Indie Source Magazine January 2013 by 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

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Jan. 2013

INDIE SOURCE

Our mission is to bring you not only stories of the industry’s highly celebrated, but stories and insight from players in all areas of the media creation process.

WWW.INDIESOURCEMAG.COM

Editorial Crew Christopher Parker Denise Smith Andrea Anderson

Graphic Design Tasha Parker

Photography Earl Kincade Stewart Cooke

Staff Credits Jerome Crowell Gregory Parker

Content 04

Designing Woman

Script to Screen

14 16 20 22 24 30

Interview with Jennifer Spence

Our staffs journey from concept to distribution.

Element Joey Interview with Joanna “Joey” Cade

The Total Package Interview with Alice Amter

On the cover

The Collaborative Interview with Orly Ravid

PAGE 16

A DCP Discussion Interview with Kenbe Goertzen & Darci Klein

Top 10 Places To Write List of the top 10 places to write, provide by our readers.

The Creative Teacher Interview with Norman Ray Fitts

Calling Two 21 - Chris Spisak

When I first sat down to speak with Ms. Amter I didn’t know what to expect. Interviewing actors about their body of work is usually a routine affair, you ask questions and you are often given well-rehearsed answers. I was in for a rare treat. Alice was very open and spoke her mind as if we were old friends. Alice literally blew me away with the level of access she gave us to her inner thoughts.

www.indiesourcemag.com 3

Designing Woman INTERVIEW WITH JENNIFER SPENCE

his designing woman has built a wonderful career designing sets for some of the most profitable horror franchises this industry has ever seen. Naturally we saught out this lovely lady to figure out exactly how she creates her dark magic. ISM: How did you get your start in the industry? JS: I’m originally from Canada and I moved here for my husband Thomas Spence, who was already in the industry. I kind of got into the industry because of him, and we have both grown up in it for the past 20 years. I started out at the ground floor and worked my way through all of the positions in the art department. As soon as I figured out how to go about it, from the budget on down to how to create all of the things required to make a film, I started to take on a more serious role as an art director, and then eventually production designer. ISM: What is the hardest part about your job as a production designer? JS: I think the most challenging part is to fully communicate with the creative and to make sure I am getting their vision. It’s fun that I get to talk with some super creative people in the world. It’s like trying to describe a color when telling a story, you want to get the exact tone and feel for someone because it is his or her story. ISM: How do you prepare for a film? JS: I first meet with the director. I like to listen to his or her version of what they see before I give any suggestions. I think the key to creating that relationship is to be a good listener. That way I get a sense of what they are wanting then I go back and reread again and create a look book. This book will be a mixture of their vision and my thoughts that will give us a reference. Then I put together my team of people; my decorator, prop master and art director. These are all of the people that are really important in the process, and who will help me bring it to life. Then I turn my attention to the budget constraints, which is important especially in independent film.

by CHRIS PARKER

Fact Selft taught Artist, specializing in painting.

PROFESSION • Production Designer • Art Director

PROFILE Name: Jennifer Spence Gender: Female Ethnicity: Caucasian Birth Place: Ontario Canada Height: 6’1

ISM: You have built a career designing for budgets that Hollywood considers

CAREERTIMELINE Mockingbird (Feature) - 2013 Insidious 2 (Feature) - 2013

Paranormal Activity 4 (Feature) - 2012

The Bay (Feature) -2012

Paranormal Activity 3 (Feature) - 2011

I Will Follow (Feature) - 2011

“I shop at second hand stores and places like downtown L.A.” micro/small. How do you approach the job with limited funds? JS: I never approach any script with that in my mind. I always try to come at it in a positive way. A lot of times you can be very resourceful, there are ways around that. I shop at second hand stores and places like downtown L.A., where you can find something cheap and create amazing sets without spending a ton of money. A lot of people I work with are artists and furniture makers. I will use those talents to our advantage. Members of the crew are a great resource as well, as most of them are artists that I can tap into. Also, my husband and I have a large prop house and we have been collecting stuff for over 20 years that I can use as well. ISM: “Insidious” was a big break out hit. What attracted you to that project? JS: James Wan and Leigh Whannell are such great, creative guys. I’m a huge horror fan, and it struck me right away. I loved that it was creepy and different and not all just blood and guts. The team felt like a family, and the producing team has included me in so many of their projects so I jumped at the chance to work on this project. [ISM: Seeing the ending of part one, I’m wondering how they are going to make part two.] I just started on part two Monday, and no, I can’t tell you anything about it [laughs]. ISM: Do you find it more difficult to design sets for horror films as opposed to romantic comedies, etc.? JS: I think it’s a little more challenging, as you are describing a place that is dark and scary as opposed to a café or apartment. So many horror films are being made that the challenge is to make something different and interesting to stand out from the crowd. That is really hard now, and

Para. Activity 2 (Feature) - 2010

Insidious (Feature) - 2010

you want to avoid being cliché. ISM: You were brought into the “Paranormal” franchise beginning with the second film. What were the difficulties with taking over the design of a franchise? JS: When Oren did the first one he was kind of on his own, and it wasn’t expected to do as well as it did. Part one started off small, and we thought we were just going to find spaces that worked for us and just shoot what was there. That changed a great deal over the course of two, as we found we needed to create bigger sets. I think the challenge there was there were a lot more people involved and I had to work with a lot more creative minds. You have to make sure everyone is comfortable. There are more producers, and the studio is backing you and their team has to be happy as well. It’s a lot of work, but it’s fun. ISM: 90% of your resume is based in the film world. Would you like to do more television work? JS: It’s the way my career has gone. I use to do a lot of commercials and music videos, but I wanted to do something that lasted. You can’t say, “Have you seen that commercial?”, because people never remember commercials like they do films. Film is much more art driven, and as a painter myself, I was drawn to something more story telling. I would love to do more TV, but I have been so busy with these films that TV hasn’t even crossed my desk. ISM: In your opinion what makes a

Stolen (Feature) - 2009 Splinter (Feature) - 2008 The Reckoning (Short) 2007

good production designer? JS: Someone who is a really good communicator and hasn’t lost sight of the fact that all people involved in the art crew have something to offer. Someone who can talk to anyone across the board from the art PA to the director, you treat them with respect and care. Someone who can deal with stress and the long hours, and that is easy going and doesn’t have a huge ego. Also, a person that doesn’t easily shut down, and that is open creatively. ISM: Are there other areas of production that you are interested in exploring? JS: Yes, I think one day I would like to direct. I’m also into writing, and I hope someday I get to do that as well. ISM: What advice would you give aspiring production designers and art directors? JS: I would say don’t be afraid to get in there and get your hands dirty. I think that school is incredibly valuable, but working on sets helps you understand what it takes. It’s physically and mentally challenging, but if you aren’t afraid you can become a great designer.

AWARDSCONTACT Partos Company - Alex Franklin Phone: 310.587.2250

Script to

Screen

We set out to create a short film from concept to distribution with a select set of tools.

by Indie Source Magazine Staff

S2S The Game

Release Date: August 10, 2012 Created By: Indie Source Staff

Genre Drama

Plot A severally depressed and suicidal man (Steve) rationalizes with his alter ego (Marcus), to play a game of Russian roulette. Seeing the game is not turning out as he had hoped, Marcus suddenly takes matters into his own hands.

