Indie Source Magazine May 2014 by Indie Source Magazine

Indie Source Magazine

www.theindiesource.com

Content No.03 | November 2013

ism. Executive Editor Christopher Parker Managing Editor Denise Smith Copy Editor Andrea Pedersen

TP9 Feature with KC Rapper. (Audio Single) 21.

Art Director Tasha Myke Photography Earl Kincade Art & LayOut Thomas Walker Copy Writer Jerome Crowell S.I. Hall VP of Business Development Gregory Parker

Entertainment Law Article by Richard O. Jones 14.

Office 8581 Santa Monica Blvd. Suite 261 West Hollywood, CA 90069 United States Phone 323-400-6622 Fax 323-400-6655 E-mail. info@indiesourcemag.com web. www.indiesourcemag.com

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06.

10.

Ronald Judkins

Rising Star

Interview with director of Finding Neighbors.

Interview with actress Dylan Gelula.

The Haves We introduce you to the queen of The Haves and the Have Nots and why her passion for life is unmatched.

18.

23.

28.

37.

Leader of the Revolt

Their Vinyl Weighs A Ton

El Dinamo

Interview with Revolt TV Ceo Keith Clinkscales.

Interview with the filmmakers behind the hit documentary Rob Bralver & Jeff Broadway.

Interview with actress Fernanda Romero.

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Interview Director

Indie Source Magazine

Ronald Judkins Director

@ Neighbors_Movie

Good Neighbor FACT: Has won two Oscars and has been nominated five times. Has worked on thirteen Steven Spielberg directed films.

Gregory Parker

his two time Oscar winner is one of the mostly pleasant people you will ever meet. Humble and hardworking, he believes in letting his creations do all the talking. SMU graduate, who has made good in Hollywood, he’s not only a good worker and a good neighbor; he is also one hell of a director.

Over Manhattan” but they ran out of money two months into it. I figured it was an opportunity so I moved to L.A. I didn’t know anyone. I used L.A. 411 guide to the industry and I would make dozens of cold calls every day. Took about three years before I was getting steady work to where I felt like I could pay the bills.

ISM: How did you get your start in the business? RJ: I went to school in SMU in Dallas and graduated from the film department there. I was interested in editing and sound, of course wanted to write and direct also. When I graduated the local PBS station had a sound job opening and I went over there and applied and got the job. I worked for there for about two years and there were some great filmmakers that worked there. One of my peers from school made a motocross documentary and he hired me to edit it. I quit my job and went to New Orleans called “Ape

ISM: What is it about production sound that you love? RJ: I like being on the set in any compacity. To me that is where the film gets made. I love that interaction between the cast and the director. ISM: Can you tells us about your first experience working with Steven Spielberg? RJ: I worked my way to working on better films and got into the union here. At the time it was harder to get into the union but I made it. I was working on Warner Brother’s movie called “Dad” with Jake Lemmon and Ted Danson. Didn’t know it but Steven’s www.theindiesource.com

company Amblen was co-producers so he came to the set one day. He came over to me and introduced himself as if I didn’t know who he was [laughs]. He said he was going to be doing a movie called “Hook” in a few months and asked if I would be involved. Of course I was honored but it was a very hard to work

on. Now I’ve done thirteen of his movies since. ISM: You have worked on some of the largest studio movies, how keep your love for indie films intact? RJ: A better question is how do I keep my love for big studio films intact? For me if I go to the movies or redbox or Netflix it’s going to be an independent film or something that’s not the main stream. I don’t really enjoy tent poles to watch but I love working on them. I love drama and things like Lincoln and Schindler’s List are dramas they are just huge and it’s fun to work on them. I’m most proud of my work on Schindler’s List out of everything I’ve worked on. It’s been good for me because I can work once a year or eighteen months and make a good living and it allows me to pursue indie. ISM: You are transitioning into a Director and Producer. Why do you think Hollywood places its below

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the line workers in a box that is hard to transition from? RJ: That is a good question. I don’t think it’s just Hollywood but once you get known for a certain thing it becomes everyone’s first impression. Especially if you are proficient at it. When I do sound I use a different part of my brain as when I’m directing. I think it’s just the mindset that you have to overcome. ISM: Has some of Steven’s directing style rubbed off on you, and if so how? RJ: I would never say put us in the same category but being on set for as many years as I have I know how the set operates. I’ve seen him take control of a set and just tell everyone to stop and I’ve seen myself do that a few times. He is a master of how he visually set up his shots and I’ve picked up something’s like that. He is a master! Every director is different however. ISM: Which type of films are you most interested in directing? RJ: I’m more interested in life stories and the films they tell you not to make because they are hard to sell. Stories about characters that are up against something and have to grow or reach outside of themselves to grapple with life and make peace with it. I’m working on something more political and controversial. What makes any story interesting are the people involved in the story. ISM: You are a two time Oscar winner, what do these and the other awards you have won, mean to you? RJ: I never started off wanting to win any awards, I

just wanted to do good work. The awards are validation of all my hard work. I love that my family are so excited when I win, made my mom so happy when I won for Jurassic Park.

like producing. I didn’t feel a lot of love as a full on producer but I’m ok with like associate producing. It’s a banner my partner Mark and I use for our passion projects.

