OSCAR RANT!

I remember when the Academy Awards inspired me to become a filmmaker.  Then the Awards inspired me to keep going with the slogan, "why not me?".  Independent Films started gaining momentum with successes like "Little Miss Sunshine."  Now I watch the Academy Awards and it inspires me to move out of the country and become a filmmaker elsewhere.

I heard thanks and awards go out to, Canada, Argentina, Venezuela, Mexico, United Kingdom, Bulgaria, France and Spain.  This doesn't include the Foreign Language nominees.  Thanks for clearing up the Foreign Film versus Foreign Language Film category.  That's been changed and I am guessing that I wasn't the only one miffed at these U.S awards going abroad.

It would be nice if the award show could actually stay within three hours.  They joke, poke fun and  complain about how long the Oscar Show is and then go across the street to thank the people sitting in a movie theater for their support.  The bit is cute, but it took twelve minutes.  You want to shorten the show even more, get rid of the Foreign Language Award.  No one in the U.S. truly cares about that award.  Give it away during one of the commercials and tell us what we missed when we come back.  Same for short subjects, documentaries and such.  These are categories where we go to the bathroom or make a sandwich.   "Dunkirk" won three Oscars; Sound Editing, Sound Mixing and Editing.  The same team received the award for each.  Usually the sound mixing and sound editing awards go to the same film and team.  Why did we split those awards again?  Combine them back!  If the "Dunkirk" team was smart, they would have thanked everyone during the first award and gone up and won the Jet Ski with the second or third award.

Limit the acceptance speeches for the early awards to one person accepting on behalf of the film.  Give them a minute and move on.  Seriously, text everyone your thanks and buy them a drink at the after party.  In Memoriam?  When did the singer become more important than those that have inspired us over the years passing?  I was going to be pissed off because a friend of mine's father passed and he was left out.  I am speaking about Richard Venture.  Look him up, his credits were definitely worth a mention.  He played Al Pacino's brother in the Academy Award winning film, "Scent of a Woman," "Clint Eastwood's commanding officer in "Heartbreak Ridge," the American Ambassador in the Academy Award winning film "Missing."  Here's a man and name you may not recognize but a face that has played with some of the greatest names in Hollywood.  However, the Academy also forgot to mention Oscar winner Dorothy Malone, the Director of three Bond films and the Academy Award nominated film "Alfie, Lewis Gilbert and "Poltergist" director Tobe Hooper.  Holy crap, Batman!  Who screwed this up?

Someone was upset David Ogden Stiers was left out, but he died two days before and in 2018.  It's supposed to be those we lost in 2017.  You can bitch about David next year if they leave him off.  Adam West was a studio contract player before he became television's Batman and Batman had at least two movies starring Adam West.  

Anyway, it got me to calm down when I saw others were omitted and not just Richard Venture.  I was a real fan of Richard's work and actually got to work with his talented son Tony on a movie as well as hear his band play at clubs from time to time.  I'm sorry for your loss, Tony and even if the Academy Awards didn't do it, I want everyone to know another talented actor was lost in 2017.

Not to brag, but all my selections posted last week were correct.  I'm glad the award season is over and I can get back to the usual grind.  

Next week I'll be writing about the paperwork that needs to be filed by filmmakers using the Ultra Low Budget.

Until then, see you at the movies!

Bob

WHY ULTRA LOW BUDGET CONTRACT?

When I was running the Central Florida Film Festival I came across many feature film entries.  All but a few made on a shoestring.  Which means the "I didn't have money" excuse won't cut it.  There were quite a few films that if they had used a professional actor/actress rather than Mom and Dad the chemistry and performances may have been much better and in turn the making of a better film.

Yes, one or two professionals do make a difference.  Did you know that SAG/AFTRA has a contract for films budgeted at two hundred and twenty-five thousand dollars and under?  If your film doesn't have any money, think again.  Are you making the film for twenty thousand dollars?  Then you qualify.  The Ultra Low Budget day rate is $125/day (+ Pension & welfare).  The important thing to remember is that in the Ultra Low Budget you can mix non union actors with union actors.  So, with P & W make it $150/Day.  There are two reasons why actors like to work.  One is money and the other a good script. Most actors like to work and if you have a good script perhaps someone in the Guild might even attach their name.  A dozen characters in your cast?  Perhaps three guild members would do the trick.  They have more experience and have been on a professional set before. That's a requirement to become a member of SAG/AFTRA.

Actors have a way of either playing up or playing down to your lead performer.  Setting the bar is important and by setting that bar higher you might think you're spending more money but it's definitely making your film a better project.  This could mean the difference of receiving distribution or not and perhaps even getting your money back.  Check out the SAG-AFTRA.org website and take a look at the sample contract.  Remember the SAG/AFTRA representatives are only doing their job and that job includes getting work for their members and at the same time making sure their performers are treated with the proper professionalism that filmmakers should treat all their performers.

