Indie Source Magazine August 2013 by Indie Source Magazine

Indie Source Magazine

Louisiana Entertainment offers tax credit programs for film, music, interactive, and live production. These innovative programs are a holistic package of entertainment tax credits not found anywhere else in the United States. Whether your next project is producing an album, video game, interactive web app, or launching a national tour, our industry experts help you take care of business. The Louisiana Entertainment staff provide a seamless application process while creating the best possible production experience inside our state. To contact the Entertainment Office, call 225.342.5403 or 800.450.8115, or by email: LED-Entertainment@la.gov

LED ENTERTAINMENT

POST OFFICE BOX 94185

BATON ROUGE, LOUISIANA 70804-9185

www . LOUISIANA ENTERTAINMENT . GOV www.theindiesource.com

Content No.03 | August 2013

ism. Executive Editor Christopher Parker Managing Editor Denise Smith Art Director Tasha Myke Photography Earl Kincade Art & LayOut Thomas Walker Copy Writer Jerome Crowell Thomas Walker VP of Business Development Gregory Parker Office 8581 Santa Monica Blvd. Suite 261 West Hollywood, CA 90069 United States

Studio Tour

12. Koyakatsi

Awesome Indie Sci-Fi Film Directed by Ayoub Qanir...

28. Why Online Movie Marketing Is Essential by Jason Brubaker...

Reopening Tour of Mark Sennett Studios. 29. Managing Content In The 18. Frame

Tifanie Jodeh

09. Indies We Love

When Should You Work with an Entertainment Attorney

11. 21 Acting Words and Phrases Directors Must Know

08.

by Jon Garon...

Collection of Indies We Want You to Know...

by Peter D. Marshall...

Phone 323-400-6622 Fax 323-400-6655 E-mail. info@indiesourcemag.com web. www.indiesourcemag.com

Indie Source Magazine

03.

08.

Tim League

Simply Magic

Video Interview with Founder of Alamo Drafthouse Cinema.

Interview with Indie Country Music Star Doreen Taylor. (Audio Song)

The Hot Flashes Brooke Shields Speaks About Her Challenging Former Basketball Character in the Feature Film “The Hot Flashes”

20. 41. Karen Bryson

Interview with the talented actress...

58. Superman: From Golden Age of Comics To Today by Alex Hillsberg...

24.

42.

46.

His Own Way

Bryce Howard & Project Imagina10n

AFI Directors Round-Table

Interview with Film Investor and Producer Chris King.

Interview with Bryce Dallas Howard About Her Love of Project Imagina10n.

Round Table Interview with the Lovely Ladies of the 2013 AFI Directors Workshop. www.theindiesource.com

Interview

Film/Distribution

Gregory Parker

Name: Tim League Title: Founder/CEO Company: Alamo Drafthouse Cinema Type: Distribution Facts: Has over 100 viewing screens. Locations: Ashburn, Austin, Dallas/Fort Worth, Denver, El Paso, Houston, Kalamazoo, Kansas City, Lubbuck, New Braunfels, San Antonio, San Francisco, Winchester and Yonkers.

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Video Interview (Digital Versions Only)

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Interview Music/Singer

Indie Source Magazine

Doreen Taylor American Solo Artist, Actress & Child Advocate

Simply Magic

FACT: Performed a one-woman act at Trump Taj Mahal in Atlantic City, NJ.

oreen is a northerner with a golden voice and an infectious smile that can warm even the coldest heart. With country in her soul and a New York state of mind, she perfectly blends feminine power and grace into everything she does. Just like her album, we found Doreen to be simply “Magic”.

Christopher Parker

ISM: At what age did you or your parents realize you could sing? DT: I always knew it was there, but didn’t realize I could carry it further. I was in third grade and my choir teacher in school heard something while we were singing in groups. He singled me out and asked me to sing a solo, “The First Noel”, but a cappella. It was really crazy to do that, but when he put me on stage it felt very right. I didn’t know what I was doing, I just did it. My

teacher pulled my mother to the side and said “I really believe you need get her lessons”. My mom replied, and I quote “What is she going to do with that?” Several years later, here I am. I’ve always had music in my life, I played piano and violin, I made All- State in violin playing. ISM: You grew up in upstate New York. What made you gravitate toward Country music instead of Pop? DT: I grew up about thirty miles east of Buffalo, New York. It really was a farm country atmosphere. We had cows in our backyard, and we had lots of farm land. I was always a nature type of girl. I played with my brother and his friends building forts and tree houses. The community music events always would bring in country artists before media rock artists. When you think of New York, you think www.theindiesource.com

Big Brothers Big Sisters www.bbbsbc.org

Pefect For Me (Click to Play) Digital Versions Only

“I didn’t start off looking to be famous from the album, and then it goes to number one”.

city, but upstate can be very country and it felt natural. I like the Americana type of feel, because it’s not over-produced and there is just a nature type of feeling to it. ISM: You are a talented song writer. What is your process to writing a hit? DT: It varies. There is no set way of doing it. It can happen at the most opportune times. I can be in the bathroom or driving down the road. I can see something and it just pops in my head. Something someone says can prompt a whole dialog in my head. I’m different than most artists, because I write the lyrics and the melody together at the same time. For me they are both the same. The words I write will create a sound in my head and they dictate the melody in my head. When you have it you have it, there is such a thing as writer’s block, but when it comes it pours out of you. For my album “Magic”, songs were just pouring out of me, and I was literally writing a song a day. I had to stop myself or I was going to have to release a box set [Laughs].

www.doreentaylormusic.com ISM: You are an award winning actress, performing both on and off Broadway. Which do you prefer,

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touring in support of an album or acting and singing in plays? DT: I don’t even have to think about that, absolutely touring in support of my album. Not that I didn’t love the experience of being in music theater and opera companies. It was amazing at the time, and it really seasoned me as a performer. It’s one thing to perform someone else’s music and piece of art, and it’s another thing performing your own. When I tour in support of my own album, my own art, my own voice, you can’t explain to someone the rush you get. We are currently amping up for our national tour and it’s the most exciting time of my life right now. ISM: You are a strong advocate of St. Jude’s Children’s Hospital. What other charitable organizations and events do you support? DT: I have a lot of charities I support. I recently was selected as the Honoree Chairperson for the Fiftieth Anniversary Gala for of the Big Brothers and Big Sisters of Bucks County. I am so honored to be one of them after seeing the list of the people who have done this in the past. I love to speak for those who can’t

speak for themselves. There is also a wonderful organization called STOPCAIDNOW (http://www.stopcaidnow.org/), they deal with childhood autoimmune deficiencies. I have performed at their gala two years in a row now, and they are a sponsor for my upcoming concert. I do that one more anonymously. I kind of credit Philadelphia for my start, so this year for my concert there, I chose the legendary Ron Jaworski charity called “Jaws Playbook”. All the proceeds from that event will go to that charity. ISM: Do you feel it is important for an artist to personally stay in contact with their fans? DT: Yes, but I know it is very difficult to do. I know how it feels to write on someone’s wall on Facebook and you don’t get an answer. You can’t be too accessible, but it’s important to connect with the fans. I run my own Facebook and I am the one that answers every post that I can get to. I think it’s one of the big reasons my career has grown so fast. Without the public you can’t be in the public eye, and we all owe them our success. I’m going to keep doing it until I physically can’t anymore. I love it! ISM: You are a former beauty queen. What would you tell young women about inner beauty and the importance of loving yourself? DT: Good question. People don’t bring that up very often; it’s a thing that is glazed over. This question touches into my soul as it’s a personal and dear thing to me. I wrote a song called “Perfect for Me”, it’s one of my popular songs and it is all about this very topic. It’s about being perfect for you. If you are different it’s ok, people are going to want you to be some size, and want you to be something that isn’t you. If you are happy with you then you are perfect. You do it your way, you can be independent and make a splash on your own and everything else will follow. ISM: You are also a playwright, creat-

ing your own one woman show. Can you tell us about that experience? DT: I’m not really a playwright. I did a one woman show, but not a Broadway type of show. During my transformation period from being a stage performer to a mainstream artist, I did a show where I would sing, dance and tell jokes. It was like a wild party. I became very popular in Atlantic City then branched over to Las Vegas. It was a wonderful experience, but it was so demanding. I was working and doing the show like five times a week. Trump Taj Mahal in Atlantic City contracted me to do a ten week run. It was too demanding and I only made it through the pain because of my passion for it. But I would do some shows where I would go home and

couldn’t walk for two days. So I had to scale back to make sure I kept my vocals intact. That’s the most important thing to me.

cordings. I don’t think anyone there thought it would turn out the way it did. As we started recording and I showed them the songs, I started working with Joe Mass, and it was magical. That’s how the album got its’ name, from our magical sessions. It was the album that wasn’t supposed to be. People ask me how it feels to be successful and I don’t know, I’m still in shock. I don’t know where this ride is going to take me, but it’s just such a blessing. The theme that kept coming out during the creation was that it’s my journey, and about who I am as a woman. I am an artist and a woman in the industry. It’s a beast of an industry, especially being a woman staring down this beast. It’s just about being yourself and standing up for who you are, and never to let anyone tell you that you can’t make it. ISM: With the way music is sold today, some artists have started to only create singles. Was “Magic” designed to be one continuous listen from beginning to end, or a collection of singles? DT: It’s both, and I know that is a weird answer. I liked the days where Pink Floyd would write “The Wall”, and you would have a story from track A and so on. It’s painting a canvas for the listening. I wanted to paint a journey from beginning to end. I wanted people to put it in their car and listen from beginning to end, but at the same time you can isolate any song and they stand on their own, if that’s how a person wants to listen to it.

ISM: You recently released your solo country album “Magic”. What was your inspiration behind this great ISM: What do you have planned for album? the next twelve months? DT: I didn’t start off looking to be DT: We have the tour coming up, famous from the album, and then it and I am writing again as I have been goes to number one and having over commissioned by a large charity. I a million views on my videos. I went can’t say much about it right now, but in because I had hundreds of songs it could make me a household name. in my head and I needed to get them We have been talking about doing out. I wanted them immortalized and some acting. It’s an organic time in that was really it. I went in with this my life! amazing studio in Newtown Square, Pennsylvania called Optimus Rewww.theindiesource.com 11

Trailer (Digital Versions Only) 12

Indie Source Magazine

A FILM BY AYOUB QANIR

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Company: Transient Director: Ayoub Qanir Writer: Ayoub Qanir Producers: Karina Lempkowska, Maciej Starszewicz, Dobromil Sudak & Dominik Tomasik. Cast: Magda Roman & Szymon Bartoszek Cinematographer: Bartlomiej Kaczmarek Effects Supervisor: Artur Szymczak Casting: Rebel Talents 14

Indie Source Magazine

A young scientist and a military doctor team-up to investigate a series of unidentifiable, non-biological attacks. What they discover is a threat far greater than they could have ever imagined.