ISM: You wrote and directed “Finding Neighbors”, What was the inspiration for this film? RJ: It sort of parrells my story. I’ve had success in my sound career but not as much in my directing/writing career. First movie went to Sundance in 1999 and I thought it would mean more studio backed projects. Went down that path, got an agent, packaging and taking meetings. Then three years went by. About three years ago I got to the point if I’m going to make another movie I just have to do it myself. We are going to shot it over at that house and it’s about this neighborhood and neighbors. When I got ready to write what that was, it was about a guy in the mid-fifties that had some success as a graphic novelist who hadn’t done anything in a while. How does he break through and reacquaint with his passion. When I started to show that script to a lot of people I know, many people knew who this character was. I knew I hit pay dirt and knew I had something.

ISM: What advice would you give aspiring directors? RJ: Depends on where you are in terms of geographically and how connected you are. The bar to entry is so low now that anyone can make a movie for twenty thousand, etc. Find a script that has a compelling story that you can make with the things you have. There is so much talent here that will work for free or

ISM: Can you give us insight on your film “24 Peaces”? RJ: It’s a three part project, a web site, traveling art expedition and a documentary. At the core it’s twenty-four conversations with twentry-four different peace makers around the world with different ideas of what peace is. The idea is that your peace might not be your idea of peace and engage in conversation about that and how to get there for each of us. I was brought on to do the interviews and create the documentary film. I have been working on it for about three years. We still have about seven more interviews to do and we are funding it out of our own pockets. ISM: What is your goal for Antic Pictures? RJ: Antic was conceived to make low budget real movies. We never got the money for the film fund we wanted but I learned during the process that I don’t

almost free that are good. You won’t make any money off of it but It will become your calling card and will give you your leg up. I wouldn’t make a short, they aren’t as valid or important as a feature. People want to see if you can make a feature, if you can work within the ninety minute format. ISM: What are your thoughts on crowdfunding? RJ: Crowdfunding is great! Two thoughts here for me. One, if you run your campaign well you are going to make your money. Two, It becomes a proof of concept and it will let you know if the idea works. When it works it helps you identify who your core audience and you learn why they do and why they don’t. You have to provide value to the people who are giving you their hard earned money and slowly engage and developer your audience. www.theindiesource.com

Interview Actress

Dylan Gelula

Rising Star T

@DylanGelula

Christopher Parker

his young lady is a princess, but not the Disney kind. The self-proclaimed silly girl is a rising star that is in full control of her life and her career. This east coast girl loves her roots and easily professes her mother is her bestie. Starring in two recently released TV series, look for this star to continue to rise.

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the public eye? DG: I’m not really in the public eye yet. I have all this stuff coming up so nothing has come out yet. I still have like 80 friends on Twitter and they are all from my middle school. Hanging out and working in Hollywood is very weird. ISM: You have appeared on Law & Order SVU and NCIS, tell us about your experience on such heavy weight shows? DG: It has been really fun. Law & Order was the first thing I ever did. My mom and I drove up to New York and it was cool being the person giving them the evidence [laughs]. ISM: Do you see yourself doing more film roles in the future? DG: Yes, totally. I would love to, and if anyone has a film they want me to be in let me know. It would be killer since I have never sunk my teeth in a movie role. ISM: You have a starring role in TV Land’s “Jennifer Falls”, what does this opportunity mean to you? DG: It means I was able to sit next to Jessica Walter and no one called security. The cast is unbelievable and I’m there. It’s like the most elaborate prank anyone has ever pulled on me.

ISM: Where are you from? DG: I am from outside of Philly, an east coast girl. ISM: What lead you to acting? DG: I don’t really know, I just know from the time I was in kindergarten I wanted to be the lead in the play. [laughs] ISM: Can you tell us about your first audition in Hollywood? DG: Oooooh, ummm, it was a Disney Channel show, and I was like twelve with big boobs and 5’6, so it didn’t really work out. [laughs]

ISM: Are you anything like your character Gretchen? DG: Definitely! When I was 15 or 16 years old, I was just as much of a precocious asshole as I am now. She has a very smart friendship with her mom and it’s just like the relationship I have with my real mom. ISM: What other projects do you have coming up? DG: The same week as “Jennifer Falls”, I have a show dropping called “Chasing Life” so that is really bizarre. ISM: Do you see yourself writing or creating yourself? DG: I really-really see myself writing movies. I love to write, so that would be unbelievable

ISM: You are quickly becoming a television star, how is life different now that you are in www.theindiesource.com

R3hab - Unstoppable – Feat. Eva Simons (from Pepsi Beats of the Beautiful Game LP) @idriselba

Director

Idris Elba

Writers

Idris Elba

Executive Producers

Frank Cooper | Nicholas Yearwood | Ben Schneider

Cast

Simona Zivkovska | Zach Hamilton | Christina Ulfsparre | Taser Hassan

Associate Producers

Oronde Garrett | Marc Byers

BEATS OF THE BEAUTIFUL GAME FILM PRODUCER

Jodi Lederman

Production Companies

Green Door Pictures

Distributor(s)

YouTube

Release Date

May 20 2014

Language

English

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Short Film (Digital Versions Only)

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Column Law

Richard O. Jones Author & Producer callingrichardojones@gmail.com (951) 210-9767

Greeting the Challenge of Entertainment

law

Based on history, many underrepresented entertainers have experienced contract remorese.