Starring Michael P. Gardner

Distributor Indie Source Magazine

OVERVIEW Over the past year we’ve received a lot of questions on our thoughts about various subjects, such as our opinion on Final Cut Pro X, or which writing software to use, etc. We try to answer as many as possible, but there was one question that stuck out. A reader from Canada by the name of Rick Caliun emailed us about six months ago asking us if we could go a step further than our normal “Gear We Recommend” column and recommend a set of tools that can be used to create a project from beginning to end. We thought this question brought about the opportunity to create a yearly series that displays a certain number of vendor tools that can be used together to create a short film from conception to distribution. Thus “Script to Screen” was born. In this inaugural edition we set some parameters for our staff to follow. Our number one parameter involved the control of vendor tools. The tools we used would be limited to their area of expertise, we would not use more than one tool in the same area, and we would not use a tool for the sake of ad dollars. During this test we also purposely used lower end computers to ensure these tools were used in a real world scenario that most basic budget filmmakers find themselves in. Additionally, we decided to keep the project to a minimum to easily conform to our last parameter, which was to stay within a $1000 (USD) budget. We would like to note this budget constraint was made possible through the sponsorship of key equipment and software. CONCEPT & SCRIPT

After bouncing many ideas around, we decided on a concept of a man battling depression that struggles with the idea of suicide. This character would be shown in a good versus evil way, so the actor would play both personalities. This concept fit our budget parameter, as the short film would take place in one location. Once our staff finalized the concept we set out to write. Choosing a tool to write our screenplay wasn’t as easy as we thought. There are a number of options out there to use both free and for pay. We narrowed our selection down to the industry standard Final Draft and Adobe Story. Final Draft is used by most industry professionals and has been around for years. Adobe Story, on the other hand, is still fairly new, but a very strong competitor. Both handle formatting excellently and have a lot of the same features. Writers of the screenplay lived in different areas and unfortunately no one within our office or abroad could get the collaboration with Final Draft to properly work. The network connection was clunky and error prone. Adobe Story, built on their Air and Cloud technologies, allowed for a distributed workflow. Changes from one writer would instantly reflect to the other writers. We also loved the permission system, as the rest of the staff could be added to the project as reviewers, etc. allowing for all to easily read any changes at anytime. Anyone could sign up for a free account reducing the cost for our staff to participate. Additionally, our staff loved the idea of a web browser based solution, so no one in the office had to install any additional software or have a certain system specification to view. This software isn’t without its downsides. We found the scheduling feature just totally missed the mark. Synchronizing of any changes from the

script was in only one direction, making it very difficult to stay in sync. Adobe Story does not handle dual dialog like Final Draft, while not a huge deal, it was another source of irritation. Lastly, the import functionality left something to be desired. Acrobat (PDF) would need reformatting after import, while other file formats would not import at all. It would have been of great benefit if Story would allow the import of any type of file and give you the option of allowing the file to remain as is. This would allow all team members to easily share Word, Power Point, Excel, unformatted PDF files, etc. Let’s face it, even when you are just writing a screenplay, project files will consist of more then the standard set of document types.

packages. Due to the short nature of the production, we decided to not have this production a union shoot. With our budget such as it was, it wouldn’t be worth it for a budget so small. On larger shoots, we recommend working with the unions for below and above the line talent. Not only is it the responsible thing to do, but it also shows a level of professionalism that is much appreciated.

PRE-PRODUCTION We entered pre-production with a script our staff liked, but a number of questions that needed answered. The main question would be; what camera are we going to use? We had a number of camera choices, including some popular cameras such as Canon C300, or the new C500, and RED Scarlett. After deliberation we decided to use the RED Scarlett with Canon prime lenses rented at MP&E in Dallas Texas. Budget and scheduling was very simple since our budget was only $1000 (USD), and only scheduled to shoot over one day. We used Excel for the budget and simple pen and paper for scheduling. However, on a larger production you should look at using a Budgeting and Scheduling software. These packages are normally very robust. For our next version of “Script to Screen” we will be reviewing these software

Location scouting is a great exercise that I recommend everyone try. Our setting required a dark room with a single table in the center. A natural setting for such a concept would be a living room with our actor on a couch. However, we felt a dark room with one light provided more drama and would leave the audience wondering exactly where our character was, and even question this all within his mind.

Heat in a small room, during the month of August was an issue we had to worry about for our actor and equipment, so we ultimately settled on a garage as our location. It was small and the environment could be controlled. Casting was very simple, as we often work with a local actor that is very skilled and has worked on the revived TNT show “Dallas, as well as the upcoming feature film starring Gerard Butler titled “Olympus Has Fallen”. Michael Gardner, our friend, graciously accepted the challenge of playing both roles. This brings us to a quick side note. As filmmakers on a budget, it is paramount to call in favors, take freebies, family help and just about anything that can help you cut costs in any way. With everything basically set during our one month pre-production, our staff suited up for a very long day. PRODUCTION No matter what anyone tells you, regardless of the production level, 7 a.m. comes faster than you ever realize the night before. Most of our staff starts their workday around 9 o’clock in the morning, so motivating people at 7:00 can be a task in itself. One good thing to do is provide a great breakfast. This is something we cannot stress enough, whatever you do as a Producer;

detail about everything in this article. Our single lighting source (key light) came from a cheap Walmart stand light we bought for $10. Unscrewing the base and cracking the plastic around the electrical cord allowed us to keep the cone silver top while having an exposed cord that we simply plugged into an electrical socket of the garage ceiling. Three large black backgrounds were used to hide the walls of the garage, and two 600 watt lights were used and strategically placed to provide light at the top and sides of our character. This technique draws the eye toward the table and makes the on camera light seem stronger. When it came to props we kept them down to a minimum as well. Our table was a basic metal table with additional spray paint to dull the reflection. We used a metal brief case that housed a set of real bullets and an airsoft (gas) revolver. We used two sets of handcuffs and an iPhone. We would like to note we decided to use real bullets for display only, as the fake bullets that typically come with airsoft weapons do not resemble true bullets. Yet for safety, the bullets were never in the airsoft weapon during any sequences where the actor handled the gun close to his head. During the filming, the RED Scarlett worked without fail and combined with the Canon lenses on a PL mount provided an incredible 4K image. Adobe Prelude CS6 software was used to ingest footage from the RED Mag reading from a RED Station. The process allowed us to easily log our footage and move files with matching sound files into our post-production folder structure. File storage is a major concern for digital productions, and our production was no exception. We used a first generation Drobo FS unit with four 1 terabyte drives. The Drobo unit provides protection from failed drives and an affordable price. The Drobo FS is an older unit and the company has many newer models which are even faster and more reliable, and the new 5N is network compatible.

provide your crew with plenty of food and water. Especially if you are organizing a shoot where you are offering little or no pay, a crew member or actor will be much happier about no or low wages with a full stomach. A lot of the equipment used was standard tools used in the craft and we won’t go into great

We wanted a number of dolly shots but we had limited space. We recently reviewed the SYL 960 Camera Dolly and thought this would work great. Indeed the pans were relatively smooth, the track was durable and the wheels were great under the weight of the camera and tripod. This is definitely a tool to have in your arsenal. Please see our review in the “Gear We Recom-

mend” section of our last issue. After ten hours and a break for lunch, we wrapped shooting and it was time for post. POST-PRODUCTION

were very familiar with Apple Soundtrack, as was I, we still found Adobe Audition very easy to learn. Most sound editing applications are fairly fast, so speed wasn’t something we could judge. Our short film was very small so we didn’t come close to pushing this application to its limits.

Our post process was purposely made more difficult than it normally would have been for a short film this size. We purposely split the editing between three of our staff members in two different physical locations. Additionally, we used older computers (3-4 years), one running Windows 7 and the other running Mac OS Snow Lion, both with only dual core Intel based processors. Adobe Production CS6 Suite was used for all of our editing needs. Our Drobo storage units were connected using Firewire to each machine. All of our editing was performed using Adobe Premiere Pro, editing the RED files directly without any transcoding needed. Premiere Pro handles RED files perfectly even on these older machines. We did not have RED Rocket cards installed on either system, so we relied only on the video processing to render effects. Editing 4K in full resolution wasn’t a real option for us, so we found reducing the resolution to 1/4 or 1/8 displayed a great quality image and was fast enough to edit without slowdowns. You can’t comprehend how great the new rendering engine is until you take it out for a spin. Changing something on the timeline, then reverting back returns rendering to its previous state. This single feature saves you more time than you can imagine. We were blown away. For our special effects we used Adobe After Effects CS6. Sending your footage over to After Effects for FX work was a breeze and worked every single time without fail. The stability of the suites integration is much stronger in CS6. Editing of 4K footage in After Effects was only slightly slower in our experience, however reducing the resolution allowed us to perform masking, filters, effects, etc. with ease. I must say we were blown away again with how the Adobe suite handled the footage. With even the low cost GO Pro cameras, now shooting in resolutions higher than HD, editing of 2K, 4K and now 5K footage is the life blood of any editing system. For sound design and music we used Adobe Audition CS6. While many of our staff members