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Indie Source Magazine

Ayoub Qanir is an American film director, writer and industrial designer best known for his award winning short film series Human After All featuring French music duo, Daft Punk. Upon completing his studies in Madrid, Spain, Qanir relocated to South Florida where he attended The University of Miami and earned a Bachelorâ&#x20AC;&#x2122;s degree in Business Management and Entrepreneurship. Shortly after graduating, Ayoub also earned a degree in Art Direction and Graphic Design then went on to pursue his passion for film, attending the Lee Strasberg School for Directing and Production in Los Angeles, California. In recent years, Ayoub has become a vivid science advocate as his work has been published online on topics ranging from information technology and Augmented intelligence to neural frequencies-- Which has allowed for him to become known for building fictional concepts from the sciences up-- Grounding his plots and narratives in real-world scientific developments and breakthroughs. Additionally, Ayoub is currently pursuing a graduate program in Nanotechnology at Harvard University. He has recently written and directed a feature film-project, Koyakatsi, currently in post-production. The action/thriller, which stars Szymon Bartoszek and Magda Roman has recently garnered a great deal of national and international press and has become an online hit.

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Tour - Mack Sennett Studios

sound stage #2 Stage #2 has 2,000 square feet of free shooting space and a 50 foot L shaped cyclorama which is ideal for small productions and still photo shoots. There is ample daylight or it can be fully blacked out.

One of the most unique stage and still photography rental studios in the world. Built as a silent movie studio in 1916 by legendary producer Mack Sennett, this Los Angeles landmark has played host to countless productions for film, television, advertising, music, fashion and art industries, as well as largescale events.

Mack Sennett Studios

- 23’ to catwalks - 1,200-1,600 AMPS - 100’ U shaped hard cyclorama - 7’ deep pit in the floor - lighting and grip gear available - drive in access - talent green room - production office - dressing room & vanity mirrors - stocked mini-bar upon request

stage #1 amenities 18

Indie Source Magazine

sound stage #2 The 28′ X 50′ paint frame travels up and down for quick backdrop changes.

- 5,000 sq. ft. soundstage - 60’ clear span - 100’length - adjustable speed rails - backdrop available

Sound stage #1

1215 Bates Ave Los Angeles, CA 90029 info@macksennettstudios.net p: 323-660-8466

stage #2 amenities

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Interview

Film/Actress/Director

Brooke Shields, Camryn Manheim, Daryl Hannah, Virgina Madsen, Wanda Sykes and Mark Povinelli

Brooke Shields & Susan Seidelman

The Hot Flashes If you are looking for an honest portrayal of real American women, look no further than â&#x20AC;&#x153;The Hot Flashesâ&#x20AC;?. We sat down with two of the women 20

Indie Source Magazine

Director Susan Seidelman

Actress Camryn Manheim as Roxie Rosales and Charlotte Graham as Jocelyn Humphrey

that helped make this awesome film possible, lead actress Brooke Shields and director Susan Seidelman. ISM: When did you first hear about the project, and what were your initial thoughts on the screenplay? BS: I heard about it maybe six months before filming was scheduled to begin. I was impressed with the subject because it struck me as a unique story, and there are groups like Comedian/Actress Wanda Sykes as Florine Clarkston.

this all over the country. So, itâ&#x20AC;&#x2122;s very current. There are older women playing basketball and even forming cheerleading squads. All the proceeds from their events go to different charities, so it had a really good message. They also informed me of their wish list of cast, and I wanted to work with all of those women. SS: Around 2007 or 2008, it was one of those weird projects that the writer just cold called me and sent me the script. When I saw the title it piqued my curiosity even more. It was

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a fabulous script, and I just loved it. ISM: What was your approach to bringing your character Beth alive on the screen? BS: First, I had to learn how to play basketball [laughs]. I had to bring in a coach and train. The rest was performing research on the women that are actually doing this, their thoughts and motivations. The character is similar to me, as I am raising two girls and the struggles I am having with that helped me get in touch with Beth on a deeper level. ISM: The characters are very down to earth and feel very real, is this something you and the cast worked on, or is this something that just came out during filming? SS: I’m generally associated with films set in New York and with New York types of characters. One of the reasons I liked this script is that the characters were small town women. We had great actors to play the characters, and they helped make it authentic. Each character had their own unique personality and that was important to me to make them come across the screen that way. ISM: How long did you train to handle the basketball scenes? BS: We had a two week minicamp on top of my two months of training. I had just come off a Broadway show so I was really fit. However, I had a torn meniscus, but I couldn’t have surgery until after the movie wrapped, so I wore a brace in the movie. We all had real life ailments, so we were able to incorporate those into the characters on screen.

ISM: How were you able to ensemble such a dynamic cast of women? SS: One thing I loved about the script was that the characters Indie Source Magazine

were middle aged women which you don’t get to see very often. There are so many great actresses out there at that age that don’t often get to star in movies. So we had so many to pick from. For the Beth character, we wanted someone that could play wholesome. Brooke (Shields) is like 5’11” and looks like she could have played ball back in the day. So we just tried to get women that matched the characters, and we were lucky we had so many to pick from.

to watch the finished work later. ISM: What type of director is Susan and her style on set? BS: She is a very collaborative director, and she wants to hear what the actors have to say about it. She will always let you do it again if you feel you want to do it another way, it’s not just her way or the highway. But to be clear, she’s always clear about what she wants.

ISM: Was there a sense of comradery on the Actress Virgina ISM: Your character catches set between the Madsen as Clemenyour husband cheating at his older and younger tine Winks workplace. Do you think your ladies? character should BS: [Laughs] there have given the was too much husband another comradery. It was as chance? if we were all separatBS: I think her ed at birth. To have marriage had been that many women get dissolving for along that quickly was years, but it’s hard incredible. We’ve all to throw away had real highs and lows something you in our lives and careers, have been involved so there was a great with for so long. level of respect for each I don’t think her other. It’s been over a breaking point was year and half since we him cheating on all were on set together her, but when she realized that and we are all still on group text. she had grown. It dealt with it It helped that we all had the same in a very honest way, and she sense of humor. There was a high wanted to leave the marriage on level of sport and there wasn’t her own terms not because of his any jealousy. It was a refreshing actions. She would have evenchange and I love all the ladies. tually left him even without him SS: Totally, and it wasn’t phony. cheating on her just because she I’ve worked on a lot of films with had grown so much. ensemble females and you get those actresses that play well on ISM: Your husband is a producer camera, but as soon as you yell and writer of comedy, did he help cut everyone disperses to their you with your comedic delivery? trailers. The women genuinely BS: I’ve said some of his words got along and loved being with over the years, but no. I was doeach other. We held the miniing my own comedy show when I camp a few weeks before shootmet him and he maintains a level ing started and the women totally of distance from my projects. We bonded during the course of work great together, but when it’s learning how to play the game. my own independent projects he stays out of the way and just likes ISM: This movie has four lead-

ing women and is anchored by a female director (Susan). Why do you think Hollywood continues to ignore the power of female driven features? BS: I think we will be asking this question to a certain extent from here on. We have come a long way with Academy awards being given to female directors. I believe that women are so multifaceted and capable of multitasking that it’s a bit scary to people. People are terrified of what women can do and the real power of a woman. SS: I have no idea. I think it’s foolish, as there is a big underserved audience out there. Not just females that want to see female stars, but lots of men want to see female stars also. Hollywood has this idea that they have to make movies for the young men demographic like it’s a holy grail. I think if you make movies with characters that people relate

to, all types of people will go see them. The movie “Bridesmaids” is an example of that. ISM: Your character’s motivation was to raise money to save the breast cancer mobile center. Are there any charitable organizations or events you would like to bring recognition to? BS: I’m hoping from this movie that we are encouraging women to get screenings, and also teaching our kids that it is detectable early. That you can catch it early and survive it. I’m also involved with children’s charities and Alzheimer’s cure initiatives. I always try to do as much as I can. ISM: Did you find it hard to produce and direct? SS: You wear different hats at different times. I wore my producer’s hat at different times when I helped to get financing and pull the cast together. But once we

started making the movie I was in total director mode. Being a producer, it helps make me a better director, as I’m more aware of the budget and money while shooting. ISM: What are your thoughts on celebrities using crowd funding to help finance independent films. SS: I think it’s very fascinating, as I have read a lot about the Veronica Mars project. It requires a lot more time to get thousands of people to contribute to a project in small amounts, but I think it’s great that people out there can contribute to the type of films they want to see. I don’t think you could do a $10 million or a $20 million film with that form of funding, but for Comedian/Actress smaller Indies it’s Wanda Sykes as totally a great way, Florine Clarkston and I think it could and Actress Daryl be the wave of the Hannah as Ginger Peabody future. I find it very interesting!

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Interview Film/Finance

Indie Source Magazine

Chris King Film Producer & Financier

His Own Way FACT: Former successful concert promoter.

Mr. King is a self made man. This former concert promoter, with a passion for film, recently started L.A. based Cruzach Films. His whole goal, much like his life, is to create entertainment properties that move him and the bottom line. In a rare feat for Hollywood, Chris put up his own money to start his production empire. Answering to no man, he has full control and is doing things in his own way.

Christopher Parker

ISM: How did you get your start in the entertainment industry? CK: A long time ago I was a concert promoter in the music business and became very successful from doing that, as well as from other non-entertainment related businesses. The entertainment industry is

like the girlfriend I canâ&#x20AC;&#x2122;t just break up with. I just have an undying passion for it. ISM: In the current industry climate, did you find it difficult to raise such a large amount of money to start Cruzach Films? CK: Actually, the first round of funding I put in myself, which was cool because I didnâ&#x20AC;&#x2122;t have to solicit funds to make indie features, and I had more control over the whole process. I think once we prove the way we are doing things it will be easy to go out and raise additional funds throughout the company. ISM: What do the partnership with Bubble Factory and the legendary producer Sid Sheinberg www.theindiesource.com

mean to Cruzach Films? CK: I really don’t want to comment on that as I don’t want to ride that wave. It’s more of investing in an opportunity they already have going. ISM: Can you tell us about your first feature film “What Lola Wants”? CK: It’s actually funny! It’s the first script I’ve read cover to cover. I actually read it three times in one night. It’s about a love story of a girl that runs away from home and meets a boy that tries to get her to go back. It has an amazing and experienced cast and crew. You will be hearing a lot about them in the future. ISM: What type of feature films are you looking to finance? CK: Right now we are currently looking for a horror flick, but of course if something serious comes our way we will look at it. For me, it’s all about believable, brilliant content. I think that’s where it really starts no matter the genre. I just think the horror space is a good place to be in now. ISM: How do you plan to distribute your finished features? CK: Obviously theatrical release, but if that doesn’t happen there are a ton of ancillary outlets we will send our properties through. It gives us a great fallback if we do not team up with a major studio and land in the theaters.

