line producer asked, “Are we sure we cleared this with the railroad?”
I wish these things were said because Sarah Jones never could. Because she was a kid at the age of 27. Because it wasn’t her job to ask these questions. Because someone should have had her back and didn’t.
We must get this shot. We must get this shot.
I wonder what Sarah’s dreams and aspirations were? Did she eventually want to become a cinematographer? What were her favorite movies? What inspired her?
Hopefully we will learn from this. It’s been long known that a film set is not exactly the healthiest of environments. You work long days, you sometimes skip meals, your social life is non-existent, and you get very little sleep.
These are frustrating components of this industry. And they are, for now, the standard bearer for many sets. However, one should never fear that they might be killed. It’s absurd when dwelled upon.
We’re just making movies.
Someone in this production should’ve known better. Someone should’ve raised a red flag before arriving on the day.
Because there will always be that voice in the back of your head once you walk on set.
We must get this shot. We must get this shot.
Rest in peace, Ms. Sarah Jones.
Wednesday, February 26, 2014
How to Survive on Set Without Looking Like an A**hole
Originally posted on http://callamrodya.com by Callam Rodya
http://callamrodya.com/2014/02/23/how-to-survive-a-day-on-set-without-looking-like-an-asshole/
When it comes to film work, actors have it the easiest. Don’t argue. You know it’s true.
In case you need a bit more convincing, consider this:
So, with that in mind, it’s especially important for us actors not be assholes. Chances are good that when you show up on the day, your approval rating among the crew is already pretty low. After all, they’ve been there for two hours already.
To improve your chances of surviving the day without coming across as spoiled, pampered, pretentious talent, here are some tips I have learned to follow religiously:
Follow me @callamrodya.
DISCLAIMER: I am not an acting coach, nor am I a veteran of the stage and screen. Just look at my IMDB profile and you will see that. I am simply a young actor at the foot of his career mountain with a few insights to share. Take ‘em or leave ‘em.
http://callamrodya.com/2014/02/23/how-to-survive-a-day-on-set-without-looking-like-an-asshole/
When it comes to film work, actors have it the easiest. Don’t argue. You know it’s true.
In case you need a bit more convincing, consider this:
- We’re the last ones called and the first ones wrapped.
- There is a team on set whose sole job is to make us look beautiful.
- They tell us where to stand, where to walk, and what to say, and they even put down little pieces of tape for us and print out our lines on little pocket-sized sheets to make it extra easy.
- We get to stay warm in the trailer while they’re out there in a snow storm setting up the shot.
- We usually get paid better.
- We get all the credit.
So, with that in mind, it’s especially important for us actors not be assholes. Chances are good that when you show up on the day, your approval rating among the crew is already pretty low. After all, they’ve been there for two hours already.
To improve your chances of surviving the day without coming across as spoiled, pampered, pretentious talent, here are some tips I have learned to follow religiously:
- If you have an early call time in the morning, set 14 alarms. Request a wakeup call. Drink 18 litres of water so you wake up early to take a piss. The worst thing an actor can do is put everyone behind schedule by arriving late on set. I know, because I’ve done it.
- When you break for lunch, let the crew eat first. They’re actually hungry. You spent half the morning in the craft truck.
- Some actors like to hang out on set even when it’s not their scene to shoot. That’s okay, but stay the fuck out of everyone’s way.
- Don’t ask people to get you things. If they offer, sure, why not? But be thankful.
- Police your own continuity and remember exactly what you did in the master when it comes time to shoot the closeups. Continuity on set, especially on small projects, can easily get overlooked and it’s a bitch for the editor to create a seamless cut when that glass you’re holding keeps switching hands or moving around the table.
- Try to learn everyone’s name as quickly as possible, especially the departments you’re going to be working closest with (hair/makeup, wardrobe, ADs, camera, audio). You’ll come across much more as a decent human being when you can say “Hey, [correct name], the mic pack is digging into my spine. Would you mind repositioning it?”
- Hit your marks like a precision airstrike. You’re just wasting a take if you and that focus point the camera assistant marked aren’t going to align.