Let’s not forget color correction. Sending our timeline to Adobe SpeedGrade CS6 took a few steps. You can actually send your timeline to SpeedGrade directly, but we don’t recommend that. One of the most powerful applications Adobe has ever created is its Media Encoder. This application can encode your timelines into different formats, in many cases up to five or six times faster than using Premiere Pro or After Effects directly. We decided to export our timeline into an image sequence (TIFF) using Media Encoder, then importing that sequence into SpeedGrade. Using SpeedGrade was very intuitive and provided a great amount of power when designing the exact look we wished the film to have. We believe this product is comparable to DaVinci Resolve software or Apple Color. On a quick note, sharing application project files from a Mac OSX to a Windows OS was seamless. Our video asset names and directory structure were the same so we never had a problem. We have sung the praises of our editing suite choice, but not all was sweet in Candy Land. The continued lack of midi board support in Premiere Pro baffles many, us included. Why is this so difficult for Adobe to do? While we gushed over the sharing of timeline assets in between applications, we did find it to be very slow at times. This wasn’t something that wasn’t con-

sistent, at times it was fast and at times it was slow. This led us to believe it wasn’t our older machines, or at least not always. Of course, we recommend editing your production on the most powerful machine you can get your hands on, and not to follow our example of purposely using low-end older machines. Our choice to edit our film this way was rooted in our desire to test tools in the bottom line scenarios we created. DISTRIBUTION Last piece of any puzzle for any filmmaker is to figure out how to get their project seen by their intended audience. Our requirements were simple, yet very hard to accomplish, or so we thought. Our first requirement was a simple YouTube. This distribution plan was accomplished exporting our graded footage and mixed sound using Media Encoder. Our second requirement was to create a theater projection system compatible DCP package. More and more filmmakers are facing the requirement of providing theaters and/or film festivals with DCP packages to display their finished film. However, the process of creating one of these packages can cost thousands of dollars. We needed a solution that was cost effective and that we could recommend to you. As fate would have it, we found a company in Kansas that has a software plugin and a service that will do exactly what we needed at a price that is 1/10 of most companies in the marketplace. Quvis offered us the power to create our own

DCP package using a plugin for Apple Compressor for under $1000 (USD). Wraptor Version 2 was a simple installation and worked without incident. Since this version is a plugin to Apple Compressor, you will have to own the Apple product as well as an OSX compatible computer. Lucky for us, we still owned a copy of the new Compressor and we used the MacBook Pro from the postproduction stage. Creation of the DCP package took about two hours for our nine-minute short film. We suspect with a quad or larger core processor this conversion process would take a shorter period of time. At this point the company’s DCP Player hasn’t been released, so without access to a projection system you will not be able to check your DCP package. However, we had access to a projection system and the 2K DCP package played beautifully. I can’t stress how impressed we were watching our nine-minute short in a local theater with the exact color and details we had hoped. CONCLUSION The first “Script to Screen” experience was a great success, and we learned a lot about ourselves and the products we used. We will bring this sort of official test once a year, hopefully twice. It’s important to us to bring you the real world tests of products, not just regurgitate their marketing feature list. We will continue to seek the truth for you our readers. See you next time, when we go from ”Script to Screen” in an action short film that will find us fighting demons and flying planes.

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Element Joey INTERVIEW WITH JOANNA REBECCA CADE

oey, as she is affectionately called by her family, traveled a long road to become the first lady of Element X Creative special efx house in Dallas, Texas. We sat down with her to hear her unique story and how she got her nickname. ISM: How did you get your start in the entertainment industry? JC: I felt like my whole life it was chasing me, growing up my parents loved films and theater. So growing up they always took us to plays and movies, even art house fare. I vividly remember watching “The Mission” as a young girl, but I always thought if I got into the industry I wouldn’t like it, like it would sour the magic for me. After high school I went to the University of Texas and majored in political science and history. Upon graduation, I went straight into a job at the Texas House of Representatives. I HATED IT! It was very depressing watching all of these men doing bad things, and I only lasted two years. I traveled the world for a while, and I came back still not knowing what I wanted to do. My next door neighbor was into film and she knocked on my door in a panic. She needed a PA because someone called in sick, so I did it and LOVED IT! I continued to work in production for about five years, doing mostly commercials. It was crazy hours and very sporadic. You can work all the time for like five months then not work at all for months. I was working on a film titled “Saving Jessica Lynch” for the director, and we used a special FX studio called Real FX. Afterwards, I got a job working for them, and I fell so in love with animation and effects. I now have been doing this for over nine years. I love the aspect that it’s one of the few parts of the industry that young people are equally accepted for their new ideas, as usually the younger people are the ones that know the technology better. ISM: How did you get the nickname “Joey”? JC: My dad had two daughters, and probably would have liked to have had two sons. So, my sister Samantha and I were called Joey and Sam. In college, I just started telling everyone my name was Joey and it stuck with all my friends. ISM: What is your role at Element X? JC: I’m officially by title Executive Producer of Special FX. They brought me on about a year ago to head up this division. It’s basically sales and upper level project manager. I bring in the projects with clients and then manage the work being done. I also help figure out the direction of the division, and I help

CAREERTIMELINE Plush (Feature) - 2013 Phobia (Feature) - 2012

Rise of the Guardians (Feature) - 2013

Bad Kids Go To Hell (Feature) -2012

by CHRIS PARKER

Fact • Worked in Italy, India, Thailand, Laos and Australia. • Works for Element X Creative (Dallas, TX).

PROFESSION • Executive Producer • VFX Producer

PROFILE Name: Joanna Cade Gender: Female Ethnicity: Caucasian Birth Place: Dallas, Texas Nickname: Joey

THe Express (Feature) - 2008 Enchanted (Feature) - 2007 ‘Til Death (TV Series) - 2007

“My dad had two daughters, and probably would have liked to have had two sons.” manage the studio by finding good people to hire and helping the business grow. ISM: What services does Element X provide? JC: We do animation, 3D and 2D, motion graphics, compositing, and 3D effects. We do all of these things for little Indies all the way up to large studio pictures. We work on television shows and commercials as well. We create assets for video game companies, title sequences, and we now have a corporate division creating simulations. Lastly, we now have a development division where we have numerous series and feature films in development.

ISM: Over the past 10 years Element X has focused mostly on commercials with a handful of feature work. Is there an asserted effort to get involved with more short and feature length work? JC: Entertainment is about 30% of our business and it’s growing. We are excited about the growth, but we are also developing our own properties. Our plan is to grow slowly, not overstaff, and to stay focused. We want people to know who we are, and that we are not just a company that did some effects for a studio film. ISM: As a company, how willing are you to work on low to micro budget independent films? JC: We are definitely willing. “Plush” is a lower budget indie, and we were happy to join. We are working with a local director that obtained a deal

ISM: Element X has handled commercials for clients such as Nike, Porsche and McDonalds. How do you approach satisfying the needs of Fortune 500 firms? JC: Generally, in those cases, there is a big agency that is a middleman. We keep the ad agency happy and they keep the large company happy. Some companies we deal with directly, like Mary Kay and Leap Frog, but I don’t normally handle the commercial clients. With commercial clients you have to wine and dine more, opposed to the entertainment clients, it’s a lot faster paced. ISM: You are currently in postproduction on the “Twilight” director Catherine Hardwicke’s latest film “Plush”. How is it working with such a talented female director? JC: She is amazing! She is a creative force to be reckoned with. We went to a meeting with her at her office in Venice Beach, right across from the beach. We thought it was more of a meet and great, however, it turned into us working with her for three hours in a great creative session. She is really cool and quirky, and the work is really cool and dark and sexy. We can’t wait to show the presswork. We are handling all the effects in the film, and all the titling work. It’s really exciting working with the highest grossing female in history.

Stranglehold (Video Game) - 2007 Transformers: The Game (Video Game) - 2007

with CAA, and we have helped him make a short film that they are using to shop for financing. We have worked on smaller features with back end participation to help out indies and to build our resume in the entertainment space. Indies give you a chance to do very cool and interesting work, and they allow us to become partners and suggest FX and not just be told what has to be done and get it done. It also helps our junior level talent to gain experience without being thrown into the fire on a large tent pole feature and becoming overwhelmed.

work within budgets as much as we can. ISM: With a large number of special effects houses going out of business, how have the doors and lights been kept on here? JC: Good question. I think because the owners here have chosen to grow slowly. We don’t hire 300 people because of a large project then let them go when the job is over because we can’t afford to keep them long term. We have a variety of projects for our small staff of 30-35 people to work on. We make sure our people are full- time and not freelancing, because we want people to help us build and work on our processes and not let talent walk out the door after every project. ISM: What types of projects interest Element X and its staff? JC: We aren’t just attracted by fancy names and brands. We love to spread our wings creatively here. It excites us to become stronger and to try new areas. For example, we just finished our first mobile app for a client, and we have created public video wall art for a performing arts center, which was a great change for our staff. Video game asset creation was also something new for us, and a great way to diversify. ISM: How does Element X support the indie film community in Texas and neighboring states? JC: We support by helping indie filmmakers and supporting local events. Lots of our staffs are indie filmmakers, so we always contribute to their projects mostly through Kickstarter. ISM: Can you tell us about any new projects, investments and expansions Element X will be involved with over the next year? JC: We have some exciting things coming down the pipeline, but I can’t really talk about them right now. Some investors are interested in our studio as partners and some series and feature partnerships are coming. But until it’s official, I can’t say much.