ISM: Cruzach Films has an eye on TV projects, what type of series do you wish to

Indie Source Magazine

develop? CK: One of the things I have my team looking at is developing properties we can send through the cooking channel. I have a passion for cooking and I’m excited about some of the shows that have come through that space. However, again it’s the believable content that I’m looking for, you can see it and feel it, and it’s marketable. I would also love to do something in the action space, as I grew up an action junkie. ISM: With the success of minority directors and producers such as Tyler Perry and William Packer, will Cruzach develop African American and Hispanic targeted properties? CK: It’s not about African American or Hispanic, we live in a different world today. I don’t really segregate like that. Our goal is to deliver quality content. That type of stuff is supposed to happen organically, so I don’t worry about the target audience in terms of race. We just want the best material. ISM: What are your personal opinions of Hollywood professionals using crowd funding to create feature films? CK: I don’t

know enough about it to give an in-depth answer, but if someone believes in a project enough to go that way then that’s great. It’s a great source for first money or competition funding. ISM: What will be your process for people to submit pitches to Cruzach Films? CK: We are currently in development of a submission page on our website www.cruzachfilms.com. You will fill out your information and one of our reps will reach out. One of the big things for me that I saw in the music industry is that we get a little ahead of ourselves and forget about the up and coming people that will be the next somebody. So, we always want to keep our ears to the ground and the submission form will allow us to do that.

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Column

Film/Marketing

Jason Brubaker Producer & Author www.filmmakingstuff.com

Why Online Movie Marketing Is

Essential As a filmmaker, you need to start thinking about your distribution strategy from day one. Why? Because the world is changing.

udience viewing habits are evolving. The ways in which peopled watch movies is no longer limited to movie theaters or renting a video from a video store. Over the past few weeks, I have had a lot of conversations with filmmakers asking if my marketing methods work. I wasn’t sure if you had the same question or not. So I just figured I’d answer it, just in case. Online Movie Marketing Firstly, the marketing strategies I outline are based on some timely facts: 1. People watch stuff online: We know that more and more people are watching movies on internet platforms like iTunes, Hulu, Amazon and a bunch of other platforms as well. We also know that most sales agents and traditional distributors are working to grab

Indie Source Magazine

your rights so they can manage your digital distribution. However, it is also now possible keep your digital distribution rights, enter the marketplace yourself – And get your movies seen and selling without signing a crazy distribution deal! 2. You can sell your movie in the popular online platforms: While getting on these platforms is essential, it will not guarantee your movie will get seen or make any sales. Think about it, there are millions of other movies competing for the same eyeballs. You need to plan and execute a marketing strategy. 3. The internet offers a simple way to find your audience. A lot of people (from all over the world) search the internet for movies. Here are examples I pulled from the free Google Keyword tool: - Zombie Movies

- Roughly 40,500 - Romantic Comedies - Roughly 60,500 - Action Movies - Roughly 90,500 - Horror Movies – 201,000 - Documentaries – 110,000 4. Make it easy for people to find your movie. If we know people are searching for these terms, what are you doing to make sure that your movie comes up in the search results? Optimizing your website for search results is called search engine optimization. There are both on-page methods and off-page methods. 5. Optimize your movie website for maxim sales. Once your movie does come up in the search results, what are you doing to make sure that your site “funnels” people to the various marketplaces like iTunes, Hulu, Amazon and (the others…)

Column

Film/Marketing

Jon Garon Attorny & Professor www.lawandinformatics.com garon@gcglaw.com

Managing Content in the

Frame

This is part of a series of book excerpts from The Independent Filmmaker’s Law and Business Guide: Financing, Shooting, and Distributing Independent and Digital Films designed to introduce filmmakers and others interested in creating content on the legal issues involved in the filmmaking process

lthough film is an expressive art form, it is also an increasingly international and highly commercial business. As a result, filmmakers should be very selective regarding choices to use a third party’s property—copyrighted works, trademarks, readily identified individual names or corporate names—without express permission. Permission is not always difficult to come by. Without the express permission, the errors and omissions insurance may be drafted to exclude any liability for the use of such content, and the lack of coverage may discourage distributors or exhibitors from buying or showing the work.

and to the kinds of content deemed inappropriate. In some cases, this relates to third-party ownership rights, and in other cases it relates to the action being filmed. In the United States, filmmakers risk changes to their MPAA ratings for depictions of smoking. In countries where alcohol is banned, the exhibition of drinking may be discouraged or banned as well. In some cultures, religious images may not be photographed. For example, images of the prophet Muhammad are banned from exhibition in some countries. And depictions of nudity are treated very differently from country to country and from medium to medium.

necessary to film it. The resulting script clearance identifies all the script elements that may give rise to third-party ownership claims. It will identify the potential legal issues, and will instruct the film company to consult with the production attorney to resolve those issues. Many of the topics of the report are discussed elsewhere throughout this book: acquisition of literary rights, purchase of life-story rights for fictional works and documentaries, acquisition of music, and location agreements. The report should be reviewed carefully by the film company and its lawyer to identify the rights that must be acquired and the situations that can be avoided.

1. Script Clearance The issues regarding clearance become more difficult in the context of international film distribution. Different countries have very different approaches to censorship

When a shooting script is prepared, it should be sent for clearance review, to ensure that the filmmaker has acquired all the rights

Script clearance should be undertaken well before principal photography begins. This provides the production company with sufficient time to make any script

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changes necessary and to acquire permission for all items that will be included in the film. If some of the permissions are not forthcoming, it is helpful to have enough time to seek permission from alternative sources. Documentaries have a very different set of demands for clearance. Because a documentary filmmaker generally does not create the content of his shots, he may rely much more heavily on the fair use privilege, which allows the incidental inclusion of copyrighted material. Nonetheless, documentary films should also be subject to a clearance process, and documentary filmmakers should minimize conflict with other rights holders when practical. 2. Coverage Shots Whenever a scene may involve content that is owned by a third party or that may include content banned in various markets, the filmmakerâ&#x20AC;&#x2122;s best strategy is to also shoot an alternative version of the scene that omits the questionable material. Scenes involving nudity can be shot with total nudity, then again with highly suggestive costumes. If the director wishes to shoot a scene that includes a billboard in the background, he should also shoot a version of the scene that removes the billboard from the frame. By shooting coverage shots, the filmmaker captures the footage as he most desires it but also captures sufficient footage so that the film company has choices if faced with clearance problems or censorship. This is far preferable to making the inclusion or exclusion of a scene an all-or-nothing battle. With good coverage footage, any objections can be addressed with relatively inexpensive editing rather than the much more costly reshooting.

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3. Location Names Script clearance reports will identify any overlap with identifiable locations. For example, a fictional locale may coincide with the uncommon name of a real city or region, and the institutions in that location may be unintentionally named in the film. If a script is set in the fictional town of Garonsburg and there happens to be one or two such towns in the United States, then references to Garonsburg High School, Garonsburg General Hospital, and the Garonsburg Police Department may all identify real institutions even though the screenwriter had never heard of them. The film company does not necessarily have to revise the script to change such conflicting names. The use of an identifiable name will only interfere with the rights of another party if it defames that party or invades that partyâ&#x20AC;&#x2122;s privacy rights. A casual reference that a character attended a high school or was born at a particular hospital is unlikely to defame any person or business. At the same time, however, film companies should try to avoid exclusions to their errors and omissions insurance coverage. Even an unfounded lawsuit can be very expensive. If the fictional location can be changed to a city that has a common name, it is less likely that the fictional name will be identified with one particular city. Within the fictional locale, the choice of institutional names should similarly be reviewed to avoid direct references, unless such references are intentional and important to the film. 4. Background Copyright and Unlicensed Art For feature films, copyrighted materials should only be used with the express permission of the copyright owner. The claim that a

filmmaker has a fair use privilege to show another partyâ&#x20AC;&#x2122;s copyrighted work generally has little support if the work is being used as background or foreground decoration on a feature film or television show. Since there is a ready market for licensing images, the courts are quite reluctant to allow unauthorized copying of copyrighted works. Moreover, copyright owners tend to be very protective of their content, so the likelihood of litigation is high even in those situations in which the merits of the case would favor the filmmaker. Obvious copyrighted materials may include stock footage, playback footage on television or in films, images that the set designer would use to decorate the set (artwork, posters, computer software screenshots), and pictures on T-shirts, jackets, or other costumes. Less obvious materials include the artwork on product packaging and billboards or public artwork that is visible on the street where one is filming. There are exceptions to this general approach. For example, if the filmmaker is shooting cars driving on public freeways and incidentally captures the images of billboards, she should generally be protected by fair use, provided that their screen time is brief and they are only in the background. Some copyright owners are much more aggressive than others, however, so there is always a risk of litigation. Even with the background billboards, the errors and omissions insurance coverage may put an exclusion into the coverage for copyrighted images that are not cleared, or licensed. 5. Consumer Products and Identifiable Brands Consumer products may be subject to strong third-party owner-

ship rights. The names of goods are often trademarked, and their packages often feature copyrighted images. Scenes showing children playing games or characters eating prepackaged food will typically incorporate both copyrighted works and trademarks. The best strategy is to seek express written permission to depict the product. The second-best strategy is to show the product itself but not its packaging. Once a soda has been poured into a glass, Coca-Cola no longer has any trademark or copyright ownership of the caramel-colored beverage. The actual product will be given far less legal protection and lend itself to much stronger claims of a fair use privilege than the depiction of the packaging. Tobacco companies do not provide product placement permission, so film companies are strongly encouraged never to show the brands or use brand names in dialogue. Depending on the jurisdiction, the tobacco companies may be barred by legislation or court orders from providing their products to filmmakers in this fashion, and may even be required to defend against such use. Filmmakers should avoid brand references to tobacco products to the greatest extent possible, and use such content only after weighing the risks against the importance of the scene. Despite these cautionary recommendations, filmmakers may rely on fair use to depict trademarked products or to use the name of such products and services in dialogue. A trademark owner cannot automatically stop a film company from showing its brand name in a scene. If the trademark is said or depicted accurately, the use in the film will not give rise to a successful legal action. Using trademarks without authorization will raise concerns

for the insurance company, however, and could make eventual distribution more difficult.

not the same as using the brand, so these descriptions in the script do not raise issues for the film.

6. Misuse of Products in the Scene

8. Character Names

Particular care must be exercised when a trademarked product is used in a dangerous or offensive manner. Manufacturers may feel compelled to take legal action to show their displeasure and send a message to the public that such use is unauthorized, even if there is only a weak legal basis for the action.