he legal eagles of Entertainment Law in California are usually located in and around Los Angeles, North Hollywood, and Beverly Hills. This is not a great revelation because the lion’s share of performers and artists reside near the major movie studios. However, Jennifer C. Jones, attorney at law, launched her practice in Rancho Cucamonga, a city approximately 65 miles east of downtown Los Angeles. “Performers living outside the view of the Hollywood sign were underrepresented,” said Jones. “This regional area where my practice is located is called the Inland Empire. The living is more affordable, but entertainers residing in the Inland Empire are hard-pressed to drive quite a distance for a lawyer.” When asked who or what was her inspiration to become a lawyer, Jones stated that it was “The Cosby Show.” “I was about 10 years old when I became fascinated by Clair Huxtable. She was the first black female attorney I saw on television. My sec-

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ond inspiration came about 10 years later, I was in college at Berkeley, and there was Maxine Shaw played by Erika Anderson on the show “Living Single,” starring Queen Latifah. But what clinched the deal for me was the fact that Law Professor Condoleezza Rice, who later became U.S. Secretary of State, gave our commencement speech. However, after college and long before law school, I became an elementary school teacher.” Jones stated that besides law, she had a longtime passion for teaching. She taught for three years before enrolling in law school. After passing the bar, on her first try, she began working as an attorney handling family law cases for other lawyers, while seeking employment as an attorney for the Los Angeles School District. However, after months of futility, she heard there were more opportunities to work for the board of education for black lawyers in Atlanta. Ultimately she moved to Georgia. Shortly thereafter, after passing the Georgia Bar on the first try, she quickly became

employed by a law firm that handled the largest school district in the state. After four years away, she became homesick and returned to Southern California. For the next three years Jones worked primarily as a worker compensation attorney until she opened her first private practice in April 2014. As the interview was coming to an end, I asked Jones, “What are some the major mistakes of aspiring artists?” “And, what can they do to protect themselves?” Attorney Jones: 1. They must shop for a credible agent. Someone who has faith in their talent and is willing to represent them without requiring an upfront fee. 2. Always be aware of the jurisdiction that will govern their contracts. For example: If the artist lives in California, but the contract is written in Texas or under the jurisdiction of Texas Law, then unless otherwise negotiated, the artist would have to travel to and from Texas courts to settle disputes. Therefore jurisdiction should be suited to the artist. 3. And finally, the artist should consider the ‘Sunset Clause’ when negotiating any performer/artist contract. The ‘Sunset Clause’ sets the duration which the agent would be paid beyond the performance

date. Based on history, many underrepresented entertainers have experienced contract remorse. Attorney Jones encourages each fledging artist to proceed with faith, confidence and caution. In her words, “When good artists are deprived of a good livelihood and substantial residual income, not only do they suffer but the public is deprived as well. To paraphrase Dr. Martin L. King, ‘…injustice anywhere is injustice everywhere’.”

About Richard O. Jones Richard O. Jones is the author of “My Fifth Ex-Wife,” and “Poetry for Laughing Out Loud.” He has also has written and produced three plays, and currently he is developing an animated series for TV.

For more information please contact: Attorney Jennifer C. Jones Telephone: (909) 912-1885 Email: jennifer@JonesLegalTeam.com Website: www.JonesLegalTeam.com Disclaimer: The information provided by Attorney Jennifer C. Jones during this interview is intended for informational purposes only. It is not intended as legal advice, or intended to establish an attorney/client relationship, and should not be construed as such.

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Wide open spaces for big ideas and small budgets.

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Interview Actress

Indie Source Magazine

Renee Lawless Actor

@MsReneeLawless

The Haves FACT: Renee is a seasoned theater actor.

ne of the most energetic people you will ever meet, Renee Lawless has an infectious personality and a bright outlook. A trained theater actor, she revels in the nightly shows that would scare most actors to death. We had a great time learning about what makes this lovely lady tick.

Christopher Parker

ISM: At what age did you realize you wanted to be an actor? RL: I’m going answer that in two ways. When I was a young girl, like kindergarten age, I was always doing little plays at home or involved in skits at school. Back in my day we didn’t have cable, only like three stations on TV, so Saturdays were filled with imagination. I always liked acting, but in my day I thought it was special people that went to Hollywood and made movies. I didn’t think they were real; people grew up somewhere and wanted to be an actor. It wasn’t until I got older, around thirteen, I thought I was going

to be a singer, but I was still active in plays all the way through college. So, I would say at thirteen I got the bug, but I think I knew for sure as a career when I went to college. ISM: You are a seasoned theater actor, what do you love about performing live? RL: Immediate gratification, PERIOD! [Laughs] If it’s a comedy you get a real laugh, not a track. You can feel the energy from the audience. At the end you get an applause and there is nothing, movie or television, that equals that feeling. Even when you don’t feel right one night, you get to do it over the next night. You almost have to be more on your feet because the lines are the same, but each night there are many variables with live performing. ISM: When did you first hear about the “The Haves and the Have Nots” project? RL: In my field there are various websites where you www.theindiesource.com

