I went to see "Darkest Hour" this weekend and thought what a wonderful, Oscar worthy performance, by veteran British actor, Gary Oldman. Then I thought wait a minute isn't Joe Wright a British Director? Money came from out of the U. S. too and locations were in the UK as well. Why isn't this considered a foreign film? Why is the United Kingdom granted a pass that isn't given to France, Italy, China, or the other foreign countries that compete for Best Foreign Film at the Oscars? English speaking? No, Australia sort of speaks English as do parts of Canada. Is "Darkest Hour" an excellent film? Obviously, but why push out an American made film for a foreign made film?
I get it, many American films receive locations, funding and incentives to come to their countries to make movies. However, the money from American actors, crew and other above the line expenses and even post production brings money back into the states. American above the line talent should be required in Best Feature Film Oscar nominations. Foreign (including the UK) above the line should constitute a Best Foreign Film nomination. Both "Dunkirk" and "Darkest Hour" were UK films and received numerous BFA award nominations. Good for them. Why can't the Academy of Arts and Science start to recognize home grown features and celebrate what they do for the Hollywood economy?
Put Foreign Films back in the Foreign Film category and recognize our own filmmakers and films that are made in the U.S.A.
I will have more on the Oscars in future weeks including my selections in which I am sure Gary Oldman will receive a Best Acting Oscar for his portrayal of Winston Churchill. However, Woody Harrelson's performance in "LBJ" went unseen. It opened in the U.S. on November 2, 2017, but only lasted a week in the theaters reaping a mere $2.5 million at the box office. Why?
Some great films in the theaters this month, make sure you get to see your fair share.
Until next week,
Bob
Monday, January 29, 2018
Thursday, January 25, 2018
BOB's RANT ON OSCAR SELECTIONS
I waited a couple of days to cool down. Not because I wasn't nominated but because I still can't figure out the formula the Academy of Arts and Science uses to nominate films and performers in each category.
They are allowed to nominate ten features for BEST PICTURE. This year's nominees include; "Call me by Your Name," "Darkest Hour," "Dunkirk," "Get Out," "Lady Bird," "Phantom Thread," "The Post," "The Shape of Water," and "Three Billboards Outside Ebbing, Missouri." Notice anything? There are only nine nominees. You couldn't find a tenth? Seriously? Are we judging films by their artistic content or is this politics? What possible reason could you give for not adding a tenth film? It couldn't be you didn't want the award show to run long, it already does that every year? Could it be that "The Greatest Showman" portrayed a racist in a positive light? I could make an argument for at least two nominated films to not be included and an argument for at least five to be at least included as the tenth best picture. Someone told me, "Maybe there were several tied for tenth." THEN PICK ONE!!! You're allowed ten! "I, Tonya" received nominations for Margot Robbie and Allison Janney. Not tenth place? How about "Molly's Game." Wonderful script (yes, nominated), well performed and Aaron Sorkin's directing debut fell on blind eyes and ears.
"Roman J. Israel, ESQ," is another film. Another great performance by Denzel Washington in what isn't the tenth Best Feature by this year's Academy standards. Let's not forget, "All the Money in the World." They had to fire Kevin Spacey and re-shoot with Christopher Plummer (who was nominated). Making a film twice should at least wind up in tenth place. Don't you think? I don't even want to get into the omission of "Wonder Wheel." Rehashed drama from thirty years ago should have no effect on the performance by Kate Winslet. Woody Allen's writing was top notch and the camera work as good, if not better, than at least two of the current nominees.
Another beef. Nominated films should have been able to be seen by the general public in more than one theater in Los Angeles and New York. Growing up watching the Oscars I rooted for the movie stars and films that I, as general Q. public, were able to go to the theaters and see. Who actually got to see Daniel Day Lewis' performance in "Phantom Thread"? Cast and crew screenings shouldn't count. I still haven't had a chance to see "The Florida Project" AND I LIVE IN FLORIDA! If the producer's or distributors can't open in eight to ten major cities in the U.S. give them an Independent Film Award nomination and move on.
We used to have Oscar Parties to watch and guess the winners. We've all done it rooting for your favorite film of the year and favorite performance. But over the past ten to fifteen years what used to be called Oscar Buzz has died down because the top Oscar Nominees have already won a dozen awards making the Oscars a ho hum, after thought. How can we guess who wins the Oscars if we haven't been able to see the movies? Guessing is based on previous results at other award shows and not from going to the movies.
In a few weeks I will rant about who I believe should win the Oscar's in the major categories. In the meantime, I will see where some of these nominees are hiding.
See you at the movies.