The screenplay should use only fictional character names. If the script uses a real, living person’s name but fictionalizes certain elements of the character, that only increases the likelihood that that the person can claim the use is defamatory, since the fictionalization means the use is knowingly wrong. To avoid liability for characters that are not intended to represent living persons, the script must not use a living person’s name, particularly in cases where

For example, in a 2006 episode of the NBC drama Heroes, a character mangled her hand in a garbage disposal on which the In-Sink-Erator brand name could be seen lightly etched into the metal. In-Sink-Erator claimed that the scene “casts the disposer in an unsavory light, irreparably tarnishing the product,” when in fact such a dangerous act would injure any person. NBC ultimately chose to digitally alter the shot to remove the trademark rather than face litigation. While NBC had done nothing legally wrong, and would very probably have won the resulting lawsuit, the costs required to defend the suit would have been higher than the costs of editing the episode prior to rebroadcast or DVD sales. 7. Nonproblematic Trademark References The clearance review will respond to any trademark referenced in the script. As a result, clearance reports often include a number of “false positives” if the writer has used a brand name in an action paragraph to describe the use of a product that will appear onscreen. Thus, if a character grabs a facial tissue but the script says he grabs for a Kleenex, the clearance report will identify a potential conflict with Kleenex. Depicting the product is

• the name is taken from real persons known to the writers, director, producer, or other senior members of the film company; • the name relates to the locations or situations in the film; or • the name is sufficiently unique that the person named can reasonably believe the film relates to that person without any other direct relationship. When a first or last name is used alone, it is much harder to associate it with a particular person than when first and last names are used together. Clearance companies suggest that a full name should not be used unless there are at least five individuals who can quickly be identified as having that name. A quick Internet search is a helpful tool to identify common names. If real persons’ stories are used, then additional reviews and releases are required. The character names should be authorized, particularly if there is an attempt to depict real persons. Finally, names of performers in any of the unions to which the production company is or will become a signatory should not be used.

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Column Film/Legal

Tifanie Jodeh Entertainment Attorney www.entlawpartners.com

When should you work with an

Entertainment Attorney Make sure you have a budget that includes items such as script clearance, title clearance, E&O insurance

t’s best if you have an attorney in your pocket at the very beginning of your project. For example, this may mean hiring a writer to write your script or getting permission to make a screenplay from a book. The can also be helpful in sourcing your team which includes casting directors, co-producers, directors, talent and the like. Your team will need contracts and your attorney will be there to lock everyone in to your project.

rights and legalities have been formally executed and that your film is able to acknowledged that you hold all the needed rights to use each aspect of the property. Cleared rights include trademarks, options, work for hires, name and likeness, copyrights and insurance. Your entertainment attorney will help guide you in the right direction and make sure that you don’t legally impede your production. Other items to consider.

Contracts drafted- A savvy filmmaker or producer knows that everything in the realm of business is smartly done via contracts. Contracts protect both parties. Contracts form the foundation for duties, tasks and responsibilities of all parties involved. When you have everything documented, you are one step ahead in making certain that your production is fully “cleared”. Cleared means that all

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Make sure you have a budget that includes items such as script clearance, title clearance, E&O insurance and (sometimes) a bond. It protects you as a producer and filmmaker, it protects your investors and distributors. Make sure your attorney sees a first cut of your project. They may flag possible clearance issues that you did not catch during filming. For

example, a shot of a “McDonald’s” cup appears but you failed to call the McDonald’s company to get permission to use their trademark. You and your attorney can work together in obtaining permission or leaving the image on the cutting room floor. Additional Resources Our website, www.entlawpartners.com is full of information and resources. Our blog contains the latest news, views and updates on entertainment law. Or, you may give us a call for a free consultation.

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Mhuasvet g ion Com So n

Underdogs A touching family drama set in rural Ohio, the birthplace of football, “UNDERDOGS” is the story of a small-town high school football team destined to play their crosstown rival, a perennial powerhouse, while standing up for an entire community.

Amar, Akbar and Tony Set in present-day London, this film follows three childhood friends, Amar (Rez Kempton), Akbar (Sam Vincenti) and Tony (Martin Delaney), as they stumble through life, beginning in their carefree twenties on into adulthood. www.amarakbarandtony.com

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Column

Film/Directing

Peter D. Marshall Director & Professor https://www.facebook.com/FilmDirectingCoach

21 Acting Words and Phrases Directors

Must know Rather than attempting to believe they really are a character, many actors play “as if” they were in the situation of the character

he key to getting successful performances from actors is good communication between the director and the actors. For many first time directors, working with trained actors can be very intimidating because the actor’s world is filled with many strange words like “character spine, super objective, scene intention and (everyone’s favorite) motivation.”

Actors need to trust you because they rely on you to help them create a sustained performance. If you can’t direct them in a language they understand, many actors will tune you out and start to direct themselves - out of protection. And this dilemma doesn’t just apply to first time directors. There are many experienced directors Indie Source Magazine

today who are much more comfortable working with the crew and directing the camera, than working intimately with actors on their performances. So, if you don’t understand how to speak to an actor using most of the following acting terms, you will have a difficult time getting actors to trust you. And if your actors don’t trust you, you will have a difficult time getting great performances from them. To help you learn how to communicate successfully with actors, here is a breakdown of 21 major words and phrases actors think about when they are preparing for a scene. This list is only an overview of the actor’s language so you will need to explore these (and more) on your own to learn how to effectively communicate with an actor.

1. Characterization Characterization is a method used by writers to develop a character. Writers create characterization by choosing a variety of details that make fictional characters seem life-like including the character’s personal appearance, actions and thoughts. A major responsibility of the actor is take what is written and then flesh it out and create a total believable life for their character. Actors must become completely comfortable inhabiting the language and actions of their character and they do this by exploring the Internal and External factors that shape each character. - Interior components form character (feelings/emotions) - Exterior components reveal character (car/clothes/house)

2. Given Circumstances (Script Facts) The Given Circumstances are the facts in a script the writer has provided about the plot, characters, costumes, props, conditions of life, time period, locations etc. For the actor, a Given Circumstance is also information about who they are, what they are doing and why they are doing it. Given Circumstances are useful for the director because if an actor questions you on something that is in the script, just show them the facts written in the script.

For an actor, a scene objective is something their character must achieve in that scene. It is something the character consciously desires and needs to achieve.

the character - What are the main needs of the character

For a director, scenes can have several objectives: to establish a location for the first time; to focus a specific prop; to establish a character; to hear an important line of dialogue etc.

- What does the character want (motives) - What are his active choices to achieve the super objective

To find out a scene’s obective, always ask: What is the intent of the scene? Why is this scene in the story? What happens in the scene? What is the reason for the scene? If this scene was not in the film, would the story still make sense?

3. The Magic If (As If) Rather than attempting to believe they really are a character, many actors play “as if” they were in the situation of the character, or “as if” they were actually the character. In order to be caught up in the action on the set, an actor must believe he is really in that environment. He doesn’t forget that the scenery, props and other actors surround him, but he asks himself, “If this were real, how would I react? What would I do? “ The secret of this As If effect, is that it creates a real inner activity based on their own experience in life that they can also apply to the other actors around them. 4. Scene Objectives As you read through a script, well written scenes make you ask “What will happen next?” Every scene in a film has at least two main objectives: (1) to move the story forward and (2) to reveal character.

These overall scene objectives are what drive the entire film forward and create a state of suspense that generates audience involvement: - What’s going to happen next? - What will the outcome be? - Who wins in the end? 5. Character Objectives In a story, characters rarely get what they want without difficulty. How they go about trying to fulfill their objectives is what makes for interesting drama. There would be no drama if the characters got what they wanted right away. To find out what a character is trying to achieve in a section of dialogue or a scene, actors must ask (as the character) ‘What do I want?’ - and this specific character objective carries the character through that particular scene.

OBJECTIVES (“To Dominate X”)

MAIN ACTIONS (“What They Do To X”) - What the character DOES... - To get what he WANTS... - To fulfill his NEEDS! How to choose character objectives: - Ask “What does the character want in this situation?” - A character’s objective should create obstacles for the character in the story - Look at what the character does rather than what he says (his behavior) - Look at what people want out of life (some things we will sacrifice everything for) 6. Drama is Conflict Conflict is the heart of all drama. Without conflict, there is no drama - there is no story! Conflict goes to the very heart and essence of storytelling - it’s the very nature of drama. Good drama shows characters in confrontation as a result of two character’s objectives in opposition to each other. When you put characters in conflict with one another, the audience experiences the conflict and they are drawn to the story.

Syd Field (”Screenplay”) “Without conflict there is no action; without action there is no character; without - What is the primal motivation of character there is no story. And www.theindiesource.com SUPER OBJECTIVE (“Power Over People”)

without story there is no screenplay.” Robert McKee (“Story”) “Nothing moves forward in a story except through conflict.” Alfred Hitchcock: “Drama is real life with all the dull bits cut out.” 7. Obstacles Obstacles are what stand in the way of a character achieving his or her objective. They can be either inner or external. A good scene should answer these two questions: “What does the character want? Why is he having difficulty getting it?” Obstacles continually raise the stakes for your character throughout the story and they add conflict and tension to the plot because obstacles make it harder for the character to achieve their objective. 8. Text and Subtext What is TEXT? (It is what is said – the outer world of character. What is SUBTEXT? (It is what is thought – the inner world of character.) “Text means the sensory surface of a work of art. In film it’s the images onscreen and the soundtrack of dialogue, music, and sound effects. What we see. What we hear. What people say. What people do. Subtext is the life under that surface – thoughts and feelings both known and unknown, hidden by behavior.” From Robert McKee’s Story: Substance, Structure, Style, and the Principles of Screenwriting

Whether we realize it or not, most of the time we have an interior monologue going on. However, we may not decide to outwardly express any of them. This Subtext Indie Source Magazine

communicates that more is going on within the person that they are sharing - that an inner conflict is present. When this Subtext is strong, (the meaning of the story beneath the surface) it comes through and colors how the dialoque is delivered. Subtext is also a good way to help actors find out if they understand the scene. 9. Wants and Needs When it comes to owning or acquiring certain things, people often use these two terms interchangeably. But there is a big difference between a need and a want. A need is generally something that is necessary for a person to survive. Such as: water, food, shelter, work, good health or money. A want is something we would like to have but do not need. Such as: a big screen TV, a second home, designer clothes, a red Lamborghini. Everyone in the world has wants and needs, but unlike needs, wants differ from one person to another - and one culture to another.

express action - something that a person can actually do. Action verbs stimulate emotion. They all carry an emotional effect on the other person. Example: If I want you to leave the room, I might INVITE you to leave. If that doesn’t work, I might BEG that you leave. If that doesn’t work, I might DEMAND that you leave. The intention, or verb, might change often, even in a sentence. Complex characters may change their intention often in one speech (from soothing to punishing.) Example: Go to Sally and persuade her to tell us the secret. Go to Sally and plead with her to tell us the secret. Go to Sally and demand she tell us the secret. Go to Sally and threaten her if she doesn’t tell us the secret. 12. Result Directing Directing for Results means telling the actors what you want to see and hear - without giving them any clues as to why or how they’ll get there. Examples of result directing are: “I want you to shout… cry… laugh louder… be sad… be happy… be angry.”