- Learn your lines and be able to do the entire scene in one take. Sure, you might not need to run the whole thing in one shot, but editors usually prefer long takes to 1000 cuts in a scene. Give them the option.
- Don’t show up on set wrecked because you went out partying last night. You’re making everyone’s job harder, especially makeup.
- Say thank you to everything. EVERYTHING.
- Don’t ask the director questions that you could direct to someone else. They are very busy and don’t need to choose which hand you should hold the prop phone in.
- Put your cigarettes out in the butt can. Otherwise, some poor locations PA has to pick them up while you’re heading back to your hotel or wherever.
- Don’t be a critic. Your makeup is fine. Your hair is fine. Your wardrobe is fine. The camera position is fine. If you don’t like something, respectfully suggest a different option or shut the hell up.
- A good director will allow you freedom to massage your lines to make them more natural. But don’t alter the story. Or the character. And don’t go overboard. And don’t add lines just to try and increase your screen time.
- Don’t make extra work. There are exactly the right number of people on set and they each have a critical job to do that will keep them busy all day. They’re not bored.
- Don’t fuck with set dressing. That “mess” has been positioned deliberately. That is someone’s work.
- In between takes, don’t fuck around. You might have a three-minute break but nobody else does. They’re busy resetting.
- If you’re one of those “method” or “internal” types, stay in your trailer until you’re called on set. If you can’t do that, don’t snap at the friendly boom op for “pulling you out of your zone” because he asked you if you’ve seen the “Breaking Bad” finale.
- Know what the shot is. And if the camera isn’t on you, your performance isn’t important to anyone else except your scene partners. So don’t milk it.
- Don’t ask for notes after every take. If the director has one, he/she will tell you. Otherwise, do the same exact thing again.
- Ask for another take ONLY if you know you can do better. Otherwise, you’re just wasting everyone’s time.
- After you’ve shot the master, and the wide, and the mediums, and are setting up for the closeups is NOT the time to “try something”.
- Don’t touch ANYTHING. Not the camera, not the lights, not the props, not the mics, not the storyboards, not the monitor, not the cables. Nothing.
- Don’t try to do anyone else’s job. You’re the talent, not the DOP, not the key grip, and certainly not the director. Do YOUR job and your job alone.
- Don’t tell the crew that “they are the real stars”. It’s just a stupid fucking thing to say and nobody believes you believe it anyway.
- Compliment other people’s work. The lighting is great. That focus pull was unreal. That set looks insane. Yes, you’re good too, but people will be telling you that for months, if not years, after this thing wraps. The others, not so much.
- When you’re wrapped, don’t do a blanket “great day, everyone! Thank you!” Go up to each person individually and thank them sincerely for their contribution to a project that, ultimately, will be more about you than them.
Follow me @callamrodya.
DISCLAIMER: I am not an acting coach, nor am I a veteran of the stage and screen. Just look at my IMDB profile and you will see that. I am simply a young actor at the foot of his career mountain with a few insights to share. Take ‘em or leave ‘em.
Tuesday, February 25, 2014
6 Lies of Film Distribution
Originally posted on WritersStore.com by Jerome Courshon
http://www.writersstore.com/6-lies-of-film-distribution/
One of the major Achilles’ heels for film producers and directors is the distribution game. Once you’ve made your movie, what do you do? How do you play the game? What strategies do you employ? Is there even a strategy?
Well, there’s good news and bad news. The good news is there are indeed strategies to use and employ. The bad news is that most filmmakers don’t know what they are, and flounder around trying to figure them out. What’s even worse is too many filmmakers throwing in the towel and just dumping their film online, hoping it “hits” somehow.
In this article, I’m going to debunk some prevalent lies (or “myths”) about achieving distribution. This will give you some insight into the game, should you be looking for distribution now or preparing for your production.
Myth #1: I’m a director, a filmmaker, a creative person. Telling stories is my thing and if I make a good movie, I don’t have to worry about the business stuff or the marketing because someone else will do that.
Truth #1: There are of course some people who get lucky and either have a producing partner who does all the business & marketing (and is good at it), or they have the money to hire the right people to do everything.