Next week I will walk you through the application process.  There's some paperwork to get started and it can be frightening.  I'm actually in the middle of applying for a new comedy I am making in May.  Have three SAG/AFTRA members attached and now need to make sure their contract is in order.  By next week I will be an expert in the process and gladly share it with you.

Sunday is also Oscar night and I would be remiss if I didn't at least post my selections.

BEST ACTOR - Gary Oldman (Darkest Hour)  I already told you how I feel about UK films invading our award show but Oldman was Churchill and deserves the nod.

BEST ACTRESS - Frances McDormand (3 Billboards)  I loved  Sally Hawkins performance in the Shape of Water but I know how the Academy thinks and no one plays the middle age mom in distress like Frances McDormand.

BEST SUPPORTING ACTRESS - Allison Janney (I, Tonya)  I have it between Janney and Octavia Spencer but I watch "Mom" and Janney's transition from comedy to drama was seamless.

BEST SUPPORTING ACTOR - Sam Rockwell (3 Billboards)  It was a great ensemble and Woody Harrelson could cancel him out and veteran actors like DaFoe and Plummer could slip in but going with what I thought was the best stretch for a performer.

BEST DIRECTOR - Guillermo del Toro (The Shape of Water)   The Academy has set this up for del Toro or a female director (Greta Gerwig).  It seems as if Three Billboards Outside Ebbing, Missouri received all it's nominations including Best Picture without the help of a director. I hate when they do that.  They did it to Spielberg for "The Color Purple."  Everyone gets a nomination but the director.  It's amazing what department heads can do without leadership.

BEST PICTURE - The Shape of Water.  I was all over Three Billboards Outside Ebbing, Missouri but both pictures were excellent and the Academy swayed my selection by omission of the director. This could however be a ploy by the academy to give the women's movement what it wants but if Lady Bird is announced as best picture don't turn off your sets.  Remember last year?  I wouldn't be surprised if the winning producer's are pulled off the stage by del Toro's monster and the award handed to him instead.

My final prediction is that next Monday I will be ranting about the Oscar's .

Later,
Bob


Bob Cook
Film Director

You can view previous blogs as well as our new podcast at www.BCEntertainmentGroup.com

WHO WORKS FOR FREE?

I've read a couple of posts this week from, I guess, industry people ranting about producers that are looking for free labor. "Demand minimum wage" one of the writers insisted.  While another just said, 'people looking for free labor are scams.'

If I blindly agree I would be doing everyone trying to get into the world of film making an injustice. Do I agree?   Yes.  But there are exceptions to every rule.  How do you create a resume?  I'm listed on a few of those Movie Job sites including Stage-32 and Mandy and apply to most directing and writing gigs offered.  I've got to admit, this person who posted didn't have a clue what a director does.  I had one nameless person who said I could direct and my pay would be ten percent of what I brought to the project.  I'm serious.  Yes, I passed.  It seems that most of these posts are from people that have never made a film or understand the commitment it takes to make a film.  Yet they have an idea and want you to take their idea and turn it into a film.  Their dream, not necessarily yours.

However, sometimes when you haven't worked on a film in a few years it's time to lower your standards.  Is this a script you believe in?  Is this a film that can showcase your talents to perhaps put you in a better position for another job?  Film is art and there are many artists out there wanting to put their vision to the test.  Some actually might have credits.  Look 'em up!  IMDB is there for you to search who is starting out versus who is looking to make a new vision come to life.

Did you know that in the state of Florida it's legal to NOT pay Interns?  That's right, provided the interns in question are learning and not taking the place of another person who was getting paid.  Did you also know that if you are a student right out of film school you really don't have any experience?  Over the years, I've interviewed several students for features I was producing.  Their resumes consisted of several student projects and not much else.  I even asked a young student, "where he'd like to work on my film?", his answer was, 'to be the director.'  Seriously, that's what he said at the interview.  I told him, "that position was filled. Was there something else to maybe help him reach the goal of director."  Deer in the headlight look.  You feel we should pay these people?  I believe we should help train these people because perhaps the film schools are missing a valuable part of reality and that's the interview process.

You want to work for minimum wage?  Get a job at Burger King.  The hours are much shorter.  However, unless you're going to another fast food chain for work, that tidbit on your resume isn't going to move you along in life.  When I was in LA I had to work at McDonald's on the overnight shift to pay my bills. Yes, just over minimum wage (hey, I was a night shift manager).  I got offered a job on a movie set for four hundred dollars cash and four hundred dollars deferred.  I took it and learned that in the film business sixteen hour days is the norm and I made more at McDonald's, but that wasn't what I wanted to do in LA.