10. Scene Beats Beats are defined as changes of circumstances or transitions in behavior - action/reaction. Beats happen whenever something changes in the scene, whenever a new behavior occurs, or there is a change in direction in the dialogue that creates a change of emotion with the characters. 11. Action Verbs Action verbs are words that

The reason result direction does not work very well, is that “all emotions have a different way of being expressed.” So if you give the same result direction to 5 different actors, they will all express that emotion differently. The problem with result directing is not realizing that emotions are the results of an actor’s needs and wants - and that an actor’s emotional responses come as a consequence of trying to fulfill a

need – to achieve their objectives. Result directing takes the actor’s concentration off his partner and puts it squarely on himself. Now the actor starts worrying if he is as “angry” as the director wants him to be. Good directing is a matter of searching for the right words (usually verbs) to unlock the potential in each actor. Result directing is TELLING actor how to react. So…don’t tell your actors how to feel. Use other ways to suggest your ideas such as action verbs, facts, anecdotes and images to try and motivate them to find themselves or the action you are after. When you address experienced actors with result direction, they will immediately decide that you

truthfully to what’s in front of them now - not in the future.

Make no judgments, just play, in order to discover the unexpected.

This technique creates powerful performances because when actors are not worried about their blocking or their next line, they will be relying on complete instinct and will be completely immersed in the scene.

15. Improvisation

A good way for a director to help an actor’s performance is to make sure they are always listening in the moment to the other actors in the scene. If this happens, then every take should be a little different because they are reacting to the other actor for the first time. An actor always knows their character’s destiny - but the character they are playing does not. It is up to the director to make sure the actor is always in the moment

Improvisation is the art of acting and reacting to one’s surroundings (in the moment) and it is an essential component of the actor’s toolbox. This acting technique is particularly helpful in its focus on concentration. Film directors use improvisation to help build story lines and characters. When actors are having a difficult time understanding and relating to a scene, let them improvise the scene – let them have the freedom to get under the lines and find the meaning to them (the subtext.) Improvisation lets you see if everyone is on the same page. It’s a chance to discover something you

This is when the actors run their dialogue very quickly several times. The objective is to get them out of their heads

don’t know how to direct and will lose faith in you. (Remember: TRUST!)

and does nothing to foreshadow or give away anything that will happen to their character.

may have missed. It also loosens up the actors and gives them freedom.

However, there are some actors you will work with that will want to be given result-based direction. They will be always able to laugh, get angry or cry right on cue. BUT… you will see that it’s not likely to be the most original or subtle acting you will see.

14. Permission

16. Imagination and Fantasy

When Jessica Lange accepted her Academy Award for Blue Sky, she said: “I want to thank our director, Tony Richardson, for giving us actor’s permission to play.”

Imagination creates things that can be or can happen. Every word you speak, every movement you make on the set, is the result of your imagination.

Permission is a powerful weapon for the director where you give the actor permission to go to places he or she needs for the role without being judged. Sometimes you just have to allow actors to play, try things, play with opposites, and take risks using play.

Fantasy invents things that in reality do not exist. For actors, both fantasy and imagination are indispensable working tools that will help the actor physically as well as intellectually on the set. (Think of actors fighting aliens in front of a green screen!) www.theindiesource.com

13. In the Moment When good actors perform, they are reacting in the moment. In other words, they are totally present with both the text and their scene partners by reacting

17. Sense of Truth At the base of every art is a search for artistic truth. The actor must believe in everything that takes place on the set, and what his character is doing. The aim of every act or is to turn each scene into a reality where everything is real in the imaginary life of their character. In order to do this effectively, actors must create an artistic sensitivity to truth by developing a high degree of imagination in their body and soul.

For example: An actress is looking at her “character father” in a coffin and has to feel real grief over his death. However, in real life, she has never had anyone in her family or close friends die. So to attain a believable feeling of grief for this scene, she remembers when her cat was run over by a car when she was a little girl. She can then bring up those real emotions of grief she felt back then, and use them in this scene.

18. Character Archetypes

20. Indicating

Character Archetypes are personalities that are an expression of man’s nature, behavior and experiences. There are dozens of archetypes that make-up your personality and they are universal in all human beings. The psychologist, Carl Jung, believed that universal, mythic characters called Archetypes reside within the collective unconscious of people all over the world and that these Archetypes represent the basic human motifs of our experience which result in deep emotional responses. For actors, it is often helpful to know which archetypes are in a character in order to gain personal insight into using specific behaviors and motivations.

A common problem for some actors is the temptation to indicate an emotional beat they are not actually feeling by “showing the audience something about the character through their acting.” This usually takes the form of what I call “face acting!”

19. Emotional Recall Emotional Recall (also called Affective Memory) is an emotional technique that re-creates a real emotional or psychological moment of a past event that actually happened to the actor.

is used to help actors believe the emotion their character is experiencing at the moment.

It is essentially a “trick” into responding as if the past experience is occurring in the present and Indie Source Magazine

Unfortunately, when an actor is not feeling a specific emotion at the time, and has not had the proper training (or proper direction) they end up indicating the desired emotion by trying to “act” that feeling without being truthfully connected to the emotion. Another way to describe this term is “over-acting.” So as a director, make sure your actors don’t play the result of what they want the audience to feel. Remember, the camera won’t let you get away with anything - especially when it comes to faking emotions. Close Ups don’t lie! 21. Italian Reading This is when the actors run their dialogue very quickly several times. The objective is to get them out of their heads (don’t think

about their lines) and into their bodies (listen and feel.) This is a very helpful tool to use when actors are tired or are forgetting their lines. Good Resource: The Encyclopedia of Acting: Common Acting Terms: http://www.jbactors.com/ actingreading/actingencyclopedia. html

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Interview

Film/Distribution Film/Acting

Karen Bryson by: Christopher Parker

ISM: At what age did you know you wanted to be a professional actor? KB: From a very early age, maybe 4 or 5 years old, I had an interest in creating. I was always the kid in the corner of the playground making/ rehearsing scenes that I had improvised, getting my friends to play various parts. It was later, when I was a teenager, that I realized I was quite good at it. So, that was when it became a serious possibility for a career choice. I did everything in my power to get involved in various drama groups. I even used to go around London performing monologues and poetry at various festivals. Then, at 18 I auditioned for the London Academy of Music and Dramatic Art and was accepted! I did three years training there, the rest is history. ISM: Can you tell us about your experience with the Royal Shakespeare Company? KB: It had always been a dream of mine to work with The Royal Shakespeare Company, to tread the same boards as some of the greatest actors the U.K. has produced, including Sir Lawrence Olivier, Dame Judy Dench and Helen Mirren…the list goes on. When I finally got my wish, it totally exceeded my expectations. The way it works is, you part rehearse in London then finish rehearsals in Stratford

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upon Avon, home of the bard. The whole company, (actors from various shows) have the opportunity to work with the best vocal and movement coaches in the country. The shows play in Stratford first then transfer to London. It was the most nurturing, exhilarating theatre experiences ever. I managed (still can’t believe it) to work there for two seasons! ISM: You play Avril Powell on the U.K. hit show “Shameless”. What does this character mean to you? KB: Playing Avril was amazing. I learned so much. In order to be in a show like “Shameless”, with its incredible writing, risqué story lines and incredibly rich characters, I had to absolutely throw myself into playing Avril head first. She’s feisty, yet vulnerable, fun, outspoken, strong willed, loyal, protective, witty and sexy. Especially past the age of 25! I had to learn to take risks and think outside the box; a dream part for any actress. ISM: How did you land the role of Avril Powell? KB: Not many people realize this, but I played a minor role in Season 5 as a completely different character. So, when I was asked to audition for the matriarch of the Powell family I was very nervous, as that had never been done on the show before. So, when I

was actually cast as Avril, I was absolutely incredulous, but terribly excited. As prior to all of this, I had watched the show from the very beginning. ISM: Have you seen the Showtime (United States) remake of the show, and if so what are your thoughts of it? KB: Yes, I have seen “Shameless” U.S. and I love it! I’m a huge William H. Macy fan. It’s very different. The fact that it has been transposed so well; the characters are the same, but the setting and the humor are different, even though the script is almost verbatim. I feel it’s become a successful crossover show, like “The Office“.

would love to do more. Watch this space. ISM: You have worked on some of the U.K.’s longest running shows, is there a secret you can share for landing such great roles? KB: Work hard, build up a body of work, don’t shun small parts, small can become bigger. No matter how many setbacks one receives, keep at it. What is meant for you won’t pass you!

ISM: Do you find it more difficult to work on U.S. based shows or U.K. based shows? KB: I’ve never worked on a U.S based show…yet! I would love to! ISM: The majority of your career you have focused on television. Do you have any plans of furthering your feature career? KB: I have only done one feature film…so far. I

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Interview Film/Directing

Bryce on the set of her short film.

Bryce Howard With Michelle Fernandez

(Marketing Director of the ITCG Camera & Video Marketing Division)

or the second year Canon has pushed further into the indie world with their unique contest. Project Imaginat10n invites photographers to post images in hopes of becoming inspiration for a short film. This year Canon invited back the Howard family, and this time they have invited us all to the table by challenging us to create a short film based on the same images the celebrity directors choose. Naturally we wanted to learn more, so we went directly to the source, and visited with Bryce Howard and Michelle Fernandez from Canon.

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ISM: How did you become involved with Canonâ&#x20AC;&#x2122;s Project Imaginat10n this year, and what is your role? BDH: Last year I directed a short that was part of Project Imaginat10n and it went very well. This year there are five directors choosing ten photos to base a short film, but this year we have expanded it to include everyone. Anyone can go to the website and select ten photos and create a short from those photos. We are going to choose five winners and have a film festival in the fall. So, my role this year is more as an advisor and to get out there publicly to bring people to the contest.