However for most this isn’t the case, especially if one’s film career is in the early stages. You need to become a businessperson once your movie or documentary is done. At least until it’s sold (or until you’re done selling if you’re DIY’ing it).
Why?
Because distribution is business, and distributors don’t care if you’ve made the greatest indie film/art film/documentary of the past 20 years. What they care about is if it will make them money. (And your audience, if you’re DIY’ing your film, needs to believe they’ll be sufficiently entertained and/or enlightened before they’ll buy a DVD or pay to watch it online.) The more you can become a “salesperson” and marketing maven, the more success you will have on your quest for distribution or sales.
Yes, I know this part isn’t nearly as sexy and fun as making movies and can be downright boring at times. But what Orson Welles famously said about the film business is still true today: “It's about 2% moviemaking and 98% hustling.”
Myth #2: Distributors are calling me and they’re excited to see my movie! I’ll send it to them and if they like it, they’ll acquire it!
Truth #2: All major distributors track the movies that have been listed in the trades under their production columns. If you were in those columns, you’re going to be phoned. Do not send them a rough cut. Do not send them a final cut. Do not send them the movie. If you do, you will not get a theatrical distribution deal, if this is what you are aiming for.
You must “unveil” your movie in the right place at the right time, such as a top film festival, to get the theatrical buyers to really want your feature. Movies do not get picked up for theatrical releases that have been sent on a DVD to a distributor. So when they call asking to see a screener, you’ll say “It’s not ready, but I appreciate your call. Check back with me in a month or two.” (And you’ll do this every time they call, until you’re ready for the grand unveiling.)
Myth #3: My movie was selected for the Sundance Film Festival! Woohooo! All I have to do is show up and I will get a deal!
Truth #3: Okay, you won the lottery and got a slot at one of the top three film festivals (Sundance, Toronto, Cannes) for your movie premiere. Guess what? Your work hasn’t even begun yet. You now must assemble a team of people: a PR firm, an agent from one of the top agencies in Los Angeles, an attorney, and possibly a producer’s rep. (But beware…most producer’s reps are useless.)
You will have to work, strategize and position your movie, before it premieres, as a very desirable movie that distributors must have. You have one shot at the top festivals for a theatrical deal, so don’t piss it away. Unfortunately, most filmmakers don’t know or understand this. They get a slot at Sundance or Toronto, don’t assemble a team or promote their film properly, and then come away without a deal and are entirely lost as to their next step.
Myth #4: I was rejected by the top festivals, so now I’m submitting and getting accepted by the next tier of festivals. This is cool. All I have to do is show up to my screenings and I’m treated like a rock star. Distribution, here I come!
Truth #4: Yeah, okay, if this is you, at least you’re having fun. But you’re not going to get distribution this way. There is a real purpose to the festival circuit beyond the top festivals that most people, even Hollywood veterans, simply do not understand. The obvious purpose is, of course, exposure. But there is actually a MORE important purpose: Building a Pedigree.
What is a Pedigree?
It is an accumulation of press coverage, interviews, quotes from critics, and awards if you can get them, which says you have a winning movie on your hands. Once you methodically build this pedigree, which takes some work on the festival circuit, you are then ready to parlay this into a distribution deal (or healthy sales). It’s a simple concept that most do not grasp; yet it is extremely powerful and effective for independent films that don’t get into the top festivals. There is real psychology involved in the “art” of selling a movie or documentary. Ignore at your own risk. However, if you learn this “art,” you will have success.
Myth #5: I’ve submitted my movie to the 15 home video companies out there. I’ve even talked to producer friends and looked at industry reference books for whom to submit to. If these 15 companies say ‘No,’ I’m out of luck for a home video deal.
Truth #5: This truth right here may be worth serious dollars to you. There are literally over 100 home video companies in the marketplace, all operating under their own labels. On top of that are additional companies that pick up movies and programming that have output deals with these distributors. So if you think you’ve exhausted your search for a home video deal and have only contacted a handful of companies, you’ve simply just begun.
And don’t buy the occasional diatribe out there that DVD is dead. It’s not. It is still the largest revenue generating segment of the entire film industry. Last year alone, it generated $16-17 billion in revenues. That’s billion with a ‘B.’