Bob
Bob Cook
Film Director
They are allowed to nominate ten features for BEST PICTURE. This year's nominees include; "Call me by Your Name," "Darkest Hour," "Dunkirk," "Get Out," "Lady Bird," "Phantom Thread," "The Post," "The Shape of Water," and "Three Billboards Outside Ebbing, Missouri." Notice anything? There are only nine nominees. You couldn't find a tenth? Seriously? Are we judging films by their artistic content or is this politics? What possible reason could you give for not adding a tenth film? It couldn't be you didn't want the award show to run long, it already does that every year? Could it be that "The Greatest Showman" portrayed a racist in a positive light? I could make an argument for at least two nominated films to not be included and an argument for at least five to be at least included as the tenth best picture. Someone told me, "Maybe there were several tied for tenth." THEN PICK ONE!!! You're allowed ten! "I, Tonya" received nominations for Margot Robbie and Allison Janney. Not tenth place? How about "Molly's Game." Wonderful script (yes, nominated), well performed and Aaron Sorkin's directing debut fell on blind eyes and ears.
"Roman J. Israel, ESQ," is another film. Another great performance by Denzel Washington in what isn't the tenth Best Feature by this year's Academy standards. Let's not forget, "All the Money in the World." They had to fire Kevin Spacey and re-shoot with Christopher Plummer (who was nominated). Making a film twice should at least wind up in tenth place. Don't you think? I don't even want to get into the omission of "Wonder Wheel." Rehashed drama from thirty years ago should have no effect on the performance by Kate Winslet. Woody Allen's writing was top notch and the camera work as good, if not better, than at least two of the current nominees.
Another beef. Nominated films should have been able to be seen by the general public in more than one theater in Los Angeles and New York. Growing up watching the Oscars I rooted for the movie stars and films that I, as general Q. public, were able to go to the theaters and see. Who actually got to see Daniel Day Lewis' performance in "Phantom Thread"? Cast and crew screenings shouldn't count. I still haven't had a chance to see "The Florida Project" AND I LIVE IN FLORIDA! If the producer's or distributors can't open in eight to ten major cities in the U.S. give them an Independent Film Award nomination and move on.
We used to have Oscar Parties to watch and guess the winners. We've all done it rooting for your favorite film of the year and favorite performance. But over the past ten to fifteen years what used to be called Oscar Buzz has died down because the top Oscar Nominees have already won a dozen awards making the Oscars a ho hum, after thought. How can we guess who wins the Oscars if we haven't been able to see the movies? Guessing is based on previous results at other award shows and not from going to the movies.
In a few weeks I will rant about who I believe should win the Oscar's in the major categories. In the meantime, I will see where some of these nominees are hiding.
See you at the movies.
Bob
Bob Cook
Film Director
Wednesday, January 17, 2018
Finding the right Film Festival for your Film
IMPORTANT DATES FOR THE CENTRAL FLORIDA FILM FESTIVAL -
Early Bird Submissions _ February 1, 2018 thru March 7, 2018
Regular Entries March 8th, thru April 11th
Late Entry Period - April 12th, thru May 16th
Film Freeway Extended Deadline May 17th, thru May 31st...
I've been asked many times how we select films and how filmmakers should go about selecting a film festival that may be right for the promotion of their film. In a perfect world where all films are created equal how will you stand out and how will you eliminate yourself from becoming an official selection for the festival of your liking.
I've always preached that there are only two reasons to make a film. The first is to make money and the second to win awards. Sometimes winning awards will enhance the marketability of your film helping you to make money. Don't lose sight of the fact that becoming an official selection to a film festival enhances the value of your film. Your film at the same time should enhance the program of the film festival. How does your film rate with other films in the same category. Look for a festival and take a look at previous finalists and winners.
Everyone thinks their film is good enough to get into Sundance. That's why Sundance receives over five thousand film entries each year. Two or three percent of these entries get into the festival. if you have limited funds for festival fees make sure you have a fighting chance to get in. Festivals of two weeks or more need more films than say a four day film festival. Check out festivals in your home state. Most states have at least one and many have several. Check out what you get for your entry fee. We provide (if asked) those films that do not become an official selection a critique letting the filmmakers know where their film fell short. We believe the critique alone is worth the entry fee but becoming an official selection enhances your film by displaying festival laurels on your poster. Official Selection, Finalist, Winner, all enhance the value of your film. Take a good look at the festivals close to you. The festival may give your film a second look because of local appeal. Try to find a local tie in with your film and the festival.
Credits aren't important to a selection committee. We get it, you wrote, directed, produced, edited, shot, and served coffee to the cast. We're not interested in seeing how creatively you're able to put your name on the screen. In many cases these aren't credits they're blame. Selection committees are interested only in your film. Does it have production value? Does the cast perform well and is there chemistry? Is there creative choices in the shot selection? Does the script follow structure? Is there entertainment value? How's the sound mix, the score, the over all quality of the project? You have to be professional enough to take a step back and look at your film and decide what's it worth? If you made a film for ten grand and it looks like a million you're in but if it looks like ten bucks you're dead. However, there may be a festival out there that will screen your film. New festivals are a bit less selective than established film festivals. Because of entry fees each festival competes for the better films. This leaves smaller festivals to pick up the scraps and who cares as long as your film is an official selection someplace right? There are problems with taking anything such as if your film had a good budget and you're planning on taking the film to a distributor and you entered the Squedunk, Iowa Film Festival and lost it could hurt your value. Any win is a good win but a loss hmmmmmm? It's a choice that you will have to decide.