ISM: How was Project Imaginat10n created, and who made the decision to involve Mr. Howard and his daughter Bryce? MF: The project stemmed out of the fact that we were trying to communicate that all end users are creative and the Canon products enable that creativity and imagination. Further, end users want to communicate with the brand, and by asking users to participate and contribute to a larger project fostered that communication. Then we began to look at who embodies creativity, who embodies the sense of imagination and self-empowerment, and Ron Howard just really came to mind. The more

we worked with him the more we realized he is so much about the Canon brand. What he is able to envision through the eyes of a lens are the types of things that start to motivate end users to really become what Project

Imaginat10n is about. ISM: How were the five celebrity directors chosen? MF: As we started to think about the next iteration of Project Imaginat10n, we found that not everyone is into photography, but there certainly are individuals who have a passion point for fashion, for technology, for culture, for music, and that’s how we got to selecting the five. When we thought about music, we thought, “Who really embodies that creative spirit?”, and James Murphy came to mind. When you think about Eva Longoria, who’s known for her Bryce on the set of acting and her short film. her producing, here is a woman in her own right who is creative. We

wanted to see how this seed of creativity could blossom out of what they are doing already as individuals and see how that translated into a film. So the celebrity directors could take these ten photos, bind them into a film,

and insert their own sense of creativity, Bryce and father whether that came Ron Howard on from the fashion the set of her short world, the music film. world, or the culture world, and see what would come out of that. ISM: What are the roles of the celebrity directors, and do you work with each one of them personally? BDH: I have met with them, yes. I had a mini workshop day with the directors to go over the process so it would not be an

Project Imaginat10n In 2011, Ron Howard and Canon U.S.A. invited photographers of all levels to submit their most imaginative photographs based on eight elements of storytelling for an unprecedented user-generated contest, “Project Imagin8ion.” The project set out to prove that photography could be used as a creative vehicle, even inspiring a Ron Howard production. Nearly 100,000 photos later, eight photos were selected and influenced an award-winning short film, “when you find me,” directed by Bryce Dallas Howard. www.theindiesource.com

overwhelming experience. My dad has worked them more, and he is truly mentoring them. ISM: How important is your relationship with Canon? BDH: It is really important. I feel what they are doing is really inspiring and quite alchemistic actually. It is a business, and at the end of the day they want to sell their products, but many times they have chosen the higher road. For instance, the submissions are not required to be shot with a Canon camera. They would like you to use their products of course, but that’s amazing to take the high road and not create a limitation like that for filmmakers. I value my relationship with Canon for that. I also think they are a really good company, and are on the forefront of countless technological breakthroughs that will make a difference for me and others getting into filmmaking. ISM: This year the contest was opened up to novice directors, why did Canon decide to involve the masses this year? MF: We believe everyone is creative and that there is a chance or a potential that people have for moving beyond just a still photo. So that’s where we wanted to give people a chance to think outside of just a still photograph. ISM: Does Project Imaginat10n help further your aspirations as a director, and do you see yourself stepping away from acting to direct full time? BDH: It definitely has helped me a lot. I’ve done several short films and I absolutely do want to direct in the future, but I do not want to do what my dad did, where he completely gave up acting. I love acting! I love it, love it. I’m attached to a couple of films and I am just starting to get back into that rhythm again with acting. I ideally want to do both, that would be amazing. ISM: How important is independent film to you? BDH: Independent filmmaking is very important. It’s the future of where we are headed more and more. It represents a huge component of this industry. I have worked with great, smart people at the studios, and have had very positive experiences. I don’t want that to go away, but there is a Darwinistic evolution process with the independent film portion of the industry making it very important. ISM: Any plans to expand the celebrity directors to lesser known indie filmmakers? MF: We have the five celebrity director’s films, and

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we will pick five from the end user pool, this will give us a total of ten, which Project Imaginat10n then stems from. This program is working really well and engaging the larger community from all different skill sets. We are studying now how to evolve this. There is potential to add more end users to the community, and also to add more celebrities, but it’s still being determined at this point. ISM: Could you tell us about the Project Imaginat10n film festival? MF: Yes, that’s right. Sometime in the November or December timeframe we will be doing a film festival. We are also looking to having film festivals in different cities across the country. ISM: Where do you see Canon expanding Project Imaginat10n in the coming years? MF: I love that question. I think you’re going to see us trying to encourage end users to really think outside of just the still image. I think the still image is just the beginning of someone’s story. We are going to continue to help people tell their story through the eyes of Canon lenses. How we evolve may not be the same exact format as what we’ve done in the past, but I think you will start to see more coming from Canon by enabling end users to tell their story through all different types of content and all different types of formats. It could be still images, video, or mentorship with celebrity directors. ISM: Mr. Howard openly discussed his desire to crowd fund a feature version of “Friday Night Lights”, what is your take on professionals using crowd funding platforms to create passion projects? BDH: I’ve thought about this a lot lately. I think crowd funding is absolutely revolutionary and game changing. What is great is that there are different ways of crowd funding being developed.

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Round-Table Film/Directing

American Film Institute Foundation www.afi.com

AFI Directing Workshop For Women

Round-table The Directing Workshop for Women at the American Film Institute is a remarkable and one of a kind program. Since 1974, AFI has offered a tuition free training workshop and an opportunity to direct a digital short, which has launched the career of many working directors. We were honored to visit with the 2013 female directors and get their perspective on the program and the state of female directors in the industry.

Question There is a seven year requirement to achieve acceptance into the program. What has been your specialty the past seven years

I have been a working actress for over twenty years. I love the work that I do and have been so fortunate to have been in many wonderful films and TV shows, but the industry does not grant tenure, and I found myself with fewer and fewer options as I crossed over the line to 40.

Indie Source Magazine

Iâ&#x20AC;&#x2122;ve worked on commercials, documentaries and narrative films all over the world.

My background is in documentary films. I have directed documentary films for a decade now, exploring social issues in post-war Kosovo; traditions of marriage, women in politics, domestic violence, homophobia, deforestation, etc. I never thought I wanted to do fiction. I always felt like the set environment and repetition killed the spirit, but a few years ago after I moved to the U.S., my sister who studied Cinematography at American Film Institute wanted me to direct a four minute short MOS (without dialogue) for her school project, and here I am. I loved the entire process so much. I wrote a script after that and directed in Kosovo in 2011. Through fiction I found the freedom to reflect upon things that deeply matter to me, that I was not able do justice to in a documentary form.

I started working as a production assistant and second assistant director in Bogota, Colombia for a major prime time television series in the mid 1990’s. In 1998, I moved to the U.S. to do a Master’s Degree program in Film and Video. After graduation, I started freelancing as a production assistant and production coordinator. In 2003, I produced my first independent film, “Trip Out”, for writer/director James Hausler. I produced two more features for him: “Wild Seven” and “Kalamity”. In 2009, I opened my own production company, “Hidden Village Films”, to develop and produce films with strong social messages. I am currently producing the feature documentary film, “Landfill Harmonic”, which is an amazing story about a recycled orchestra.

I came up through the theater world. After graduating from Northwestern University’s theater program, I founded a company in Chicago. With them, I wrote, directed and performed new plays. A day job as a receptionist in a screenwriting MFA program opened me up to film and television. I moved to L.A. and got a job as an assistant at a production company that worked in one-hour television. I went from there to work as a writers’ assistant on several TV shows. Meanwhile, I kept working to develop my own voice as a screenwriter and began to direct ultra low-budget short films. Eventually, I found out about the AFI program and decided it was the right time to apply.

I started out in the entertainment industry as a Directors Guild trainee, aka glorified indentured servant, and then became a DGA assistant director. All in, I worked seven or eight years in production until I finally admitted to myself that I hated having no creative input on a set. I went to UCLA and got an MFA in screenwriting and have been writing ever since. My screenplay, “Cleaverville,” was produced by Don Enright at Alexander/Enright and aired on Lifetime Television. I’ve also written an MOW for the DeAngelis Group in Italy, had a script optioned by Hearst Entertainment, and developed projects with Roth-Arnold Productions and other companies.

I started my film career taking tickets at the Sundance Film Festival when I was 15 years old. That led to my first career as a film festival programmer, but I was always making films and performing on the side. I took a leap about five years ago to pursue writing and directing full time. I currently work on “The Glades” on A&E, and am also developing a feature of my short. www.theindiesource.com

Round-Table Film/Directing

Growing up in a small village in Kosovo, in a highly patriarchal society where women weren’t even allowed to pursue higher education, my dream as a little girl was to become a doctor, an educated woman, financially independent from men. I was studying to become a nurse and planned University studies to become a doctor, but then came the war. My family suffered severely. My mother and 24-year-old sister were killed just two days before NATO came in and the war was ended. I survived. I was seventeen years old and the world I knew had shifted forever. I knew I had to not only live again, but find a way to reconstruct a world again, understand and draw meaning from it all. Not just from the massacre or the war, but from all the confusion, frustration and complexity I now saw in humankind. It was through filmmaking that I began to find the vehicle for this journey. So, I started making documentary films. Initially, I didn’t think of it as a profession. I just kept having ideas for new documentaries and making them. Now, I cannot live without making films. It makes me feel normal and most importantly, makes me feel alive. For me, filmmaking is my therapy.

Question When did you know you wanted to become a director

I knew at age 9 that I wanted to be a filmmaker. I was born in Cucuta, Colombia in 1976, a city located along the border with Venezuela. The social, political and economic background of my country is part of what defines me today. My country was undergoing challenging political times in the 1980’s, and 1985 was a very influential year in my life. That year, I remember watching television and seeing images of the Palace of Justice being taken over by the revolutionary group M-19. I also remember watching violent images of army tanks shooting the building where many innocent victims were trapped. Months later I watched an adventurous children’s movie, “Goonies”. That film made me feel as if I were being transported to a totally different reality, a world where everything could be possible and where dreams could come true. I wanted to experience that same amazing positive feeling again and again. I wanted to make other people experience that as well. Since that age, I knew I wanted to make movies. I focused my career on producing, and now after years of supporting other directors’ ideas and projects, I know I am ready to embrace the directing role. The AFI gave me the chance to start preparing for this new role.

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I decided to learn another skill and applied to AFI to learn how to direct. I was shocked at how little I knew, even after 20 very busy years on one side of the camera, but it has also been gratifying to find directing to be an evolution of all I’ve learned as an actress rather than a change or transformation.

From the very beginning, like most people when they begin in this business. Then I discovered the craft of the Cinematographer and was drawn to that profession. As time passed and I gained experience as a Cinematographer, I again became interested in directing. As much as I love my work as a Cinematographer, I felt unfulfilled as a visual storyteller; I wanted to have more of an influence over the stories that were being told.

I was ten and had just seen “The Sound of Music.” I was addicted to it. I somehow convinced my teacher to let me use the entire class to put on a play version of it. No script. No sets, just me, thirty-five kids and an empty library. The result wasn’t exactly Shakespeare or even remotely “The Sound of Music”, but suddenly I’d found my true calling, storytelling and bossing people around (directing).

I’ve always been a storyteller. It took me much longer to realize film was my medium. I was naturally drawn to theater and acting first and as I travelled along that path I realized that the act of creating and shaping the story was more compelling to me. I naturally drifted towards playwriting and directing. When I started to get interested in film, I was intimidated at first, but I’ve come to see my background in theater as an asset in a medium that’s often taught entirely from the technical perspective.

I knew when I was 15 and watching movies at the film festival. I used to grill the filmmakers about their favorite movies and make long lists of films to see. There was only one art house, so sometimes I would have to drive to San Francisco from Salt Lake City to track them down.