ISM: Does an indie filmmaker have to have a certain budget to obtain your services? JC: No, not at all, we are flexible. We

CONTACT Website:

Email:

joey.cade@elementxcreative.com

http://www.elementxcreative.com/

photograph by: Hareth Tayem

Most of you may recognize her as Mrs. Koothrappali on the mega hit show “The Big Bang Theory, but believe me when I tell you this woman is so much more. This native of England has played an Indian, Hispanic, an assassin, a palm readers and a countess to name a few throughout her over a decade career. She often plays characters that are written for someone ten years her senior as she did in the syndicated hit drama “E.R.”. I was surprised to learn “Raj’s Mom” fluently speaks five languages and has lived from England to L.A. and a multitude of places in between. Alice is a veteran of the theater and cut her chops there but quickly fell in love with acting on the small and big screen. I personally hope you find this interview as engaging as I did. by CHRIS PARKER

“I started in theater, that’s sort of the very English approach.”

THE TOTAL PACKAGE

hen I first sat down to speak with Ms. Amter I didn’t know what to expect. Interviewing actors about their body of work is usually a routine affair, you ask questions and you are often given well-rehearsed answers. I was in for a rare treat. Alice was very open and spoke her mind as if we were old friends. Alice literally blew me away with the level of access she gave us to her inner thoughts.

ISM: How did you get your start in the industry? AM: I started in theater, that’s sort of the very English approach. I did many plays back to back and it was a struggle financially. Only being paid five or ten dollars a show, four shows a week. Some of the plays won awards, the first when I played “Vampira” in “Plan 9 From Out of Space the Musical”, which was my favorite. So I thought instead of continuing with that, I would get major into acting for film and television. After procuring an agent, six months later, I landed a part opposite George Clooney on the television show “E.R.”.

heritage because of my features, and there are a lot of Indian’s in England. The most important thing in comedy is to make the audience laugh, not exactly if you are the nationality that you are playing. It’s standard for an actor to have a friend of that nationality help them with their characters. ISM: You worked opposite George Clooney on “E.R.” for your first television job. Could you tell us about that experience? AM: It was a great experience. I was

ISM: You have lived all over the world; could you tell us some of the places you liked the most? AM: At the time I loved Berlin, at the time I loved Tokyo. I recently went to New Jersey, New York, D.C. and Georgetown, and fell in love with all of those places as well. I loved the people on the east coast; they are so down to earth, fun and friendly. New York City is very exciting, going out at night there was amazing. ISM: You were born in the United Kingdom, in fact you are a “Brummie”; do you consider this home or another part of the world? AM: Right now I consider L.A. home, it’s where I live and it’s so familiar to me. I know the industry; I know where all the studios are and I know a lot of people here, but having said that, my friends and families are in various places around the globe, so home is here on a functional level. I don’t have to live out of a suitcase here as I do when I go back to the U.K. or Germany. ISM: Though you are not Indian, you play that nationality often on television. Do you feel Hollywood has a lack of real Indian talent, or are they simply not looking far enough? AM: I asked the producers this very question and they simply said I was the best one. I just watched “Les Miserables” and it was full of British actors, so there are always inconsistencies in casting. It’s not about your nationality, it’s about whether you can you pull it off, can you convince other people during the time they are watching you that this is who you are? I don’t get recognized much as Mrs. Koothrappali because I don’t have on the garb, no Indian accent and I’m younger than the character is. I may have a trace of Indian blood in my

AM: As you know, film is in pieces and my scenes weren’t with them, so I didn’t actually meet Vin until the premiere. I loved working on that movie; Mr. Gray was awesome to work for and with. Around that time I was heavy into kickboxing and in the gym, so much so that I walked in the audition feeling like I could literally kick ass. There is no feeling like working on a big budget movie. I love action films and being very active and kicking butt. It was also great working with the producer Tucker Tooley, who is now the head of Relativity Media. I worked for him after the movie on a TV pilot, but unfortunately it didn’t get picked up. ISM: You have been nominated for SAG awards, any other award nominations and wins in your career? AM: I have yet to receive any nominations of any kind. The show “Big Bang Theory” has been nominated, but not me individually, I don’t even win at Trivial Pursuit [laughs]. Seriously, I am very happy for the guys/gals on the show and I cheer from the side. I do hope to receive nominations in the future for my work, but I’m sure Mrs. Koothrappali won’t be getting any nominations anytime soon. [laughs]

so familiar with the show, inside and out, so I wasn’t intimidated. When the breakdown for the character came out it originally was for a doctor in her forties. I called my agent and told him to get me an audition for that role as there were no Indian doctors in that hospital and in all real hospitals I’ve been in there were some. Until you are famous Hollywood will type cast you, there are too many people, so they have to put you in categories. Up until that point I was doing mostly Hispanic role auditions, so when this came out I was gun ho about getting the role. Initially, the casting director thought I was far too young, but my agent pushed and said that I could do it. I got the part and went to work with confidence. When you work with stars you can’t be star struck, or you won’t be able to do your job. So you have to be super- duper confident. He is a very classy and talented man. I would love to work with him again. ISM: You played the role of Marta in the F. Gary Gray film “A Man Apart”. Could you tell us about your experience working with stars Vin Diesel & Timothy Olyphant?

ISM: How did the role of Mrs. Koothrappali land on your desk and what do you think of the character? AM: It was just another audition like several others I had had. I showed up dressed the part and the first audition went well. I got a call back; the room was filled with other potential Mrs. Koothrappalis and Dr. Koothrappalis, etc. Lots of people were in the waiting room and at least ninety percent were of Indian nationality. In British comedy they mock that accent a lot, so I already knew how to speak the way they wanted the character too. Chuck Lorre was in the room, but at the time I didn’t know it was him. I had never watched “Two and a Half Men”. Actually at the first audition, I knew I had to get the job, didn’t know why, but I just felt like I had to get it. I guess that was my way of knowing it was going to be a huge phenomenon. I didn’t hear anything ar first so I assumed they picked someone else. Then I get another callback, and there were just a few people in the waiting room and I kind of knew it was down to me and this other lady and she and I often compete against each other. I thought I dropped the ball in the final audition, so I left kicking myself like “Damn I just gave that role away”. You know after three auditions you are pretty

exhausted by that part. I’m home feeling sorry for myself and my manager calls saying “Guess what, you got the part”. That was the beginning of Mrs. Koothrappali. I will tell you one thing, at the first season wrap party for the first season, a couple members of the crew kept saying “Get ready for ten seasons”, well it’s been five seasons so far for me, so I guess they were at least half right so far [laughs]. ISM: You are quite often seen through the computer on the show. Do you ever get the chance to interact with the other stars on the show? AM: Yes we do, but not a great deal. Basic protocol is that you are a team player, but you give the other actors space to do their work. You interact mostly on the first day because it’s the table read and there’s more interaction on the last day when you shoot in front of the live audience. However, it’s not real buddy buddy for us, as we come in once in a while because of our characters. We stay out of the way and let the actors do their work and try not to interrupt other actor’s flow. I tend to interact with the crew more, since the main cast are so busy, but all of the cast are really nice people. ISM: Which do you find more rewarding work, stage plays, television series or feature films? AM: I like film and television; stage I would like to do on Broadway, but all of my previous stage experience was here in Los Angeles. Television is very fast and you don’t get much time to think and prepare, so you have to be good. Television is also a writer’s and producer’s medium; they have already created what you are going to do, so it’s about fitting in. There is a family of cast and crew, so if you are coming in for just one episode or a small character arc, it’s all about delivering what’s on the page and fitting in. Film is such an organic process, it allows for more collaboration and creative freedom - you get a hand in creating the character’s life. Of course within the realms of what has been written, and it gives the director options. Unless it’s low budget, then you also have to learn how to make the coffee and bring your own clothes [laughs]. Television does give you a sense of family and a steady paycheck. Film allows you to go on different locations and a wide variety of actors from all over the world to interact with. ISM: You have worked on studio backed feature films as well as low

budget Indies. Which do you find more rewarding and why? AM: [Laughs] A movie I have to carry my own chair or a fat trailer with everything in it [laughs again]. No seriously, if the material is great or it’s a role I always wanted to play, then I would quickly do an Indie. I make fun of movies on a shoestring budget just to get a laugh, as I like to joke, but I’m a trooper and I just love to do my job no matter what level it’s on. I’ve done quite a few low budget Indies and I’ve had a blast on all of them. When you are on a big budget film there is a level of expertise that is very comforting. Such as the wardrobe department, they actually make the clothes from scratch; I’ve made clothes before, that’s a hard job. So people feel free to send me your Indie scripts [laughing].

charities that you support that you would like to bring light too? AM: I have yet to get super involved with anything.