Don't beg for a waiver. If the festival states no waivers then it means no waivers. However, there are some festivals that have sponsors that allow waivers because they pay the entry fees. Those festivals advertise such a campaign. There are also festivals that do not have entry fees at all. Again, your research is an important part of this process. The festival will not conform to your wants and needs - you must conform to the festival's wants and needs. The Central Florida Film Festival is a competition with cash prizes and offers NO WAIVERS. It would be unfair to those that do pay the entry fees to compete. Festivals have overhead. This includes, advertising, seminars, guest speakers, screening times with theaters, and even withoutabox and Film Freeway take a percentage cut from entry fees in order for them to stay in business. Some festivals have large advertisers and grant money but they also have large salaries and expenses. Smaller festivals struggle for each dollar. Here at CENFLO we are run totally by volunteers. All money is put right back into the festival.
One final word to the wise. Follow instructions. There is a different process for each festival you apply to. Follow their instructions completely if you don't you may be eliminating yourself without knowing it. And festivals don't like to hear "the other festivals do it this way." We all know that all festivals are different and each festival has it's own niche. Do your research and take advantage of attending a film festival even if your film doesn't get in. It may help you understand why. It will also allow you to network with festival officials and other filmmakers. This will help you chances next time.
I hope this helps !
Until Next time.
Bob
Early Bird Submissions _ February 1, 2018 thru March 7, 2018
Regular Entries March 8th, thru April 11th
Late Entry Period - April 12th, thru May 16th
Film Freeway Extended Deadline May 17th, thru May 31st...
I've been asked many times how we select films and how filmmakers should go about selecting a film festival that may be right for the promotion of their film. In a perfect world where all films are created equal how will you stand out and how will you eliminate yourself from becoming an official selection for the festival of your liking.
I've always preached that there are only two reasons to make a film. The first is to make money and the second to win awards. Sometimes winning awards will enhance the marketability of your film helping you to make money. Don't lose sight of the fact that becoming an official selection to a film festival enhances the value of your film. Your film at the same time should enhance the program of the film festival. How does your film rate with other films in the same category. Look for a festival and take a look at previous finalists and winners.
Everyone thinks their film is good enough to get into Sundance. That's why Sundance receives over five thousand film entries each year. Two or three percent of these entries get into the festival. if you have limited funds for festival fees make sure you have a fighting chance to get in. Festivals of two weeks or more need more films than say a four day film festival. Check out festivals in your home state. Most states have at least one and many have several. Check out what you get for your entry fee. We provide (if asked) those films that do not become an official selection a critique letting the filmmakers know where their film fell short. We believe the critique alone is worth the entry fee but becoming an official selection enhances your film by displaying festival laurels on your poster. Official Selection, Finalist, Winner, all enhance the value of your film. Take a good look at the festivals close to you. The festival may give your film a second look because of local appeal. Try to find a local tie in with your film and the festival.
Credits aren't important to a selection committee. We get it, you wrote, directed, produced, edited, shot, and served coffee to the cast. We're not interested in seeing how creatively you're able to put your name on the screen. In many cases these aren't credits they're blame. Selection committees are interested only in your film. Does it have production value? Does the cast perform well and is there chemistry? Is there creative choices in the shot selection? Does the script follow structure? Is there entertainment value? How's the sound mix, the score, the over all quality of the project? You have to be professional enough to take a step back and look at your film and decide what's it worth? If you made a film for ten grand and it looks like a million you're in but if it looks like ten bucks you're dead. However, there may be a festival out there that will screen your film. New festivals are a bit less selective than established film festivals. Because of entry fees each festival competes for the better films. This leaves smaller festivals to pick up the scraps and who cares as long as your film is an official selection someplace right? There are problems with taking anything such as if your film had a good budget and you're planning on taking the film to a distributor and you entered the Squedunk, Iowa Film Festival and lost it could hurt your value. Any win is a good win but a loss hmmmmmm? It's a choice that you will have to decide.