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Round-Table Film/Directing

“Wild Horses” have long been a symbol of our Western heritage. At the beginning of the 20th century, more than two million wild horses roamed the American West. Today, there are more wild horses in captivity than there are in the wild. Thousands of horses are sent to Canadian and Mexican slaughterhouses every year. As you read, the roundups continue and dozens of herds are being forever removed from their lands. “Wild Horses” is the story of two generations of women who bear witness to the brutality of wild horse roundups in the American West. In writing the screenplay with my friend Jessica Walsh, we were inspired by a quote by Anna Sewell, the author of Black Beauty, “If we see cruelty or wrong that we have the power to stop, and do nothing, we make ourselves sharers in the guilt.” “Wild Horses” represents my voice as a filmmaker, and it is my call to action. Just as this quote served as our inspiration, I hope our film will serve as the motivation for people to stand up for what they believe in. In making “Wild Horses”, we were blessed with the collaboration of a stellar cast and crew. This was thanks to our ever-growing “film family” that extends and grows with every new film, and to the fact that many of those approached were touched by the issue explored in our film. Our “little” short counted with the participation of some of the best in this business. Starting with our lead actress Mireille Enos (“The Killing”, “World War Z”) to Brooke Shields, Cinematographer, Robert Richardson (“The Aviator”, “Platoon”, “Django Unchained”), Horse Trainer, Rex Peterson (“Hidalgo”, “Seabiscuit”, “The Horse Whisperer”), Sound Mixer, Mark Ulano (“Titanic”), Post Production Supervisor, Ron Ames (“Star Trek”, “Avatar”), and Composer, Hauschka to name a few. Our film was a true example of collaboration, which brought together all of the best aspects of this business, which I am grateful to be a part of.

Question Can you tell us about your short film

“Six Letter Word” stars Rumer Willis as an unlikely mom who’s forced to confront her young son’s autism after an unexpected encounter with one of her johns. My older son has high functioning autism and was diagnosed when he was seven, the age of the little boy in the film. When I first wrote the script I had the day my son was diagnosed with autism in mind, but the script didn’t work well. The mother simply didn’t pop. Then I remembered a couple I’d met in an autism parenting class who seemed more likely to be perps on “Cops” than class participants. They turned out to be the best parents in the room. They loved their kid to exhaustion, and they instinctively knew what she needed; they were blunt about their shortcomings and dubious about their ability to handle all that life had thrown at them. Yet their humor, warmth and love for their child rose above their doubts and challenges. When I wrote my protagonist Zoe with this couple in mind, I found my true story. So “Six Letter Word” isn’t just about autism, me, or even a mom grappling to accept her child’s challenges, though those elements remain. It’s about selfdoubt, the discovery of inner strength through surprising sources, and the fact that the people who are best at parenting often come in unlikely and very human packages. Most of all, it’s about the multi-faceted ties that bind parent to child.

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“Burn Brightly” is the story of Andy Shaw. He’s 14 and allergic to the sun. This has shaped his entire life. He spends 95% of his time in his house. From his bedroom window he watches the world outside and it’s from there that he first saw ‘The Woman’. She 40 years old, jogs every day, and he’s fallen in love with her. The day of the film is the day Andy decides he’s going to talk to ‘The Woman’ no matter what.

My film, “Silk”, is about, Rani, a woman who was forced into marriage at age 11 when she was traded by her family in order to settle a family dispute. Now a middle aged woman living with a man she never loved, Rani finds a unique opportunity to reclaim her life.

My short film “She Comes in Spring” is a story about a mysterious young woman who appears at the steps of a middle-aged father in a Serbian village, compelling him to uncover a dark secret buried in his wartime past. It explores the circumstances that drive normal human beings to commit murder and confronting yourself after such actions. “She Comes in Spring” is the third short story in my collection of war stories I have made in the past two years. Although at the core this is a fictional story, it is inspired by the story of my mother and sister and many other stories I heard during the Kosovo war. It was a very hard film for me to write. The most challenging project I have done so far. It is a beginning of a process of dealing with the painful part of the past, which I have put behind for so many years.

“Learning to Fly” is about the innocence and imagination of a child in contrast with the harsh reality of life in urban America. The story takes place in East Los Angeles. It is a short film about an 8-year-old child, Charlie, who believes his odd neighborhood handyman, Ernie, has super hero powers. Charlie finds something no one else sees in his neighbor, not even his best friend Billy. As his curiosity grows, Charlie forms a friendship with socially stunted Ernie, which reinforces Charlie’s belief Ernie may have super human abilities. Jealous of Charlie’s new friendship with Ernie, and eager for tangible proof that Ernie is what Charlie says, Billy comes up with a plan that has dire consequences. I believe in finding magic in unexpected people and unexpected places, and I wanted to convey that message with this film.

It’s about a kid working in a fish cannery in Alaska who daydreams of becoming an international superstar. Leo stands out in a crowd and that’s not always a good thing in Alaska. The core of the story is of an outsider who finds a friend.

www.theindiesource.com

Round-Table Film/Directing

I am honored to be part of this incredible program, and grateful to have collaborated with such giving gifted women. Just like there has always been an old boys’ network in Hollywood, I believe the DWW is the beginning of a new network that I can look to for guidance, support and advice. In terms of helping me achieve my goals, what the AFI DWW gave me were parameters. Along the way, many individuals asked me why I decided to make my film within the confines of the program. The fact that I was presented with parameters helped immensely. When you’re on your own, it is more difficult to stick to a certain shoot date or a budget for instance. Because AFI delineates its expectations so precisely, it makes it easier to respect them. Of course, there are countless other parameters which I challenged, but I think that’s what makes one a better director. It’s the parameters one decides to challenge. I did what I needed to do to make “Wild Horses” the best possible film it could be.

Question How has the Workshop and AFI helped you achieve your goals

The Workshop has helped me in so many ways. Firstly, it was such an honor to be in the midst of such a talented group of women who have become like my sisters now. Regarding the workshop, I have learned so much from all the wonderful classes on acting, screenwriting, visual storytelling, boot camps etc. All the classes have taught me how to focus my story and how to use all the elements from production design to camera in telling the story in the best possible way. AFI upholds such a high standard for filmmaking and it truly prepares you for the industry. Secondly, I gained experience on how to make a film in L.A. and go by the rules. I had done my previous film in Kosovo, and over there you can do anything you want. You can have all the locations you want and it is very cheap, which why I am making my first feature in Kosovo. In L.A. it is very different, you are much more restricted in all aspects of filmmaking, but then you have access to the right equipment and professional crew that you cannot find in Kosovo. There is a strong work ethic here in Los Angeles that I appreciate so much. Also, now I belong to a community of filmmakers from AFI. I still take classes sometimes.

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For me the workshop gave me a community and lifelong collaborators in my fellow fellows and in the advisers we worked with. It gave me the tools to make a professional film with a full crew and the courage to speak up for my vision.

Lauren: The AFI DWW has been a transformational experience for me. I didn’t attend film school, so the three weeks of workshop classes were incredibly helpful. The use of AFI’s equipment and resources made the film possible. I also found the mentors in the program very helpful. They were able to answer questions and create a safe space for learning. It’s so essential women feel able to fail and look stupid in front of others without it becoming a referendum on female directors in general. All artists of all genders need space to fall on their faces. That’s how learning happens. The DWW is a place where that can happen.

The AFI workshop gave me the structure I needed to go out and direct my first project. It is not a perfect program, but it has been a terrific start. I don’t think I ever would have gone from start to finish without this program. The idea of a short film was thrilling, but daunting. They made it more palatable, and I found a tremendous support group with the seven other women. I could not have gone through the year without their professionalism, encouragement, critique and friendship.

The AFI DWW program gave me the opportunity to transition from Producer to Director, an opportunity I was searching for. In order to be accepted into the program the participant should have at least seven years of experience in other aspects of filmmaking. As much as I love production, I really wanted to direct as well. After years of supporting other directors’ visions, I was ready to support my own vision. The AFI DWW program is outstanding in ensuring you have a vision to stand for. They prepare you the best they can during the program by exposing the participant to the different aspects a director needs to take into consideration when preparing a film. The program is really hands on, and by the end of it you have to direct a short film to be able to complete the workshop. “Learning to Fly” was the film I directed as part of the program. I will always be eternally grateful to the AFI DWW program for giving me a chance to be part of it.

It helped me make a better movie. I could’ve gone out and shot this on my own, but it wouldn’t have been even half the film it is now. Because of the AFI DWW, I beat my script in and out of shape and then back in again. I took fantastic directing classes with Joan Darling, and I went through a regime of classes that ranged from production design, to editing, to costume design that forced me to think about every minute detail of my movie. I learned about myself as a director and pushed myself far harder than I would have on my own. Best of all, I met seven incredible women in the DWW who’ve become a major force in my life. I know I can turn to them or anyone else who’s been through the DWW for advice, resources, referrals, you name it. That’s a helluva support network. www.theindiesource.com

Round-Table Film/Directing

That’s difficult to say. For one, this still is an old boys’ network. As a Cinematographer, I encounter this every day, not so much from my peers, but from the old establishment represented by the Union for instance. I tend to forget how male-biased this business is. I also think it doesn’t get us anywhere to make these distinctions, as they often then sound like excuses for why we aren’t working, but when you look at this business strictly in numbers, it’s quite depressing and there’s no negating them. Even though things are changing, there are still many more men in high-power positions than women, but dwelling on this issue won’t get us anywhere. I think it is up to us to change the course of events and we can only do this by doing the best possible work we are capable of doing and let that work speak for itself. For those women in decision-making positions, it is up to them to give other women opportunities.

Question Why do you feel the industry overlooks female directors when considering them for mid to large budget features

It is ironic; I come from a patriarchal society where I had to fight sexism every step of the way, that “Mad Men” type of open sexism. I came to Los Angeles and the same thing is happening, although it appears as though America has long passed that kind of problem in gender equality. I am very new to L.A. and the film industry here, so I cannot really speak yet from my experience. To answer the question as to why I think it is the way it is; just as in any other field, women had to work really hard for equality. It just happens to be that we are dealing with the film industry, where a large amount of money is involved. It is not a coincidence that only 1 % of the world’s property is owned by women even today. Where there is money, there is power. So, they (men) don’t really want to give up their power. I think this is the underlying reason. The more obvious reason as to why they don’t trust women with bigger responsibilities is that they are not used to seeing them do the bigger films. But, by now we’ve had a few women who have done big films, so it should change. But also, you can’t see them if you don’t give them the chance. What I don’t like that I hear often are excuses and how women are less authoritative on set or more emotional, because it is simply not true. While women may bring a whole range of stories untold before and a new set of skills on set, in reality every director whether male or female has a different way of directing and they bring their own persona on set. I am very different on set than my other female colleagues.

