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
Showing posts with label directing a film. Show all posts
Showing posts with label directing a film. Show all posts
Tuesday, February 27, 2018
Monday, February 19, 2018
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.
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.
Monday, December 18, 2017
NAME THAT FILM!
Remember the old game show "Name that Tune?" It was the one where two contestants would bid on how few notes it would take for them to name the title of a famous song. I'd always laugh when some contestant would say "I can name that tune in ONE note," and the emcee would reply, "All right, Sally, name that tune!" I attended a pitch fest with distributors and producers on the panel. The idea was to pitch either a project or completed film in hope of getting one of the panel members interested enough in your project to fund or purchase it. I was able to see one of the features that was being pitched and knew two other filmmakers and wanted to observe their pitches. It's always good to listen and learn.
A filmmaker who made a wonderful faith based film (not going to tell the title to protect identity) was first up. I viewed his film online and although there were a few minor flaws (which happens in low budget film making) the acting was good, production value good, music original, and story line watchable. This was a good feature length film worth distributing. The filmmaker's selling point during his pitch was that he made the film for only five thousand dollars. I immediately thought of the game show. Why would a filmmaker tell anyone how much he made his film for? Proud of making the film for no money are you? What about the people that helped you make the film? Isn't there a value on friendship and favors? It's called soft money, or goods and services and all part of the budgeting process.
I saw the credits of his film and there were quite a few actors and crew members that made his vision possible. There should be a value on their services even though you didn't pay for them. Think!!! Why would a distributor pay you fifty thousand if he knew you made the film for five? The lesson here is when you are in prep and working out your budget write EVERYTHING down. What crew are you using, what equipment do you need, where are you going to shoot? Put a value on it. Mike is my camera guy because he owns a camera and he will work for free. Great! Put a value on Mike and on his camera rental. We didn't use a dolly, we used a wheelchair or Mom let me use their house and pool to make the film. Who cares? It's what's on the screen that counts. Put a value on it.
I worked for director Paul Leder in the 80's & 90's and we made a film entitled "The 11th Commandment" (1987 - aka Body Count). At a screening of the film at the American Film Market, Paul was approached by Jonathan D. Krane. This is the same Jonathan D. Krane that produced several successful John Travolta films. He owned and operated a distribution company in the 80's called Manson International (which eventually became MCEG) and he was at the screening of "The 11th Commandment." He asked Paul what he made the film for and Paul replied "What do you think?" JK said $500K and Paul replied, "You're good." Krane offered $350K and a good percentage on the back end. Paul took the deal. We made the film for $125K with another $125K in deferred costs (the costs that goes to the people that worked for practically nothing!). Paul still had enough profit to start the process all over again. P.S. we never saw a dime on the back end.
I guess what I'm trying to tell filmmakers just getting out of film school is, the pride you show in knowing that you made a good film for practically nothing should be kept to yourself. If you need to brag about yourself use the term "Cost vs. Production value." Saying you made your film for five thousand dollars isn't going to get your film sold but a cost ratio of 20 to 1 will keep everyone thinking, "Nice film, wonder what his budget was?" Try it, you'll like the results.
One last thing as a follow up to last week's post, I am starting to understand the meaning of the word "following." The more followers you have the more value is placed on what you are saying or doing. Think of what Senator McCarthy could have accomplished if he had social media to out communists within the Hollywood circle. Are today's outed sex offenders the Communists of today? Should art suffer because of the misdeeds of the artist? It's getting to the point that I don't look forward to the Hollywood trade papers. Don't want to get back on that tangent again (for Travis' sake) but I saw "Wonder Wheel" the other day and Kate Winslet was marvelous. Oscar worthy, as was Woody Allen's direction and script. I can't believe that at eighty-one he still can tell a great cinematic story and elicit great performances from his ensemble. I can only hope that I am able to dress myself at eighty-one. Go see the film and share your thoughts in the comments section.
This is my last column before Christmas and I want to wish everyone Season's Greetings. Be well, be safe and most of all be thankful for what we have and for those that help to make our dreams come true. Merry Christmas!
Bob
Bob Cook
Film Director
B.C. Entertainment Group, Inc.
A filmmaker who made a wonderful faith based film (not going to tell the title to protect identity) was first up. I viewed his film online and although there were a few minor flaws (which happens in low budget film making) the acting was good, production value good, music original, and story line watchable. This was a good feature length film worth distributing. The filmmaker's selling point during his pitch was that he made the film for only five thousand dollars. I immediately thought of the game show. Why would a filmmaker tell anyone how much he made his film for? Proud of making the film for no money are you? What about the people that helped you make the film? Isn't there a value on friendship and favors? It's called soft money, or goods and services and all part of the budgeting process.
I saw the credits of his film and there were quite a few actors and crew members that made his vision possible. There should be a value on their services even though you didn't pay for them. Think!!! Why would a distributor pay you fifty thousand if he knew you made the film for five? The lesson here is when you are in prep and working out your budget write EVERYTHING down. What crew are you using, what equipment do you need, where are you going to shoot? Put a value on it. Mike is my camera guy because he owns a camera and he will work for free. Great! Put a value on Mike and on his camera rental. We didn't use a dolly, we used a wheelchair or Mom let me use their house and pool to make the film. Who cares? It's what's on the screen that counts. Put a value on it.
I worked for director Paul Leder in the 80's & 90's and we made a film entitled "The 11th Commandment" (1987 - aka Body Count). At a screening of the film at the American Film Market, Paul was approached by Jonathan D. Krane. This is the same Jonathan D. Krane that produced several successful John Travolta films. He owned and operated a distribution company in the 80's called Manson International (which eventually became MCEG) and he was at the screening of "The 11th Commandment." He asked Paul what he made the film for and Paul replied "What do you think?" JK said $500K and Paul replied, "You're good." Krane offered $350K and a good percentage on the back end. Paul took the deal. We made the film for $125K with another $125K in deferred costs (the costs that goes to the people that worked for practically nothing!). Paul still had enough profit to start the process all over again. P.S. we never saw a dime on the back end.
I guess what I'm trying to tell filmmakers just getting out of film school is, the pride you show in knowing that you made a good film for practically nothing should be kept to yourself. If you need to brag about yourself use the term "Cost vs. Production value." Saying you made your film for five thousand dollars isn't going to get your film sold but a cost ratio of 20 to 1 will keep everyone thinking, "Nice film, wonder what his budget was?" Try it, you'll like the results.
One last thing as a follow up to last week's post, I am starting to understand the meaning of the word "following." The more followers you have the more value is placed on what you are saying or doing. Think of what Senator McCarthy could have accomplished if he had social media to out communists within the Hollywood circle. Are today's outed sex offenders the Communists of today? Should art suffer because of the misdeeds of the artist? It's getting to the point that I don't look forward to the Hollywood trade papers. Don't want to get back on that tangent again (for Travis' sake) but I saw "Wonder Wheel" the other day and Kate Winslet was marvelous. Oscar worthy, as was Woody Allen's direction and script. I can't believe that at eighty-one he still can tell a great cinematic story and elicit great performances from his ensemble. I can only hope that I am able to dress myself at eighty-one. Go see the film and share your thoughts in the comments section.
This is my last column before Christmas and I want to wish everyone Season's Greetings. Be well, be safe and most of all be thankful for what we have and for those that help to make our dreams come true. Merry Christmas!
Bob
Bob Cook
Film Director
B.C. Entertainment Group, Inc.
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