Myth #6: I’m going to bypass traditional distribution altogether, sell my movie on the internet myself and make a ton of money from DVD sales and digital streaming (VOD).
Truth #6: Not likely. For every 5000 movies being made every year, there are less than 20 who make serious money this way. WHY? It’s hard work. It takes time (a lot of it), it takes specific strategies, and you become the de facto distributor for a good year, if not longer. Which isn’t an exciting proposition for most filmmakers, who’ve already been on a lengthy and arduous journey of making their film.
However, some who go this route do it very successfully. They’re either great at marketing already, or great learners. And they’re very committed to achieving success, so they really do what it takes to win. Also, the budget of your movie can dictate if this route is viable for you. If you’ve made a $10,000 movie, it’s not that difficult to recoup this amount, with some decent work. But if your budget was $1 million, good luck making your money back using only the internet. You’ll either need traditional distribution, or a hybrid approach of both traditional and non-traditional.
So these are a few of the popular and misleading myths out there, and the truth about them. With 5000 (or more) movies being made every single year, that’s a lot of producers and directors working with often erroneous information. Not to mention an overwhelming number of movies vying for a limited number of distribution slots. These two factors combined can make for a daunting journey filled with frustration and failure.
The silver lining however, is that with the right knowledge, coupled with dedicated and diligent work, anyone with a decent film can achieve success. Anyone. But it does take the right knowledge. You do not have to have star names in your movie to get a deal or have success, and your movie does not have to be phenomenal. If it’s at least decent, you do have a real shot.
http://www.writersstore.com/6-lies-of-film-distribution/
One of the major Achilles’ heels for film producers and directors is the distribution game. Once you’ve made your movie, what do you do? How do you play the game? What strategies do you employ? Is there even a strategy?
Well, there’s good news and bad news. The good news is there are indeed strategies to use and employ. The bad news is that most filmmakers don’t know what they are, and flounder around trying to figure them out. What’s even worse is too many filmmakers throwing in the towel and just dumping their film online, hoping it “hits” somehow.
In this article, I’m going to debunk some prevalent lies (or “myths”) about achieving distribution. This will give you some insight into the game, should you be looking for distribution now or preparing for your production.
Myth #1: I’m a director, a filmmaker, a creative person. Telling stories is my thing and if I make a good movie, I don’t have to worry about the business stuff or the marketing because someone else will do that.
Truth #1: There are of course some people who get lucky and either have a producing partner who does all the business & marketing (and is good at it), or they have the money to hire the right people to do everything.
However for most this isn’t the case, especially if one’s film career is in the early stages. You need to become a businessperson once your movie or documentary is done. At least until it’s sold (or until you’re done selling if you’re DIY’ing it).
Why?
Because distribution is business, and distributors don’t care if you’ve made the greatest indie film/art film/documentary of the past 20 years. What they care about is if it will make them money. (And your audience, if you’re DIY’ing your film, needs to believe they’ll be sufficiently entertained and/or enlightened before they’ll buy a DVD or pay to watch it online.) The more you can become a “salesperson” and marketing maven, the more success you will have on your quest for distribution or sales.
Yes, I know this part isn’t nearly as sexy and fun as making movies and can be downright boring at times. But what Orson Welles famously said about the film business is still true today: “It's about 2% moviemaking and 98% hustling.”
Myth #2: Distributors are calling me and they’re excited to see my movie! I’ll send it to them and if they like it, they’ll acquire it!
Truth #2: All major distributors track the movies that have been listed in the trades under their production columns. If you were in those columns, you’re going to be phoned. Do not send them a rough cut. Do not send them a final cut. Do not send them the movie. If you do, you will not get a theatrical distribution deal, if this is what you are aiming for.
You must “unveil” your movie in the right place at the right time, such as a top film festival, to get the theatrical buyers to really want your feature. Movies do not get picked up for theatrical releases that have been sent on a DVD to a distributor. So when they call asking to see a screener, you’ll say “It’s not ready, but I appreciate your call. Check back with me in a month or two.” (And you’ll do this every time they call, until you’re ready for the grand unveiling.)