get information about projects. I was touring with the Broadway national tour of “Wicked” and I was ready to give my notice after five years. I was just ready to go back to New York and start all over again. I knew I needed to find other work before I gave the notice. One day, about one in the morning, I clicked on one of the email alerts about a character “Katheryn Cryer”. I sat straight up in bed and said, “That’s me! I can be her. I know this one, and I can do this project.” I clicked to see the rest of the email and it was Tyler Perry. I was like “O’ Hell No, I’m never going to get this part. They’re not even going to call me for an audition”, but I was like what the heck, didn’t even tell my manager, I just sent them my reel. Found out later Mr. Perry really-really respects theater actors. I forgot about it as two weeks passed then I got a notice to send in an audition tape. Two months goes by and they called me to fly me to L.A. for a callback and I realized by the end of the call I pretty much had the part. ISM: Did you audition directly for Mr. Perry? RL: Yes, I did during the callback. It was a panel of all the producers and Mr. Perry. No introductions, you just walk in and it’s like go. To walk in a room with someone you have a great deal of admiration for, it kind of throws you off and I had to get over that and focus. (Tell yourself a little story in your head and focus on doing a good job.) He was great, very much directorial with me. ISM: How do you personally relate to your character Katheryn Cryer? RL: Katheryn and I are about the same age, which is rare. I usually play characters older or younger, not my real age. Women of a certain age, regardless of how much money you have, we all have the same hang ups of growing older. We all have the same problems with body image, family, etc. I relate to the emotional scenes with her and even the loneliness that the character experiences, as I do when traveling so much. A part of me enjoys playing the power woman part of Katheryn and I think that is the business woman in me. On the opposite side, I am a Christian and believe in God, where Katheryn really isn’t. ISM: How would you like to see the character grow in the coming season(s)? RL: Katheryn isn’t used to turning over control to anyone, especially her husband. So, I look forward to when she can do that. There is a sense of being off kilter which is very out of character for her. So, A, I look forward to her being more on track, and B, to her

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growing in her humanity, becoming more of a mother than she has ever been. ISM: Can you tell us about “Renee’s Way or the Highway”? RL: That has been put on hold briefly. Basically, it’s a video blog about smart things involving traveling and what to do while on the road. It’s also turning into a way of venting about certain things dealing with society. So we put it on hold to rework it a bit and we’re broadening it more. ISM: What advice would you give aspiring female actors? RL: Don’t let anyone ever tell you it’s a man’s world, even if it seems that way. Just because a man is making the decision doesn’t mean it diminishes your credibility or gifts or talents. If you can’t take rejection then you are in the wrong field. You will hear “No” more than you will hear “Yes”. No means not today; it does not mean never. There is going to be that one day when you hear the yes after days of no’s. ISM: Do you have any aspirations of writing and/or directing? RL: Writing? No, because I’m not a good writer, but I think I have brilliant ideas. I can come up with great concepts then turn them over to the writer. I do hope to produce one day, and I’m not opposed to directing one day.

TP9 @TheRealTp9

Click To Play Single (Digital Versions Only)

Teiona Rashe Denicia Gunn "TeionaPower9" now know as TP9 was born and raised in Kansas City ,MO October 24,1996 now resides in Atlanta, Georgia. She was discovered by Super Producer Montel Jones of "Jamtel and Jungle Slide". From there the magic began. Teiona was only 9 years old and her strong delivery ,positivity, and confident attitude exploded on stage at every performance. At 9 yrs old, following the footsteps of her older brother, she quickly caught on and started writing her own music , and going to the studio recording her own songs. Tp9 can not only rap and sing . She also dance, and choreograph her own stage shows at times alongside assistance of her older sister.TP9 has recorded many songs,and by age 12 she featured and made Ebony Eyez Album and,also worked with Rap Artist Jibbs and he featured on a song called "The Flop Dance". Tp9 caught the eye of a legendary Super R&B singer by the name of Ginuwine, and was once managed by him. She has performed on stages in North, South, East, and West Regions of the United States capturing fans from all over. Now at the age of 17 , she is ready to take the world by storm with her high energy performances , as well as releasing hit songs that will last a lifetime. She is currently managed by Syrius Ent/Blockz Music Group. In addition the Rapper, Singer, Songwriter, and Dancer TP9 is exclusive featured artist on the Fall 2013 " On The Grind" Edition front cover of the 2013 Award Winning Best Online and Print Independent Magazine "Blockz Magazine" (www.blockzmagazine.com). Stay Tuned. "The Greatest Show On Earth. TP9 is coming To An Area Near You. www.theindiesource.com

Interview

CEO of Revolt TV

Indie Source Magazine

Keith Clinkscales CEO

@KTClinkscales | @RevoltTV

Leader of the Revolt FACT: One of the creators of ESPN’s 30 for 30 series. Helped to launch VIBE magazine with Quincy Jones.

he revolt will be televised and it’s up to one man to keep you watching. One of the first men to bring us Hip-Hop culture in print; Keith has lived music all of his life. Son of a Harlem Globetrotter and one of the architects of ESPN’s 30 for 30, this brilliant mind leads Revolt TV into the hearts of all music lovers around the world on all platforms. ISM: How did you get your start in the entertainment industry? KC: I launched my first publication way back in the day called Urban Profile. At that publication I ran into the likes of writers such as Kevin Powell and Joan Morgan. I did that for almost four years. That was a progenitor to finding my way to Vibe.