Don't beg for a waiver. If the festival states no waivers then it means no waivers. However, there are some festivals that have sponsors that allow waivers because they pay the entry fees. Those festivals advertise such a campaign. There are also festivals that do not have entry fees at all. Again, your research is an important part of this process. The festival will not conform to your wants and needs - you must conform to the festival's wants and needs. The Central Florida Film Festival is a competition with cash prizes and offers NO WAIVERS. It would be unfair to those that do pay the entry fees to compete. Festivals have overhead. This includes, advertising, seminars, guest speakers, screening times with theaters, and even withoutabox and Film Freeway take a percentage cut from entry fees in order for them to stay in business. Some festivals have large advertisers and grant money but they also have large salaries and expenses. Smaller festivals struggle for each dollar. Here at CENFLO we are run totally by volunteers. All money is put right back into the festival.
One final word to the wise. Follow instructions. There is a different process for each festival you apply to. Follow their instructions completely if you don't you may be eliminating yourself without knowing it. And festivals don't like to hear "the other festivals do it this way." We all know that all festivals are different and each festival has it's own niche. Do your research and take advantage of attending a film festival even if your film doesn't get in. It may help you understand why. It will also allow you to network with festival officials and other filmmakers. This will help you chances next time.
I hope this helps !
Until Next time.
Bob
Thursday, January 11, 2018
Add Insurance to your Budget!
Happy New Year! You haven't missed anything. This is my first column of 2018. Who decided that getting a flu shot is a good thing? I received a flu shot at the insistence of my doctor and out course a week later got the flu. Coincidence I think not. When I called I was told it's probably a different strand of flu and not the one I received a shot for. I get there are many strands of flu in the world then why not just take your chances? I've been down for almost a week but on the good side I lost about seven pounds.
Why should we add insurance to the budget of our low budget film? One a film with a few hundred thousand in the budget it's a MUST. All rental houses demand you be insured. The minimums are one million dollars in liability. You lost or break the equipment you are covered. Simple as that. Should give you piece of mind when shooting with a rented camera or lighting package. Even Chapman Leonard requires insurance to rent one of their dollies.
Okay let's say you are shooting on a shoe string and everyone promises to be careful. Do you still need insurance? No one wants to have an accident. That's why they;re called accidents. One time I sent a PA to the store for a modest pick up. Someone ran the light and hit her. Wrecked the car and the PA was taken to the hospital. Not her fault. Did she have insurance coverage? Yes, but why should her rates go up? We had her vehicle on file with our grip truck, camera truck, and wardrobe van as a production vehicle. Everything was covered. Piece of mind.
Stunts carry a rider policy but what is considered a stunt and what is considered an accident. While shooting "Lycanthrope" in Smithville, Tennessee, veteran actor, Robert Carradine was suppose to deliver his line and rush into a cave. He really didn't have to rush we kind of added that. First step into the cave he slipped on moss and fell cracking a knocking out his front tooth of his signature smile. Had someone rush him to the hospital and they found him a dentist who had all the work done on his mouth before we returned from shooting. Bobby couldn't wait to show me his smile. The Medical bill would have been sixteen thousand dollars but insurance covered everything.
Even if you are just shooting in your mother's house it would be nice to be able to repair or replace anything that winds up broken or damaged. Insurance is your friend.
Next week I will be writing to coincide with a podcast we will be starting. Highlights will be found here at the column and I will let you know how to find us at our podcast entitled "Next Stop Hollywood." Until then, I'll see you at the movies!
Bob
Why should we add insurance to the budget of our low budget film? One a film with a few hundred thousand in the budget it's a MUST. All rental houses demand you be insured. The minimums are one million dollars in liability. You lost or break the equipment you are covered. Simple as that. Should give you piece of mind when shooting with a rented camera or lighting package. Even Chapman Leonard requires insurance to rent one of their dollies.
Okay let's say you are shooting on a shoe string and everyone promises to be careful. Do you still need insurance? No one wants to have an accident. That's why they;re called accidents. One time I sent a PA to the store for a modest pick up. Someone ran the light and hit her. Wrecked the car and the PA was taken to the hospital. Not her fault. Did she have insurance coverage? Yes, but why should her rates go up? We had her vehicle on file with our grip truck, camera truck, and wardrobe van as a production vehicle. Everything was covered. Piece of mind.
Stunts carry a rider policy but what is considered a stunt and what is considered an accident. While shooting "Lycanthrope" in Smithville, Tennessee, veteran actor, Robert Carradine was suppose to deliver his line and rush into a cave. He really didn't have to rush we kind of added that. First step into the cave he slipped on moss and fell cracking a knocking out his front tooth of his signature smile. Had someone rush him to the hospital and they found him a dentist who had all the work done on his mouth before we returned from shooting. Bobby couldn't wait to show me his smile. The Medical bill would have been sixteen thousand dollars but insurance covered everything.
Even if you are just shooting in your mother's house it would be nice to be able to repair or replace anything that winds up broken or damaged. Insurance is your friend.
Next week I will be writing to coincide with a podcast we will be starting. Highlights will be found here at the column and I will let you know how to find us at our podcast entitled "Next Stop Hollywood." Until then, I'll see you at the movies!
Bob
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