ISM: What is the hardest part about being an actress in Hollywood? AM: Being limited by other’s perception of you and what you can do. I feel there are things I can do that people have no clue. For example, with Mrs. Koothrappali, some people may look at me as being a mid-fifties Indian female, and if they ever have a role like that I will get a call. Hollywood is big on stereo-types and it feels like everyone is put in a box. I also think what’s hard is to stay in the game and receive a steady check on a regular basis. You can make it out here, you just have to be three hundred percent sure it’s what you want to do, as most actors starve for years before earning a decent income.

stretch but getting to work with that cast is pricesless so I’ll do it. I booked another guest starring spot that I can’t mention right now. I am also looking at a few Indie scripts, I want to do music as well. I have an album I’ve written that’s been on the shelf for ten years. Maybe it’s time I dust it off and put it into production.

ISM: What advice would you give aspiring female actors? AM: Think about what it is you really want to achieve out of this industry. Too many female actors are so ready to do the T&A thing or just play the love interest. If you sell yourself as the sex symbol or the woman men desire, you will eventually turn forty, and if you can’t really act you end up with a short career. Just really think about the longevity of your career. ISM: Any new projects that you are working on that you can speak of? AM: I recently booked a guest spot on “Hot in Cleveland”; I’ll play an Indian moother of a forty year old. Quite a

ISM: Are there any worthy causes or

The Collaborative INTERVIEW WITH ORLY RAVID

rly Ravid has helped bring some of the most interesting and influential documentaries to theaters, our living rooms and our mobile devices. She shares with us how The Film Collaborative was born and where it’s going. ISM: How did you get your start in the industry? OR: I worked at a couple film festivals and then started out as office manager at a foreign sales company in 1998. Prior to that, I studied film as well as English Lit and explored writing for film; I had also done a little production work. ISM: You were a distribution advisor on the documentary feature film “GasLand”, what exactly does that job entail? OR: I had actually seen that film as a Programming Associate at Sundance, and then advised the filmmaker and the producers about what sort of deals were possible, and the options with respect to sales vs. DIY. Ultimately, of course winning a Sundance award and getting the press the film got, HBO came knocking. This was one of our earlier films and one we did less for than let’s say “The Invisible War”, “We Were Here”, “Weekend”, and “Revenge of the Electric” to name a few. But, we were there for Josh at the beginning. I love the film very much and glad it worked out for him. Generally speaking, we do a range of festival distribution or advising, sales work or advising, marketing services or advising, contract services, theatrical releasing or advising, etc. ISM: How was the idea of “Film Collaborative” formed and what year? OR: I had the idea for it after Jeffrey and I formed a for-profit called New American Vision, which is now more of a B2B marketing consultancy company, which was borne out of my own film distribution consultancy business before that. I had the idea for TFC in 2009, and we launched at Sundance 2010. This year will be our 3rd anniversary.

by CHRIS PARKER

Fact • Contributor for indieWIRE • Truly Free Film • Sundance’s Artists Services

PROFESSION • Distribution • Sales Agent

PROFILE Name: Orly Ravid Gender: Female Ethnicity: Caucasian

ISM: What exactly is the “Film Collaborative”? OR: It’s a non-profit organization focused on helping filmmakers achieve distribution without getting screwed over. It works with artistically and culturally important films and in general non-commercial films helping filmmakers find their audiences and build their careers without suffering the pitfalls of traditional distribution. We do not take rights, and so filmmakers retain control and copyright over their art.

CAREERTIMELINE Sweet Micky for Prezidan (Feature) - 2012

Champions of the Deep (Feature) - 2012

Jobriath A.D. (Feature) - 2012

Gayby (Feature) -2012 A Fierce Green Fire (Feature) - 2012

“Selling Your Film without Selling Your Soul or at least a few extra parts.” ISM: What can a client expect from your service? OR: Full transparency, a lot of experience – all the savvy the business can offer, but without the slime. ISM: What type of partners is your company interested in joining forces with? OR: Non-Profits and those keen to support the arts and culturally and artistically important work. We’re cautious about partnerships and having our brand and integrity compromised. ISM: Can you tell us about the distripedia? OR: It’s a resource, free mostly, and taken together it’s meant to be the encyclopedia of distribution. There’s a lot of information about it of course on our site. By the way, you may want to visit our ABOUT section and the FAQs – there’s a lot there that you may want to use. And of course, we are always refining “distripedia™, adding to it and developing new resources.

ISM: What can we expect from Film Collaborative in the next 18-24 months? OR: My favorite question! Perhaps another iteration of “Selling Your Film without Selling Your Soul” or at least a few extra content parts. We’re expanding in Europe so TFC-EU, and we launched our Fiscal Sponsorship program, but aim to grow it, and the same for TFC Legal. And of course more of what we have been doing, but improving the educational resources as best we can. We now have a DUNS number, so hopefully we can finally get a grant or two, as till now we have been operating grant-free.

and the money does not flow to the cause.

ISM: Are there any worthy causes or charities that you support that you would like to bring light to? OR: Absolutely, I’m a big fan of NPR and also animal charities such as FixNation. I just learned of another that gives money directly to poor families in third world countries, unfortunately I now forget its name, sorry to say. I am proud of being the sort of non-profit that operates lean and mean; we have very little overhead and don’t raise money to pay for fancy offices or parties or a lot of staff. I like to support those types of organizations, not the kind where the head is making a quarter of a million

The Invisible War Official Trailer (Digital Versions Only)

The Invisible War (Feature) - 2012

Vito (Feature) - 2011

Weekend (Feature) - 2011 An African Election (Feature) - 2011

CONTACT Film Collaborative Phone: 323.610.8128

A DCP Discussion INTERVIEW WITH KENBE GOERTZEN & DARCI KLEIN

hen discussing theater project requirements with independent filmmakers most have found it to be very frustrating and cost prohibited. Should they or shouldn’t they take into account the process of converting their finished film into a theater compliant format and which company should they choose. With this in mind we set out to find out which company can provide a high quality DCP to indie filmmakers in a price range they can afford, we found Quvis. ISM: When and why was Quvis started? KG: We actually started in 1994; I had worked in the defense and medical industries during the 70’s and 80’s on high priced imaging machines, and I had noticed in the 90’s that all of these technologies were headed toward consumer application with an increase in technology relative to price. We started out with a very similar plan that Jim Jannard used with RED, our problem is that we started too early. There were too many things required for a small company to do on its own, so we specialized in recorders. Our high-end recording/ editing systems, which were jointly developed by us, TI and Disney, amounted to the prototype of the current digital systems. This system displayed Pixar’s “Toy Story 2” in 1992. For a while we dominated digital cinema, and then the studios got into a disagreement about whether one should use MPEG or various other approaches. That culminated into the Digital Cinema Initiative organization being formed. They formalized the definition, which was different than our systems, so it took us a while to convert. While that conversion occurred, we lost the marketing share and didn’t make it into some of the big rollouts. Now our current initiative is to get all of the technology that we have developed over the years into the hands of indie filmmakers. ISM: Could you please explain the advantages indie filmmakers gain by distributing films DCP format? KG: It is very similar to the advantages that the studios designed into the format; such as the potential to use a richer color space if desired, such as larger, more film-like colors. You can rely on no compression artifacts and archival quality. It offers advanced security if so desired, and there is no licensing fee for commercial distribution, unlike MPEG which is only free for free applications over the Internet, but requires a fee for commercial distribution. DK: DCP is calibrated for reliable and repeatable format for color with no dust, scratches, or bleeds like there can be in film. There are several DCP choices, but Quvis has a wave based compression technique called QPE that allows us to maintain the fidelity of the project. It was originally developed for satellite imaging, medical imaging and aircraft recon, where requirements are extremely high for image fidelity. It was the main reason that allowed us to please Pixar, Disney, NASA and Warner Brothers.