Myth #3: My movie was selected for the Sundance Film Festival! Woohooo! All I have to do is show up and I will get a deal!
Truth #3: Okay, you won the lottery and got a slot at one of the top three film festivals (Sundance, Toronto, Cannes) for your movie premiere. Guess what? Your work hasn’t even begun yet. You now must assemble a team of people: a PR firm, an agent from one of the top agencies in Los Angeles, an attorney, and possibly a producer’s rep. (But beware…most producer’s reps are useless.)
You will have to work, strategize and position your movie, before it premieres, as a very desirable movie that distributors must have. You have one shot at the top festivals for a theatrical deal, so don’t piss it away. Unfortunately, most filmmakers don’t know or understand this. They get a slot at Sundance or Toronto, don’t assemble a team or promote their film properly, and then come away without a deal and are entirely lost as to their next step.
Myth #4: I was rejected by the top festivals, so now I’m submitting and getting accepted by the next tier of festivals. This is cool. All I have to do is show up to my screenings and I’m treated like a rock star. Distribution, here I come!
Truth #4: Yeah, okay, if this is you, at least you’re having fun. But you’re not going to get distribution this way. There is a real purpose to the festival circuit beyond the top festivals that most people, even Hollywood veterans, simply do not understand. The obvious purpose is, of course, exposure. But there is actually a MORE important purpose: Building a Pedigree.
What is a Pedigree?
It is an accumulation of press coverage, interviews, quotes from critics, and awards if you can get them, which says you have a winning movie on your hands. Once you methodically build this pedigree, which takes some work on the festival circuit, you are then ready to parlay this into a distribution deal (or healthy sales). It’s a simple concept that most do not grasp; yet it is extremely powerful and effective for independent films that don’t get into the top festivals. There is real psychology involved in the “art” of selling a movie or documentary. Ignore at your own risk. However, if you learn this “art,” you will have success.
Myth #5: I’ve submitted my movie to the 15 home video companies out there. I’ve even talked to producer friends and looked at industry reference books for whom to submit to. If these 15 companies say ‘No,’ I’m out of luck for a home video deal.
Truth #5: This truth right here may be worth serious dollars to you. There are literally over 100 home video companies in the marketplace, all operating under their own labels. On top of that are additional companies that pick up movies and programming that have output deals with these distributors. So if you think you’ve exhausted your search for a home video deal and have only contacted a handful of companies, you’ve simply just begun.
And don’t buy the occasional diatribe out there that DVD is dead. It’s not. It is still the largest revenue generating segment of the entire film industry. Last year alone, it generated $16-17 billion in revenues. That’s billion with a ‘B.’
Myth #6: I’m going to bypass traditional distribution altogether, sell my movie on the internet myself and make a ton of money from DVD sales and digital streaming (VOD).
Truth #6: Not likely. For every 5000 movies being made every year, there are less than 20 who make serious money this way. WHY? It’s hard work. It takes time (a lot of it), it takes specific strategies, and you become the de facto distributor for a good year, if not longer. Which isn’t an exciting proposition for most filmmakers, who’ve already been on a lengthy and arduous journey of making their film.
However, some who go this route do it very successfully. They’re either great at marketing already, or great learners. And they’re very committed to achieving success, so they really do what it takes to win. Also, the budget of your movie can dictate if this route is viable for you. If you’ve made a $10,000 movie, it’s not that difficult to recoup this amount, with some decent work. But if your budget was $1 million, good luck making your money back using only the internet. You’ll either need traditional distribution, or a hybrid approach of both traditional and non-traditional.
So these are a few of the popular and misleading myths out there, and the truth about them. With 5000 (or more) movies being made every single year, that’s a lot of producers and directors working with often erroneous information. Not to mention an overwhelming number of movies vying for a limited number of distribution slots. These two factors combined can make for a daunting journey filled with frustration and failure.
The silver lining however, is that with the right knowledge, coupled with dedicated and diligent work, anyone with a decent film can achieve success. Anyone. But it does take the right knowledge. You do not have to have star names in your movie to get a deal or have success, and your movie does not have to be phenomenal. If it’s at least decent, you do have a real shot.
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