Jerome Crowell

ISM: How did you come about working for ESPN and ESPN Films? KC: While I was at Vibe, I met a gentleman that worked for

Rolling Stone and Spin. His name was John Skipper. He left those companies and went on to run Disney Publishing then eventually went over to ESPN. He was a contact I had made in my Vibe days. He went on to be one of the founders for ESPN the Magazine. We met up again, and that is how I got the connection. ISM: Tells us about your love for sports? KC: My father, who recently passed away, was a former Harlem Globe Trotter. So I grew up in a house that dealt quite a bit with sports. As a fan, I always enjoyed everything sports related, from football to basketball to the Olympics. Getting to work at ESPN was really a dream. Working on all the things I was exposed to, including film. Film came a couple years into my tenure at ESPN when I took over a content development group. We had done a couple films, most notably “Black Magic”, which was a Peabody Award winning, www.theindiesource.com

four part series about black college players back in the day. Guys like Earl Monroe. I then did a film with Spike Lee called “Kobe Doing Work”. On or about the thirty year anniversary of ESPN, it was decided we put together a series that is now famously known as “30 for 30”.

so early showed what Revolt was about. Identifying new voices and identifying things you need to hear and make it go. That is the direction we are going. ISM: What quality of program-

about this completely. ISM: Does Revolt TV have plans for original scripted programming, and if so will these shows center on music? KC: We do have plans for original

ISM: When you were first approached about working for Revolt TV, how did you take to the idea? KC: I’ve known Sean, Mr. Combs, Puff Daddy, since the early nineties. One of the first articles ever done on him was done in Vibe magazine in 1993 in our launch issue. So, I’ve always had a relationship with him, and the idea of him going to work with Comcast was something that was exciting to me. He had always expressed he wanted to work with me and I him, so it was something that worked out for us. ISM: MTV started as a place for music on TV, but no longer resembles its roots, how is Revolt TV different? KC: In the age we live in, with technology, the immediacy of news and information and even the immediacy of music videos with Vevo and YouTube, you can’t just go ahead and do what’s been done before. If you are going to be in music you have to find a way to advance the ball and show people things they need to hear and make sure they understand why. There is so much music out there now-a-days, and so many different ways to consume it. If you look at the launch of Revolt, the third video that was played was by a group called “Audio Push”, produced by Hit-Boy. The song is called “Shine”. They are a very cool group you know, and to have them out there

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ming does Revolt TV currently strives to provide its customers? KC: We strive to provide in-depth, incisive, high level analysis about what’s happening in music. We want to make sure we are serving music fans especially well. We have news breaks, we specialize in immediacy, and we work across platforms. We don’t just think about what we do on television; we think about what we do on Instagram, on Twitter, on YouTube and on down the line to our website. We want to make sure we think

programming, whether it’s scripted or not, we will come back and talk about that in time. I think that is an ambition as we get larger in terms of our distribution, but most assuredly they will focus on music or have a very strong music foundation. ISM: Is Revolt TV all about hiphop or is there a commitment to other genres? KC: No, we have a commitment to other genres. We were able to attract Andy Harms over here and

we have Amrit Singh, who is the editor of Stereogum. We have a healthy and developing push on DVM. We cover alternative well, and if it hits the young people correctly we will cover country. Hip-hop has an urgency to it and demands to be covered, but we will cover R&B and everything else as well. We aren’t in this to cover one genre. That would be like ESPN just covering basketball instead of all sports.

sometimes you aren’t given a chance and making a chance when you don’t have one. It’s kind of a matter of business principal for us. The greatest artist you have in the game, they all started somewhere. They all started somewhere, they all started on the grind. You want to make sure you respect that grind because that is where you find the greatness.

ISM: Do you believe music videos are a fundamental way of selling albums and singles? KC: I believe music videos are a fundamental way to create awareness to all the ways to consume an artist. I don’t know if the game anymore is selling singles or albums. Part of the game is making sure people are coming to concerts, part of the game is making sure when your name comes up on a streaming service that you are selected. Part of the game is ensuring when advertising and marketing campaigns come up that you are considered. All those things are now much stronger in the game and music videos help with that. ISM: Your core audience are Millennials, they are also very fickle. How do you keep this fast moving and ever-changing segment of the population glued to your brand? KC: First of all, we have a number of young people that work for us and work with us. They are very vocal and they say what they like and don’t like. We listen to them, and you have to have some humility and not just assume you know. It’s not that they are fickle; they just have a greater choice as opposed to what we had back in the day. They have the ability now, if they like something, they can take it with them; they can Shazam something and purchase from anywhere. The main thing, they are powered through technology and they deserve a tremendous amount of respect. ISM: How will Revolt TV help foster the next generation of music stars? KC: By making sure they have the opportunity to access our entire ecosystem. To find a way to create more bridges, as bridges create opportunities. ISM: How committed is the Revolt TV staff in working with emerging companies with fresh content and ideas? KC: The only thing you have is to try to make sure you find new, fresh and innovating ideas. You can’t rule out someone because they are new and not give them an opportunity. So we, the entire staff, are very committed. Mr. Combs is from a place that where www.theindiesource.com

Column

Film/Industry

Jason Brubaker Producer & Author www.filmmakingstuff.com @JasonBrubakerLA

Make Your Own Online Movie

Marketing Machine Most sales agents and traditional distributors are working to grab your rights so they can manage your digital distribution.

hen I first got into filmmaking there was no talk of online movie marketing. After making a movie, every filmmaker I knew focused on one thing - Landing a film distribution deal and then moving on to the next project. “We are going to sell our movie, and use that money to make our next movie.” Back then many filmmakers also learned a hard lesson. Just because you made a decent indie, doesn’t mean that a distribution deal was guaranteed. If you failed to land a distribution deal… You failed. Fast forward to today. We have so many options for

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getting movies to market, that the mere idea of landing a traditional distribution deal has fundamentally changed.