by CHRIS PARKER

Links • Web Site: Click Here • Quvis Film Festival Benchmarking Study: Click Here

Services • Wraptor2.0 Software • Wraptor DCP Service

PROFILE Name: Quvis Technologies Investor: Seacost Capital Partners Location: Topeka, KS

“It is very similar to the advantages that the studios designed into the format;” ISM: Could you please explain the advantages indie filmmakers gain by distributing films DCP format? KG: It is very similar to the advantages that the studios designed into the format; such as the potential to use a richer color space if desired, such as larger, more film-like colors. You can rely on no compression artifacts and archival quality. It offers advanced security if so desired, and there is no licensing fee for commercial distribution, unlike MPEG which is only free for free applications over the Internet, but requires a fee for commercial distribution. DK: DCP is calibrated for reliable and repeatable format for color with no dust, scratches, or bleeds like there can be in film. There are several DCP choices, but Quvis has a wave based compression technique called QPE that allows us to maintain the fidelity of the project. It was originally developed for satellite imaging, medical imaging and aircraft recon, where requirements are extremely high for image fidelity. It was the main reason that allowed us to please Pixar, Disney, NASA and Warner Brothers. DK: Yes, many wanted to outsource it, but wanted it fast and wanted high quality. It shocked us when many of the filmmakers told us they were paying anywhere from five thousand to twenty thousand or more to convert to DCP format. We wanted to offer a service they could afford at a price where we would still retain a good profit margin. For a ninety minute film the average price a filmmaker will pay is sixteen hundred dollars, far lower than most of our competitors. ISM: Will the Wraptor 2.0 product provide the same level of quality as your DCP service? KG: Absolutely. If the source material has great quality, the Wraptor 2.0 will reflect that quality. ISM: Can you tell us how the DCP Player will work?

KG: The player was originally intended as a production tool to complement the Wraptor tool. We are receiving a lot of feedback for the tool to be used in DCP home theater systems, film festival displays, etc. Initially, the first version will be a 2K 24P, subsequent updates will support 3D, 4K and higher frame rates. This product and Wraptor 3.0 are entering beta now. DK: One story that blew me away that solidified the value of our upcoming player; a gentleman that used a trial version of Wraptor 2.0 with a

film that was accepted into Shanghai Film Festival chose not to buy the product and I wanted to know why. He told me he sent it Blu-ray, even though he felt DCP was superior to Blu-ray, because he couldn’t see the finished product. He said he could see what the Blu-ray looked like and not the DCP, with no affordable options on the market. At that moment I knew we had to push the player to the market. KG: It’s currently difficult for an indie to display a DCP as the main players are in the theaters. Putting 2K or 4K onto a computer screen and making it easy is of the upmost importance to us. It’s key to the process. DK: We’ve also heard from people who would like to view their dailies in DCP quality, if and when the player

comes to market. KG: That was a real breakthrough for Disney and Pixar back in the late 90’s and early 2000’s. Previously, they would make a film print, but they were at the mercy of their film labs, and they were never sure they were looking at the right color. It was a really nice change for them to operate in a photometric calibrated environment. DK: This is an advantage, until now it has been the sole domain of the major studios. It’s something that any indie filmmaker can have the resources to do. ISM: Why did Quvis commission the “Film Festival Bench-

marking” survey? DK: Our largest group of customers are filmmakers and they buy our software because they won the right to exhibit at film festivals. Festivals are important to our customers, so it’s important that we understand them. Our objective was to get a general scope of the workflow, health and processes that go on within festivals and see how our products could give indie filmmakers advantages within the festival marketplace. That’s why we decided to get involved with IFFF and the survey. Between IFFF and the survey we learned a great deal. KG: Basically we wanted to learn about film festival practices and problems. cont. pg. 34

Top 10 Places To Write

here wouldn’t be a Hollywood without the men and women who write the content we all consume on a daily basis. These writers train and practice much like an athlete trains and practices daily. I was once told by a successful writer who was also a sports fanatic, “Writers should practice something related to writing twice a day, much like a pro football player runs two-a-days during training camp.” Not only is writing on a daily basis important, but achieving a creative mindset is just as important. While writers practice their craft in many different ways, one commonality we all share is the need for our own creative writing space.

All writers have a particular space in this world where they feel most comfortable to let their creative juices flow and write great material. We polled a lot of successful and not so successful writers to see the top ten places that bring out their creative juices. However, let’s keep in mind that any of these ten places might not be on your list. 24

Bedroom

The ninth most creative place is one of the most relaxing places in any home, so I can see why this area made the list. Some writers like the feeling of a soft bed and pillow as opposed to a hard chair and desk. Lying down can be very creative for many. The more relaxed you are the more creative one can become. We give kudos to our number nine creative space, now where is my comforter?

Parent’s Basement

The number ten spot we found was very interesting to say the least, was their parent’s basement! Most people grow up craving to move out of their parent’s homes and live the life they wish to live. However, we found a group of writers that preferred to go back to mom and dad’s house to find their creative juices. What was even more interesting was the choice of room within the parent’s home, the basement. I don’t know about you, but unless the basement is finished I don’t want to go anywhere near it! Basements are common in the Eastern and the Midwestern states, so I assume these responses came from writers mostly in those areas. 25

At Work

Number eight must come from our part-time writers, as full time writers don’t have an additional “nine to five” to worry about. We do understand that even great writers cannot sell a script all of the time. A steady income takes the financial stress off, and will allow those creative juices to flow. However, pressures from the workplace can also stifle the juices from flowing just as much, so this could be a double edged sword. If you do have a job where the to write is plentiful, our staff suggests you write away. But do be careful, as you could be fired, or even worse, if done on the company computer your screenplay could be considered property of that company!

College Classes

We send our children to expensive universities in hopes it will propel them into the workforce in a better position than the dozens of those friends who are slacking back at home. Now we find out from some of our younger readers who are writers, that they have been writing the next great screenplay during “Introduction to Post Modern Era I”. Let’s hope they do sell their screenplay, so all those tuition checks don’t go to waste!

Writing Class

Number six is a very logical place to find your writing mojo. I wonder if this choice is more about HOW to write effectively, or the mechanics of writing, rather than about letting the creativity out. I think more research is needed on this one. If you are one of our writers that chose this answer, please send us more feedback.

Closet

When I was younger I would hide in the closet during hide and seek. As a youth I had a huge imagination and in the dark closet I would imagine whole new worlds, until a friend would find me and I lost the game. I can picture writers in the closet with their laptops or tablets giving off a source of light. I also can see where some small spaces can be comforting, like a mom’s hug or a warm blanket wrapped tightly around you on a cold winter night. Recent studies have suggested that four percent of the population suffer from claustrophobia; obviously the writers that voted for the closet do not suffer from that problem!

Park

It’s a nice sunny day, joggers sprint by, dogs trot and sniff, babies sit in their strollers viewing the world from a cushioned seat, and you sit with your laptop on a bench creating the next great’ Juno’. Where might this space be? Why, the park, of course. If you aren’t allergic to the smell of fresh grass, the laughter and the barking could provide the right level of white noise needed to reach ultimate creativity. If you have never written in a park, we suggest you try it. Just make sure you have plenty of battery for your laptop or tablet, cup or thermos of your favorite drink, and your imagination.

Children’s Function

We found number three to be a tad disturbing. We go to our children’s events to see our kids perform in plays, score touchdowns, skate or kick the winning goal…not to write! I personally dislike the sight of a dad or mom on the phone talking the whole time their kid is performing, but this isn’t about me or the staff, it’s about the writers that answered our survey. I am at a loss for words how this could be creative, other than maybe to gather material for a family friendly project. I think I’m just going to leave it at that.

Coffee Shop

I’’m surprised this wasn’t number one. The first place outside my home I think about writing is Starbucks or some similar coffee shop. I have heard from many that think it’s more of a status thing to be seen writing at the local coffee house where other artists hang out. Many Hollywood writing groups meet in coffee shops to help each other with their projects and it can be immensely beneficial to be around others that are in a creative mindset. We call this a writer’s congregation. Coffee houses offer some advantages over some of our other out of the home spaces, such as free internet service, great coffee, tea, and juice, and free power. Yes we said it, free power. Hey someone has to pay to keep that laptop charged.