Indie Source Magazine

I have to start by saying that women wear so many life hats. We are filmmakers, and we are also wives. We are mothers, and we are citizens with social and moral responsibilities that we put upon ourselves, and we are very good at handling all roles efficiently. I am currently pregnant (expecting twins), and finishing the production of my feature documentary. I know many other working women in similar positions. I think the industry should value the role of women in all aspects, and value the experience we bring to the table when interpreting stories. We can bring a fresh perspective, but we are also prepared to work within the rules of the game. The world needs to see and hear our perspective on events. People need to be exposed to stories conceived of and told by women in order to widen everyone’s horizons to create a more understanding and equal world. I haven’t worked on large budget features, however I have worked in the independent world, and I personally don’t feel overlooked at that level. In the independent world you need to make sure you have good stories to tell and a work ethic to stand for. As a female filmmaker, you have to always be willing to work double to be able to exceed in all the facets of life, and we love it.

I have no idea, women are excellent at getting people to work together; that is the core of what it takes to direct a film. Some people want to keep the status quo but things change, it’s inevitable.

I had a lot of time to think about that when I was an assistant director, because during all that time (eight years) I worked with four female directors. I worked on everything from big budget studio movies, to MOWs, to sitcoms. To me, the biggest part of the problem, aside from the fact that Hollywood is still run by more men than women, is that big tentpole movies are aimed toward teen boys and I think there’s a preconception that only men can direct those kinds of movies, and that women don’t get action, or super heroes, or violence, and can only guide a film that’s a “woman’s movie,” which of course isn’t true.

I think the problem starts back in school, where young girls aren’t pushed into artistic leadership roles. It’s also a problem of role models and mentors. Because there are so few female directors, people can’t picture women as directors. It’s a self-perpetuating cycle. We have to break that cycle with the young. We need to encourage our daughters to helm projects and create things from scratch. We need to encourage their voices and stories and teach them how to be bold as businesswomen and entrepreneurs. You need all these skills to direct films. Women are as capable as acquiring them as men; they just need encouragement. I believe as the old guard of Hollywood retires, younger generations will be far more likely to hire female directors. The sea of change will happen.

I think women are not given the chance to direct larger movies simply because there are not more women in charge. If more women had leadership opportunities, they would hire other women. It’s a known and proven statistic that women hire women; there are just not enough of us in those positions. It’s a numbers game as much as it is a gender disparity. www.theindiesource.com

Round-Table Film/Directing

My advice applies to both men and women alike. I believe that if you want it badly enough and you are willing to work at it, it is possible to make it in this business or any other for that matter. Do not let any opportunity go to waste, for it might by your only break. I’ve always believed that this business is about luck; the idea of being at the right place at the right time. When you find yourself in that rare scenario and are presented the chance to do what you have dreamt of, you then have to deliver. With this idea in mind, be prepared. Work at it, watch people you respect at work whether through your own work or through a mentorship or internship, and pay attention, so that when you are finally given your chance, you ace it. There’s something to be said about not embarking on this career too soon. I knew I wanted to direct long before, but I didn’t embark on this journey until I truly felt ready. You might not be presented with the opportunity again. I worked for over a decade as a Cinematographer, honing my skills, until I came up with a story I NEEDED to tell. And to this end, make the film you want to make. Tell the stories you want to tell. Your passion will translate to your collaborators, and your film will take the shape you envisioned. There is nothing more rewarding than the pride you take in your film once completed. Most importantly, enjoy every step in the journey.

Question What advice would you give aspiring female directors

Get out there and direct. Don’t wait for someone to ask you or give you permission to do it. Write a script, find one, pick up a camera and point it in the right direction. Use your iPhone if you have to. Make a webisode, a birthday video, a love note to your dog, but make sure whatever you make is uniquely you. No one else will ever tell a story the way you do. That’s the beauty of individuality. Once you make that “you” film, the rest will follow, but nothing’s ever going to happen until you take matters into your own hands and your own career in motion.

Indie Source Magazine

set

I would recommend for any upcoming filmmakers, not just women directors, to focus on developing stories that convey strong messages. For me, the main purpose of filmmaking is to entertain the audience, but also leave something with them. I think the success lies in finding strong stories and characters that the audience can relate to. Don’t focus on the gender difference; focus on having the best story you can tell. Focus on working hard, because there are many competent filmmakers out there. The question is, “What makes us stand out?” Be strong and persistent. Hard work and passion will pay off. You just need to believe in yourself, in your stories, and have a plan of action that gives you direction.

First, learn and invest in projects you believe in and do not give in. As a filmmaker you go through a lot of rejections and are up against a lot of competition; it is important to always keep in mind why do you do it in the first place and believe and cultivate your creative powers that are yours only. The amazing thing about art and filmmaking is that no one else can tell the stories you tell in the way you tell them.

Don’t wait to make films. Make them now. Don’t wait for a million dollars or someone else’s permission. Just start. And then be dogged about sharing what you’ve made with others.

The only advice I would give to another up and coming director, as I am still learning myself, is to learn the basics, the classics and the craft. So many people are getting out there with cameras, but real and truthful storytelling is a true art form. I wish I knew more about the craft of storytelling before I turned on the camera.....it’s harder than it looks!

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It’s a bird… it’s a plane… It’s Superman! Come soar through the financial successes in the history of America’s most popular superhero.

Superman Movies Through The Ages

Superman has hit superstar Hollywood status.

1978

1981

SUPERMAN

SUPERMAN II

US GROSS

$134,218,018

$108,185,706

$55,000,000

$54,000,000

Budget

1983

SUPERMAN III

SUPERMAN IV

US GROSS

$59,950,623

$15,681,020

$39,000,000

$17,000,000

Budget

2006

SUPERMAN RETURNS

US GROSS

$200,120,000 Budget

$232,000,000

1987

Budget

Did you know? Superman: The Movie was written by Mario Puzo, who also penned The Godfather. In one of the issues a trap created by the Cyborg-Superman caused Superman to split into Superman Red and Superman Blue who represented different aspects of his personality.

Both Supermen deeply loved Lois Lane and fought over her affections. 58

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Man of Steel Budget

$175,000,000 How much is this new film going to make?

Top 5 Superman Issue revenue-makers since 2009 Though comic books are bringing in less money than the films these days Superman is still selling tons of print copies!

2011

2010

SUPERMAN

Vol-3 Issue#1

Revenue

Issue#700

Price

Revenue

$430,560 $2.99

$356,785

Price

$4.99

2009

SUPERMAN

Secret Origin Issue #1

Revenue

$230,622

Price

$3.99

2011

2012

SUPERMAN

Vol-3 Issue#2

Revenue

Vol-3 Issue#3

Revenue

Price

$286,442 $2.99

$234,715

Price

$2.99

The top-selling day in comics history was the release of

THE DEATH OF SUPERMAN

Revenue

In 1992

$30,000,000

That's more than the top 5 Superman www.theindiesource.com comics from the last years, combined! 59

Top 5 Years for

old School Superman The years from 1960-1987 were prime years for comic books and for Superman in particular.

1971

1987

$105,487

$121,394

REVENUE

Main villain: Lex Luthor & President Marlo

Main villain: Sand Superman 

The first print run of The Adventures of Superman



1983

Superman experienced a major reboot



$98,859

Superman took on climate change He warned of how a scientist had predicted Krypton would be destroyed but nobody listened.

REVENUE

Main villain: Alex Mason aka The Planeteer The Planeteer believed that he was a reincarnation of Alexander the Great  In line with the release of Superman movies, this was one of the best years for Superman



1965

1979

$98,859

$98,510

REVENUE

Main villain: 

Main villain: Master Jailer

This year didn't appear to have a main villain 



Lex Luthor becomes Lex Luthor Kent, Superman’s adoptive brother

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Master Jailer grew up in Smallville with Superman and resented his popularity.

Fun Facts about the Son of Krypton

You might know everything about the finances behind the Superman industry, but how much do you know about the hero himself?

Superman Porn

In One Of The Issues The Main Villain, Sleez, Controls People's Minds And Makes Superman Make A Porno With A Superheroine

The Green Machine

Supermanâ&#x20AC;&#x2122;s strong moral fiber prevents him from following through.

On his own planet, Superman is just a regular guy

Originally Superman Could Only Leap Over Skyscrapers In A Single Bound. Now He Can Fly.

Red & Yellow Sun

His body is able to turn sunlight (from a yellow sun) into power, like he was covered in solar panels.

Action Comics was the first ever comic to print a 900th issue

Nowadays Kryptonians like Superman can only fly under the yellow sun.

A Global Icon

Superman had long hair throughout most of the 1990s.

Fashion Statement

Super Socialist

In That Issue Superman Renounces His US Citizenship To Be Seen As More Of A Global Icon Than Just An American One

In Superman: Red Son, Kal-Elâ&#x20AC;&#x2122;s ideals turn him into a Soviet Socialist hero after he crash lands in the Ukraine instead of Kansas.

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In 1992, an issue entitled “Death of Superman” came out.

Superman creators Joe Shuster and Jerry Siegel were paid just $130 for the original Superman story. D.C. Comics has made over $1,000,000,000 on Superman.

Sold for $130

In 1975, DC agreed to pay them $20,000 every year for the rest of their lives.

Superman Dies

Superman of course came back later but they stopped the titles for a few months and instead ran four replacement Supermen.

The "S" on Superman's shirt is the Kryptonian symbol for "Hope". Upside down this symbol means "Rebirth.”

S Isn't For Superman

The symbol is Superman’s family Crest

Which classic Superman issue would you most like to see on the big screen? Designed for:

by: www.RubyMediaCorporation.com

Indie Source Magazine

Interview Investment

Ray Chan Investor www.techcoastangels.com

Investor

Ray Chan ISM: As a committee member, what are your job responsibilities? RC: It is just like a fund manager of a Venture Fund, the fund manager has the responsibility of identifying, making and managing the investments to yield the most returns. ISM: What is the fundâ&#x20AC;&#x2122;s approach to investing in entertainment properties? RC: It is the same approach as with our other investments; we invest into the founders, their passion, their intelligence, their domain knowledge and execution skills. Angel Capital Entrepreneurial Fund is a unique fund giving both private and institutional investors the opportunity

to access diversified, early-stage, game-changing entrepreneurial company investments that would otherwise be available only to experienced angel investors. ISM: What attracted TCA/ACE to HitFix? RC: The founder, Jen Sargent and the team she picked, and the traction. Since HitFixâ&#x20AC;&#x2122;s inception, founders Jen Sargent and Greg Ellwood have built the top editorial team in the business, strategically using its angel investments to lead consumer discussion and deliver top-notch content to its growing fan base. Their continued success and high-rate of expansion to digital partners such as AOL, Hulu and YouTube make us confident that

our money is in good hands. ISM: What other types of entertainment properties will TCA/ACE look for in the future? RC: Technologies that power the entertainment businesses. ISM: Will TCA/ACE look to invest directly into independent film slates or television content providers? RC: No ISM: How does the fund view entertainment crowd funding platforms such as Kickstarter, Indiegogo or Slated? RC: We view them as additional funding channels and are complementary to what we do.

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FROM RUNNERS TO DIRECTORS, WE’VE GOT THE JOB FOR YOU! 64

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