“My distributor is going to put my movie on iTunes and said he may be able to get me special placement.”

What does it even mean to have your movie “picked up?”

That’s great. But what else?

Unless your distributor has access to foreign territories, the odds of getting a minimal guarantee are limited. And even if you do garner an MG, the amount will be less than you anticipated. Add the fact digital platforms are easily accessible, and you may find that instead of an upfront cash advance, many film distributors will simply grab the rights for your movie and throw it into the platforms to see what sticks.

What is the plan for online marketing after the special placement ends? “Ummmm… I think we will put the movie on Amazon?” Here’s the thing. Getting your movie into popular marketplaces it not the problem! The real challenge is letting people know that your movie is available and getting them to buy now.

This means you need an online movie marketing strategy.

Online Movie Marketing Is Essential You need to start thinking about your online movie marketing strategy today. The reason for this is simple. The world is changing. Audience 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. In fact, if you think in terms of viewing habits, you’ll realize the following: 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 your rights so they can manage your digital distribution. It is also now possible to carve out and keep your digital distribution rights, enter the marketplace yourself – And get your movies seen and selling without signing a crazy distribution deal!

search results. 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. Think about it, there are millions of other movies competing for the same eyeballs. Your online movie marketing plan needs to focus on driving targeted visitors to your point of sale. 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 search terms, what are you doing to make sure that your movie comes up in the search results? One aspect of online movie marking is making sure you optimize your website for

This 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…) In online movie marketing, we call this a conversion funnel. And optimizing your funnel to maximize sales needs to be the primary objective of your movie website.

Sell Your Movie System If you’re interested, I put together a system specifically designed to put you in charge of your own distribution, so you can get your movie seen and selling around the world. The system is based on my years working in video on demand distribution. And it will provide you with real online movie marketing tips from the trenches. If that sort of resource would help you, go here: http://www.howtosellyourmovie.com/

About Jason Brubaker Jason Brubaker is a Hollywood based Independent Motion Picture Producer and an expert in internet movie distribution. He is focused on helping YOU make, market and sell movies more easily by growing your fan base, building buzz and creating community around your title. Jason is a contributing author of The Independent’s Guide to Film Distributors, he is the founder of Filmmaking Stuff, a professional resource for independent filmmakers, and his articles on independent movie marketing and distribution have been featured in Film Slate, The Independent, Movie Maker Magazine and Indie Source Magazine.

www.theindiesource.com

Interview

Writers, Director, Producers

Rob Bralver & Jeff Broadway

Masters of Spin

@gatlingpictures

Denise Smith

hese two filmmakers have mastered the art of the music documentary and have the ability to pull together big talent while keeping their pulse on what is real indie. Very open about their filmmaking process and the tools they use, Mr. Bralver and Mr. Broadway are destined to be the next great filmmaker duo.

Indie Source Magazine

ing done a music documentary that was successful prior to that, I handed it to him and he dug it. He took the leap of faith with me. ISM: How long did it take for this project to come to fruition? JB: Two years in total. ISM: You compiled an impressive array of artist interviews. How did you arrange all of these sit downs? JB: I went through Wolf and some of his pre-existing relationships for artists on the label. Some of the external, from Stone’s Throw celebrities like “Common”, “Kanye” and “Quest Love”, those I sought out myself through more personal avenues. ISM: What does this documentary personally mean to you? JB: It meant another notch in my belt as far as getting to where I want to be as a filmmaker. I am a personal champion of the story itself, and I think it really encapsulates the independent scene that I’ve always admired. I cherish the experience and it’s amazing to see two years later how well received it is from all the fans around the world. RB: I came to learn about the whole amazing bizarre family of people I didn’t know existed, and it was a very cool learning process. The whole discovery was awesome.

ISM: How did you first hear about Peanut Butter Wolf? JB: I grew up listening to hip-hop and seeking out things not as mainstream. I came across “Madvillain” and “Quasimoto” and that made me look at the stable from which those artists came. That traced back to Stone’s Throw and Wolf is the founder. That was about ten years ago. RB: From Jeff! [Laughs] I had heard of some of the artists like Aloe Blacc, but Jeff was the gateway drug. ISM: How did you convince him to put his journey on film? JB: There was a pre-existing interest there, so it didn’t take much. He wanted to see a documentary produced about the label. Hav-

ISM: What is the goal of Gatling Pictures? RB: To keep making good stuff. JB: To make films that provide a different voice and represent culture that Rob and I appreciate; to pursue subjects and stories whom we personally have a great appreciation and passion for. ISM: Can you tell us about your next project “For All Eyes Always”, and your role on the project? RB: It is our first scripted film after doing docs. I wrote it and I’m directing it. ISM: A majority of your careers you have created documentaries, is there a special love for this form of narrative opposed to fiction? cont. pg. 35 www.theindiesource.com

Indie Source Magazine

20,000 + US MEMBERS NETWORK AND FIND JOBS APPLY FOR PAID WORK UPLOAD SHOWREELS AND PHOTOS POST JOBS FOR FREE!