Home Office Our number one space is personally my and the staff ’s number one as well. Nothing beats home hands down. We all live differently but we set up our castles to suit our own needs best. It will always be the most creative place because it’s the one place we can count on to always be of comfort to us. Whether you’re the writer that is comfortable in a one bedroom, one couch, multiple pizza boxes domicile, or a five bedroom, marble counter top, home theater place to lay your head, it’s your haven. I personally like to write in my home office, seated in my comfy black chair. I also find it a great place to edit footage. Some of the magazine is written and edited in my home office. In the end no matter what our survey produced we all have our own unique places where we can go get creative. If you aren’t there now, get up and go to that place! Oh, and don’t forget to take our magazine with you!

The Creative Teacher INTERVIEW WITH NORMAN RAY FITTS

his teacher of written word welcomes any challenging idea any student can present and relishes in helping them bring it to life on paper. We stopped by this writer’s and teachers’ workshop to see just how he does his magic. ISM: How did you get your start in the industry? NRF: It was in 1990. I told a friend of mine that I could watch the same movie 100 times if I could do it with a different audience each time. He said no one could do that, but if I could show him the ticket stubs where I went to the movies and watched the same movie 100 times he would reimburse me for the tickets. It cost him $378 dollars. The film was “Quigley Down Under”. I was very familiar with the plot and decided to write a screenplay for a sequel. I did, and I think it’s a very good story. The format was off and it never went anywhere. The original film barely broke even. Only one copy of it still exists, and it is printed out on a dot matrix printer, but it got me started. ISM: Other than yours, what is your favorite book, script, or movie? NRF: Well this is a hard one. “Blade Runner” with Harrison Ford is one of my favorite films. I’ve read hundreds of scripts, but one I read while judging a screenplay competition last year was titled “Black Grail”. It’s a vampire story set in the jungles of Vietnam during the war. The author held true to the history of the war, but added a very interesting twist. One of my favorite authors is Michael Crichton. If I have to pick one of his books, I’ll go with “Jurassic Park”. The film would have been better if they had followed the book closer. ISM: Describe some of your successes in the industry? NRF: In my case, success comes in three areas. First, I’ve had five of my short scripts produced. I have a mini-series of short scripts in production, one short script in post and two others in development. I have one feature in production, and two in development. Independent production companies locally are doing all of these. I’ve also been hired to write several scripts both short and feature length. Second, I teach others to write. I hold a basic screenwriting class locally teaching the “do’s, don’ts” and “better not’s” of writing a spec script. Last, but not least, I’ve had a chance to work one-on-one with some of our younger up-and-coming writers reinforcing their dreams of success.

by GREGORY PARKER

Fact • Published over five novels. • Screenplay judge for Austin Film Festival.

PROFESSION • Writing Teacher/Coach • Author

PROFILE Name: Norman Ray Fitts Gender: Male Ethnicity: Caucasian Birth Place: Bessemer, Alabama

ISM: Where do you draw your inspiration?

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Benjamin (Short) - 2012

The Key (Novel) -2011 Awaken (Short) - 2011 The Sentinel (Novel) - 2010

“First comes the idea. An idea is like a seed.” NRF: Everywhere, I have a very active imagination. I have loglines popping up in my mind constantly just from what I see, hear or read. ISM: Tell us about your writing process from beginning to end? NRF: First comes the idea. An idea is like a seed, it doesn’t begin to grow until you plant it on paper. Next, comes the storyline. I take the time to develop a two or three page storyline for a feature, and maybe one page for a short working out the story from beginning to end. With the storyline you always know where the story is going next. Then, I create character histories for the main characters in the story. A character history doesn’t have to be very long. Its purpose is to bring the character to life for you. If anyone needs to understand the characters, you do. From this the script is born. Using the story line as a guide, I work my way through the story turning it into a screenplay that someone else will take and turn into their vision of my story. A piece of advice, don’t treat your work as though it’s etched in stone. Don’t think you have every good idea for the story. On a number of occasions, I’ve had production people come to me with a change to a scene that made better sense. ISM: What are the major differences, other than script length, when writing film versus shorts? NRF: Regardless of the length, the script has to be a complete story. I’ve created a complete story in a script as short as 6 pages. Most short scripts are going to be produced by independent production companies with very little money to invest, not always, but a lot of times. Keep that in mind as you develop it. For instance, a lot of information can be delivered to the audience with a “Series of Shots”. They pass time, provide training, or create situations without having to set up for dialogue or coverage shots that appear in a master scene. Most short scripts do not, or should not, have a cast of thousands. Most of the stories are concise without a lot of subplots getting away from

Guardian Angel (Short) - 2010 Un.Furtune.Net (Short) - 2009 Contact (Novel) - 2009

the central theme. Just remember, all three stages of the story still have to be there; the introduction, the issue or the purpose for the story, and the resolution. The shorter the story the quicker you have to give the audience a reason to watch it. When you are writing a feature, you can expand the story presence on the screen and that gives you the room to better develop the events around the characters as well as expand the cast. Keep in mind a film has to move from beginning to end with little room for static moments. ISM: How does your approach change when you are working with first time producers? NRF: That depends on whether or not I’ve given the script away. A lot of the short scripts are given away. That does two things; it gets your name up on a screen and provides marketing material for new production companies. I try to stay out of the way and let them produce unless I see the theme of the story being distorted. All of my scripts deliver a message. One thing a production company needs to remember is that it doesn’t matter how long a film is or what it cost, the only thing that matters is what it sounds like and looks like. It’s a statement of what they can do, so it needs to be the best they can do. I’m pretty well known in the Houston film community and I’m asked to come on location from time to time as a consultant for the things I’ve written. If the script is sold, or I write it for

AWARDSCONTACT Website:

hire, then regardless of their experience level, other than making myself available, I have little to say about what they do. ISM: What recommendations would you give aspiring writers? NRF: First, if you can’t take rejection, then go do something else. Second if you’re looking to do this for a living, invest in a professional screenwriting software package. It will generally handle the formatting for you. I write in Final Draft, but if money is an issue Celtx is available off their website for free. That will get you started. The one thing most new screenwriters do is overwrite the script. A screenplay is not a literary work; it’s a work of the visual arts and will never be read by the public. It is a blueprint that will be used by professional filmmakers to produce their vision of your story. One tip, in the action/description paragraphs, if the audience can’t see it or hear it, don’t write it. ISM: Do you feel it is important for writers to be active members of the WGA? cont. pg. 34

Email:

normanfitts@normanrayfitts.com

http://www.normanrayfitts.

com/

Calling Two 21 INTERVIEW WITH CHRIS SPISAK

oming up through the ranks of productions, learning your trade and honing your skill is the old way of doing things in Hollywood. That’s just the type of guy you want on your team when you are faced with a grueling task of creating a memorable film, short or commercial. We found that hard-nosed, blue collar, soldier you want in the trenches with you, and his name is Chris Spisak.. ISM: How did you get your start in the industry? CS: I studied Communication in college at the University of Houston, but the program there was much more TV-based. After I graduated, I worked as a freelance videographer and editor for a few production houses around Houston. This was the early 2000s when digital cameras and desktop editing software came down in price significantly, opening the door for newcomers like me to try my hand at filmmaking without breaking the bank. ISM: What are some of the obstacles you have faced in your career? CS: Right around the time I started making films, I experienced a significant upheaval in my personal life. My father passed away in 2003 (along with two other relatives) and just over a year later, my son was born. Needless to say, there were quite a few peripheral issues to be dealt with, so filmmaking had to take a back seat for a bit. Bouncing back from all that and settling in to life as a father was probably the most significant obstacle. ISM: Was it hard to transition from Cinematographer to Director? CS: I was much more a shooter than I was a cinematographer, in that my experience was primarily in things like composition more so than lighting and creating a specific visual look. While I still have very strong opinions on how my films should look and feel, I’ve long since left that to the talented cinematographers that I’ve had the good fortune of working with. ISM: Where do you draw your inspiration from, and what attracts you to a film project? CS: Story is king with me, which is why I tend to focus on directing films that deal with content that I have some sort of personal connection with. I’d love to get to a point in my career where talented writers trust me to direct their scripts, but for the time being I tend to stick to stories that arise in my own head. As far as story itself is concerned, I’m definitely drawn to what others

CAREERTIMELINE The Order of Things (Short) 2012

Seriously? (Short) - 2011 Connect (Short) - 2011 Write Your Way Out (Short) -2011

by GREGORY PARKER

Fact • CEO of Two 21 Entertainment. • Studied screenwriting under veteran Tom Vaughan. • Studied acting under Deke Anderson. • Studied directing under Randal Kleiser & Darin Scott

PROFESSION • Director • Writer

PROFILE Name: Chris Spisak Gender: Male Ethnicity: Caucasian Birth Place: Houston, Texas College: University of Houston