What I am trying to explain is, research before you jump into a film project.  Will this film have a chance in getting seen?  Am I losing money or am I learning something that can be applied to future film jobs?  Are there filmmakers out there that need someone to tell them where to point the camera? Absolutely, but there are others that just might make a difference in the business and when they do don't you want to be on their "First Call" list?

Until next time.

Bob Cook
Director.

WATCH OUT FOR SCAMS!!!!

Congratulations to Philadelphia for winning the Superbowl.  I know this is not a sports blog but you got to admit even in defeat Tom Brady put on a great show.  Philly quarterback Foles won MVP honors with 343 yards passing and three touchdowns.  Tom Terrific tossed for over 500 yards (a Superbowl record) and three TD's and has to pay his own way to Disney World.  I guess Tom's wife, Giselle, would let us know that her husband can't play offense and defense too!

Our first podcast is on the air! The quickest way to find it is to go to our website www.BCEntertainmentGroup.com and the link is on the home page.  We spoke last week about finding a film festival that is best for your film and we will follow up this week with what to do when you are accepted by a film festival.

Now for the important part. Scam Artists are alive and well and I thought only praying on seniors.  Get this one!  I received an email from a person telling me they were the executive assistant to Toby Emmerich and they were looking for a director at Warner Brothers.  They had the logo with the Burbank address and everything.  I was already suspicious as one would think the CEO of Warner Brothers wouldn't have to go looking for a director but hey, I had to follow up, right?

I asked a few questions about the project and I was given the logline and told that if I made any changes, I would have to get them approved.  The pay would be $1,500/week if I passed a two week evaluation period at $750/week.  I never heard of that but they included an application with the Warner logo and address and well, it looked legit but something just didn't seem right.  I've been directing for thirty years and never heard of an evaluation period.  Most studios call it, "You're Fired" after two weeks and your work isn't up to par.  I also looked up Patricia Jose' to see what credentials she had on IMDB.  None!  One would think she would at least have being the Executive Assistant to the CEO of Warner Brothers on her resume.

There were also a few "tells" in the emails including spelling and grammar errors.  If I were Toby Emmerich I wouldn't have Patricia Jose' serving my coffee.  She was not a good assistant.  The email address was JosePatricia@gmail.com.  I'm very suspicious but a lead is a lead.  They never asked for my social security number or bank accounts so, what the hell.  Now comes the fun part.  I was accepted based on the feeling that I would do a great job.  Even I wasn't sure I would do a great job as intimidating as the Warner Brothers name is.

I was told a check in the amount of $2,750 would be sent to me.  I was to take the $750 as my first payment and use the other $2000 to purchase a list of equipment that Patricia required me to buy.  I questioned why would I have to purchase equipment?  Doesn't Warner have their own equipment?  I was then given a date and time to meet (with equipment in hand) to seal the deal.  The fact that the meeting was at McDonald's was just another red flag.  I called Bull and told them, after conferring with my agent, I've decided to pass on the project.

Two weeks later an express mail delivery came to my door.  It contained a check for $2,750.  At first I couldn't figure out what it was for as there was no cover letter or statement.  Yes, I do receive other checks in the mail.  Then it dawned on me that this was the check from Patricia Jose's people.  The check wasn't drawn on a Warner account but it was a business check.  It looked legit but something just screamed this is a SCAM.  I went to my bank and asked for the Fraud Division.  I asked them if this was a good check?  Hey, still wanted it to be true.  Immediately the bank executive said "No," and started citing different reasons why it was a bad check.  In my head I already knew it was true.  So, here's how the scam works, you deposit the check and it takes five days for it to be returned.  You've already bought the equipment and delivered it.  Check comes back to your account and you are charged the $2750 plus bad check costs and are stuck.  They sell the equipment and live happily ever after.

The first thing I thought was, 'how many young directors want a gig so bad they would fall for such a scam'?  The cost of an Express Mail delivery wasn't cheap $27.  Someone had to have fallen for it because these people aren't in business to spend more than they make.  So, BE CAREFUL OUT THERE!  Whether it's Patricia Jose at JosePatricia@gmail.com or anyone representing themselves from a studio looking for crew, CHECK THEM OUT!  These scam artists are good.  The only redeeming thing was I liked the log line.  I wonder if they stole one from another movie or just made one up on the spot?  I might research it or maybe even write that script.  could this be the silver lining in the black cloud?  Who knows.  Until next week....


Later,
Bob

Podcast @ www.BCEntertainmentGroup.com

WHAT'S AN OSCAR FOREIGN FILM?

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

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

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