FROM RUNNERS TO DIRECTORS, WE’VE GOT THE JOB FOR YOU! www.theindiesource.com

Coldwater Director

Vincent Grashaw

Writers

Vincent Grashaw | Mark Penney

Producers

Kris Dorrance | Dave Gare | Vincent Grashaw

Cast

Composers

Chris Chatham | Mark Miserocchi

Cinematographer

Jayson Crothers

Editor

Eddie Mikasa

Casting Director

Lesley Wolff

Production Designer

Geoff Flint

Production Companies

Flying Pig Productions | Skipping Stone Entertainment | Gare Farrand Entertainment

Sales Rep.

Continental Media

Distributor(s)

Breaking Glass Pictures | Bounty Films | MFA Filmdistribution | Mania22 | KMBO

Release Date

Mar 10 2013

Language

English

@COLDWATER2013 32

Indie Source Magazine

A teenage boy is sent to a juvenile reform facility in the wilderness. As we learn about the tragic events that sent him there, his struggle becomes one for survival with the inmates, counselors, and the retired war colonel in charge.

Trailer (Digital Versions Only)

www.theindiesource.com

Reviewers Corner Finding Neighbors

Rating:

Director: Ronald Judkins. Writer: Ronald Judkins. Producers: Judy Korin and Jennifer Day Young. Cast: Michael O’Keefe, Catherine Dent, Blake Bashoff, Julie Mond and Sean Patrick Thomas. Review: A wonderful story about a middle-aged man (Michael O’Keefe), who has lost his way after becoming a celebrated graphic novelist in his twenties. He is searching for the mojo he once had, but in the process alienating his main support, his wife Mary (Catherine Dent). He finds inspiration and a new meaning of love when striking up an unlikely friendship with a gay neighbor (Blake Bashoff) that is in a similar life pause himself. Julie Mond plays a wonderful yet lost soul, and Sean Patrick Thomas plays the love interest to Blake’s character. These wacky neighbors have ups and downs, and by the end will bond over their differences and find happiness at home and within each other. Writer/Director Ronald Judkins does a masterful job of managing the ups and downs of each character. His direction is artistic and authentic.

Our Vinyl Weighs a Ton

Rating:

Director: Jeff Broadway. Writer: Rob Gordon Bralver and Jeff Broadway. Producers: Jeff Broadway. Cast: Peanut Butter Wolf, Common, Mike D, Talib Kweli, Madlib, Kanye West and Flying Lotus. Review: Before we saw this movie most of our staff had never heard of Peanut Butter Wolf and all that he has done for independent music. He is the world of indie music. This story takes you on a journey through his teenage years and the death of his rapping partner (truly sad) to present day, and how he reinvented Stones Throw label along the way. No one has ever signed such a diverse group of artists. He has allowed these artists to be who they truly are and look at the purity of their work not just a bottom line. This is a must watch for any music lover, whether you love only the mainstream or you dive into the lesser known. @StonesThrowDoc | @stonesthrow

Coldwater

Rating:

Director: Vincent Grashaw. Writer: Vincent Grashaw and Mark Penney. Producers: Kris Dorrance, Dave Gare and Vincent Grashaw. Cast: P.J. Boudousqué, James C. Burns, Chris Petrovski, Octavius J. Johnson and Nicholas Bateman. Review: This troubling tale of a teenager sent to a reform camp that is run by a brutal staff and commander is gripping with surprisingly multi-layered characters. This is not a typical teenage movie of sex and parties; this is a story of survival and what happens when a group of young minds are pushed too far. P.J. and Chris play their characters masterfully and we look forward to seeing them in future roles. Director Vincent Grashaw is definitely ready for the next level of filmmaking. @COLDWATER2013

Indie Source Magazine

Kuest Click To Play Single (Digital Versions Only)

De'Ante Maurice Brown or better known as Kuest was born on September 7, 1995. Kuest was raised in Chicago, Illinois where he was raised by his young mother and grandmother. He graduated from T.F. South High School and is currently enrolled at the Illinois Institute of Art Chicago majoring in advertising. Kuest started rapping at the age of 13, becoming serious at the age of 15. He first started out as a spoken word artist preforming at his schools annual Poetry Slam his freshman year all the way up to his senior year which he won. He won his way into P.O.E.T (people of extraordinary talent) a Chicago based poerty group for teens his junior year of high school. The group would tour all over the Chicago area. His music inspirations come from 80s and 90s hip hop artist such as Tupac, KRS One to current artist in the industry such as J Cole and Wale. Which explains where he gets his unique sound from. Coming from a city where lyricis do not get the shine as much, he still strives towards his dreams. www.theindiesource.com

Interview Actress

Photograph by: Joe Groger

Fernanda Romero

El Dinamo O

@FernandaRomeroo by

Christopher Parker

ne of the hardest working actresses in the business, Fernanda is the quintessential indie darling on both sides of the United States and Mexico borders. Seamlessly transitioning from Spanish speaking productions to the English language, she has crafted a very unique and remarkable career. We sat down with the dynamo to talk about her new LGBT short film and why this story needed to be told.