Itch (Short) - 2010 Ladyfingers (Short) - 2010 The Usual (Short) - 2010

“Story is king with me, which is why I tend to focus on directing.” might call “darker” material. Exploring that side of humanity that, for whatever reason, many people are afraid or unwilling to look at has just always piqued my interest. I’m a particularly big fan of the “anti-hero” characters of films in the 1970s: Pacino in “The Godfather” films, Nicholson in “Chinatown”, DeNiro in “Taxi Driver”. We all know people like that are out there in the real world, but film allows us the opportunity to get a close look at what they’re like while still keeping us at a safe distance. ISM: Congratulations on your film “The Order of Things” being one of only seven short films selected to screen as part of the 2012 Texas Filmmakers Showcase that premiered at the Directors Guild of America in Los Angeles in June 2012, how did that feel? CS: It’s always flattering to be recognized for your efforts once everything is said and done, but more than anything I was happy to have made a film that all of us that worked on it could be proud of. There’s plenty of rejection to go around in this business, so to have something like the Showcase to point to as sort of a validation that we’re heading in the right direction was very gratifying. ISM: With so many avenues for filmmakers to take (VOD, internet, film festivals, and theaters) where do you see independent filmmakers going in the near future? CS: There are so many do-it-yourself filmmakers out there now (given the affordability of the technology required to make a film) that I can’t help but think that the self-distribution model is due for a big jump. The significant increase in the number of films being made inevitably leads to at least a few more good films being made, and there were already far too many good films being ignored by the old model of film distribution. Savvy filmmakers and producers will continue to find better and more profitable ways to get their films in front of audiences. The more success those filmmakers achieve, the more likely others will be to follow their

Subterfuge (Short) - 2009 Jack Everyman (Feature) - 2006

lead. ISM: Describe your directing process? CS: Film is a visual medium, so the shot is always my main focus. That being said, there are a number of variables that will determine what each particular shot looks like: what type of shot best captures the emotion of the scene? Would moving the camera or the actors more effectively communicate things? How will this shot cut together with what we already have? It always comes back to story with me: shoot the film in a way that maximizes the dramatic effect of your story. As far as actors are concerned, I tend to be fairly hands-off (I think). I’m very picky about casting, so once you’re on my set, there’s a good chance that I’ve put enough trust in your abilities as an actor to deliver a solid performance. I prefer to talk to my actors in advance of the actual shoot so I can communicate my ideas about the character and then allow them to take those notes and run with them rather than constantly redirecting them on set. If you trust them enough to be in the film, you should trust them to build a character that works for the story you’re trying to tell. ISM: What recommendations would you give an aspiring Director? CS: Identify your weaknesses and then address them. Be disciplined and humble enough to find out what it is that you don’t do well, and then get someone on set that can help make up for your deficiencies in that area. Nobody is good at everything,

AWARDSCONTACT DGA Recognized for “The Order of Things”

so be willing to collaborate and allow those around you to help you achieve your vision. ISM: Do you feel it is important for directors to be active members of the DGA? CS: I’m not a member myself yet, so I can’t really comment on it either way. I will say that guilds like this clearly exist for a reason, so it’s a safe bet that there are benefits to be had. ISM: Can you tell our readers about your latest project(s)? CS: We’re currently raising funds for two projects: a short film called “Make It Rain” that we hope to shoot later this spring; and my debut feature film called “The Daughter Burns” that we hope to shoot later in the year. “Make It Rain” is much more of a feel-good film than my other projects, so I’m excited about the opportunity to branch out into another genre. We’re currently shopping “The Daughter Burns” to potential investors. It’s a sort of neo-noir film that calls to mind those 1970s films that I enjoy so much. Information on both of these projects can be found on our website at www.two21entertainment.com.

Website:

http://www.two21entertain-

ment.com/

Cont. from pg. 31 Teacher

Cont. from pg. 22 A DCP

NRF: Being a union writer has its advantages. A lot of union production companies won’t purchase from a non-union writer. They are allowed to purchase one, but if you want to continue to sell to union production companies, you have to join the guild. The fees you can ask for writing go up dramatically when you are a guild member, but bear in mind where you’re at and don’t price yourself out of the market. Keep in mind, there are a lot of independent production companies out there that will purchase your work without you being a guild member, and you set the terms of the sale yourself.

DK: We also learned that many film festivals are looking at shutting down with everything going digital. Many cinemas are going out of business and festival heads are losing their venues to show movies. Many festival heads are going to new theaters that have converted. They are finding with the new virtual print fees theaters have to pay, that rental fees for the festivals are going up. KG: Not many festivals are happy about paying $800 per feature to screen. DK: For us that is a concern because that is a threat to our customers since they rely heavy on film festivals. However, it does open up a chance for our upcoming player to reduce the cost for festivals to play the growing number of DCP submissions. It will give them the ability to display with the right lens and pro-sumer projector. The first release of the player will not have link encryption, so at this time they will not be able to play studio backed DCP, but our solution will allow indie festivals to save thousands in rental fees.

entity with resources to fund any opportunity. They have helped us underwrite new endeavors. DK: With the cost of tools coming down it has allowed us to switch from a mainly hardware company to a software company, and to market to a large number of customers.

ISM: According to your recent “Film Festival Benchmarking” survey, larger film festivals are accepting DCP showings at a faster rate than smaller. Why do you believe that is? KG: It basically boils down to equipment. Larger festivals have larger budgets and are using theaters that currently have digital players, or can afford larger rental fees where smaller festivals cannot.

ISM: What is the future of Quvis? Any new products or services on the horizon? KG: We have plans for a platform independent Wraptor that doesn’t require a third party tool such as Apple Compressor. That will follow the release of Wraptor 3.0. We are also exploring if there is a market for Link encryption and watermarking features in DCP Player 2.0 version.

ISM: You’ve mentioned a group you head up in Houston, can you tell us about that? NRF: The Houston Film Industry Meetup Group is a production meetup. It was started in 2006 with 25 members and has grown to over 2400 members. Every aspect of the film industry is represented. We are a huge resource for local film production companies. We can provide cast, crew and in a lot of cases equipment to any size project by bringing together the needed talent. We have a mixer the second Tuesday of every month and showcase two or three short films. Afterward, the producers will receive feedback from their peers. ISM: Can you tell our readers about your latest project? NRF: I have several projects going at the same time, but the one I’m more closely connected to at the moment is titled “Lacy Lewis: The Case of the Missing Bike”. It’s a pint sized Nancy Drew story. I’ve written three scripts so far averaging 27 pages. We are hoping to create a mini-series for our young star Laura Hester, she’s 11. She has limited film experience, but had a small part in another of mine. I was impressed with her and it’s one of those cases where I want to help a young actor follow her dream. ISM: Can you tell our readers about the services you offer? NRF: The services I’m paid to provide are coverage (a detailed analysis of the script), I script doctor (a line by line correcting of the script) , I consult, I author screenplays, I co-write screenplays, I write scripts off of novels, I write loglines and synopsis, and I teach. I’ve also written and published 5 science fiction novels, “The Submarine Effect”, “The Encounter”, “Contact”, The Sentinel” and “The Key”.

ISM: With the investment from Seacoast Capital, how were you able to build a better Quvis? KG: Seacoast is a very capable funding

ISM: Any future upgrades that will allow Wraptor 2.0 or the DCP service to create 4K or stereo 3D DCP packages? KG: Yes. Wraptor 3, which is entering beta now, supports 4K and 3D stereo. It also supports encryption and key management, and higher frame rates up to 120fps. It’s very fast and uses multi-core processors much better, and reduces the packaging time down to two hours on a single machine. DK: Newer versions will allow filmmakers to focus on the art and not being bogged down by the technology. KG: Faster means you can also finesse the final product more, which is always good for filmmakers.

Movies & TV production in France The IncenTIves GuIde 2012

booklet e g a u g n English la d e t a d p u early ce.net y n a is r f nd TV. h t a lm e a fi g . r m w a e h w c n w i free of m to c ebsite: Download om Film Franceâ&#x20AC;&#x2122;s w ch support syste fr e Fren h t t u o b a o know t d e e n All you

Content includes information about the Tax Rebate for International Production (eligible production companies and expenses, application process, the cultural tests), how to co-produce feature films (qualifying to the French system, available funding for French-qualified co-productions), TV-dramas, series and TV-documentaries, as well as about other grants for film & TV (World Cinema Support and local subsidies). 36