Indie Source Magazine

FR: Totally different creators. Even though you are acting, you can’t act the way you are in Spanish like you can in American productions, especially comedy. ISM: Can you tell us about your role in the indie film “Line of Duty”? FR: I play the role of Jenna. I had a lot of growth through an amazing arch with the character. It’s very dynamic with the love interest of a love triangle, but at the end she uses it to be more powerful. She is just a great, powerful character. ISM: Do you believe Latinas are unfairly stereotyped by Hollywood? FR: Yes, unfortunately I believe that, and I hope it changes soon. We are breaking in more and more and we just have to break all these stereotypes down. I still go to some auditions and they will want me to talk with the stereotypical Latina accent. Sometimes they want you to look Latina with no accent, it’s really confusing. I believe you should just bring your own essence to each character.

ISM: Early in your career you were a singer, why did you stop to pursue acting and fashion? FR: It was through fashion that I got back into the business. I thought it was more of a temporary thing when it came to singing during school. I started into fashion, merchandising and dressing celebrities for red carpet, etc. After a life changing event, I was offered a chance to model then acting. It was awesome to learn that I loved acting and that I could make money at it. [Laughs] ISM: You are a versatile actress, moving back and forth between American and Mexican based productions. Other than language, are there any other major differences between the two?

ISM: How did you come to be involved in the short film “40 Love” from the Cornetto Cupidity series? FR: Through my agent Nathan Habben at Prestige, he called me and was like “Hey you play tennis right?” and I’m like “Yes, but not like a pro, why?” So, he tells me about this short and they are looking for an actor who can play tennis. They are casting and they would like to meet with you, but you have to be on point with your tennis. I met with the filmmakers and co-star Lily Allen; everyone was great. The whole idea was just very interesting and nice. ISM: What motivated you to play the character “Maria”? FR: It was a challenge; I had never played a physical character, as far as training. I really like to push myself. Also, because it’s a beautiful story about how love comes in all forms. It’s just a really simple love story with a very pretty message. cont. pg. 35

www.theindiesource.com

Young O. @YoungOrry

Click To Play Single (Digital Versions Only)

Young O. real name Orry Elliott takes his life into the booth with him and turns living experiences into songs. “The main thing I want to do is to take care of my family and to provide opportunities for other people in my city.” With his naturally eccentric voice and knack for creating memorable hooks, Young O. has put himself on a path to fulfill his goals. Despite eye-witnessing the death of his grandfather as a child, losing his big sister before her time and giving the penitentiary over a year of his life, Young O. manages to maintain a positive outlook on living. “Life is a crap game I’m rolling sevens on the come out,” is a line from his song “Wake Up Dreamer,” that appeared on his 2006 Thug Angels “Square One” release. Young O. articulates his understanding of the ebbs and flows in life when he raps, “I woke up this morning, well that was my blessing, been a long time coming, see I learned a lot of lessons,” on his recollecting song “So Blessed, So Stressed.” Living in a state that’s at the top of the South and the bottom of the North should be to the advantage of the Virginia artist. However not until recently has the tide seemed to be shifting that way. “I just got to give the people me. Win or lose, I got to keep it 100 with em’ and if I keep it from the heart I can’t do nothing but win.” 38

Indie Source Magazine

Cont. from pg. 27 Masters of Spin RB: It was originally something we could break into because it’s lower budget and somewhat easier to get going, but we have grown to love it. JB: Although we have done it the majority of our careers, and that’s only been five years, we have a lot of time to grow. It has allowed us to not have to deal with the barriers that entry scripted projects have. ISM: How do you feel about crowdfunding as a whole, and the possibilities of the upcoming ability to sell equity to the crowd? RB: We have used crowdsourcing for pretty much everything and it’s been a great essential tool. I think it is great; the fact that it’s going to be an investment opportunity. You are able to offer a better reward than a poster or special thanks. JB: Crowdfunding has given us the ability to make some of our projects, so I am personally grateful for that avenue. I think it makes total sense to offer equity. On this project, after raising almost forty thousand dollars on Kickstarter, I was subsequently contacted by several people whom eventually became formal investment partners on the film. We managed to match the number we raised on Kickstarter just through it doubling as a publicity tool and it garnered attention. Crowdfunding has allowed people to interface directly with consumers. I think it’s time to be using platforms that do offer those opportunities more formally as a part of their structure.

Cont. from pg. 33 El Dinamo ISM: You play an athlete in the short, are you very athletic? FR: I’m always in the gym and I played a lot of sports growing up. Not on a pro level, but I enjoy sports from swimming to horseback riding. I blame my parents in a good way, as they had me doing lots of things growing up. ISM: Your character falls in love with another woman; do you believe this was a story that needed to be told? FR: Absolutely! I think society is still hard for gay people, and it was a message that needed to be told. Like I said, love is love. It comes in all shapes, sizes and colors. People have to be allowed to be people; we are all human and have hearts. ISM: Since 2008 you have worked on more than twenty-five productions, what is the key to your success? FR: Being very dedicated, learning the craft and just staying focused. I’m not into all the partying and the bad part of Hollywood. I don’t waste my energy on bad things; I stay positive and live in the positive spaces of life.

ISM: What equipment did you use to shoot and edit the film? JB: We shoot primarily on Canon 5D and 7D and a bit on the RED Epic. RB: We edited on Premiere; it has all the tools to make things a lot easier. No waiting hours on rendering and the integration saves a lot of time. ISM: Will you be using Adobe on your next project. RB: Yes, we see no reason to change. JB: We like it! www.theindiesource.com

Indie Source Magazine