lfv_6_2012 by Media Index Publishing Group

CONTENTS

VOLUME EIGHT

ISSUE SIX

The Paperclip in Baton Rouge was one of director Brian Miller’s favorite locations in his new action-thriller The Outsider. PHOTO BY ELIZA MORSE

EXECUTIVE EDITOR Andrew Vogel andrew@louisianafilmandvideo.com ASSOCIATE EDITOR Katie Sauro contact@louisianafilmandvideo.com CONTRIBUTING WRITERS Chris Armand, W. H. Bourne, Lolita Burrell, Bridgette Homer, Natalie Hultman, Helen Krieger, Odin Lindblom, Murray Anthony Roth, Esq., Megan Ryburn, Gary Michael Smith SALES MANAGER Katie Higgins SALES Eric Iles PRODUCTION MANAGER John Rusnak DESIGNERS Dawn Carlson, Beth Harrison, Christina Poisal WEBMASTER Eric Pederson OFFICE MANAGER Audra Higgins

SPOTLIGHT ON: ST. JOHN CENTER SOUNDSTAGE

HOLBROOK MULTI-MEDIA CELEBRATES 35TH ANNIVERSARY

DJANGO UNCHAINED: LOCAL ACTORS TALK TARANTINO

PROTECTING YOUR SCREENPLAY – WGA VS. COPYRIGHT OFFICE

LOUISIANA SHINES AT THE 23RD NEW ORLEANS FILM FESTIVAL

FILM DAY AT THE EXPO: LOUISIANA ACTORS & FILM INDUSTRY CONFERENCE

AMERICAN FILM MARKET 2012: THE IMPACT OF V.O.D. ON INDIE FILM

FROM HOLLYWOOD SOUTH TO INDIA’S KOLLYWOOD, DP INSPIRES DIRECTOR TO UNCOVER FIVE GEMS

WINNING THE LOUISIANA FILM PRIZE 49

FILMMAKING IN A RECESSION

FILM INDUSTRY BOOM = OPPORTUNITIES FOR SECURITY COMPANY

TRAILER PARK JESUS DOMINATES THE FESTIVAL CIRCUIT

LETTER FROM THE EDITOR

INSIDE THE OUTSIDER

LOUISIANA LANDSCAPES AT AFI

INFORMATION SERVICES MANAGER Lois Sanborn

Louisiana Film & Video Publications A DIVISION OF

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frequency advertising. All submitted materials become the property of Media Index Publishing Group and will not be returned. Subscriptions, call (800) 332-1736 for information and rates. Copyright © 2012 Media Index Publishing Group. All Rights Reserved. No part of this publication may be used for solicitation or copied by any means, electronic or mechanical, including photocopying or recording by any information

ON THE COVER: The Outsider just wrapped shooting in Baton Rouge, taking advantage of the many locations there, including the Mississippi River. PHOTO BY ELIZA MORSE

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LETTER FROM THE EDITOR

n behalf of our staff, I’d like to give a special thank you to everyone who came out to Louisiana Film & Video Magazine’s Happy Hour event at the NOFF VIP lounge. I had the pleasure of meeting so many fantastic people with unique and interesting stories to tell, and I hope to work with you all in the future.

The last couple months have been very eventful. In September and October alone, Louisiana hosted over six film festivals. Among others, the success of the New Orleans Film Festival was a tribute not only to the growing interest in the Louisiana film industry, but also to the quality of work being produced here in Louisiana. The team of Trailer Park Jesus deserves special congratulations as they continue to have great success at festivals nationwide (see pg. 30). I also had the honor of representing LF&VM at this year’s Louisiana Actors & Film Industry Expo (see pg. 42). The event felt like an integral part of

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ISSUE SIX 2012

our film community with enlightening panel discussions and opportunities for networking. The positive atmosphere was a great reminder of how luxurious it is to work in an industry where people love what they do. The end of 2012 is upon us, and I’m happy to say that Louisiana’s numbers are already exceeding those of 2011. As of the beginning of November, New Orleans has hosted 51 films with Andrew Vogel and Megan Ryburn from the St. John Center at LF&VM’s NOFF Happy Hour event.

Producer Joan Gossett talks with Andrew Vogel at LF&VM’s NOFF Happy Hour event.

budgets over $300,000, and has brought in almost $600 million in spending as a result. In the midst of what some call the worst economic crisis since the Great Depression, things could be much worse here in Louisiana. So with that in mind, Happy Holidays, and we’ll see you next year! Sincerely, Andrew Vogel Executive Editor

INSIDE THE OUTSIDER British actor Craig Fairbrass takes the lead in The Outsider, an action-thriller that just wrapped shooting in Baton Rouge.

STORY BY W. H. BOURNE • PHOTOS BY ELIZA MORSE

rian Miller has been keeping crews hopping in Baton Rouge these last few weeks as he directs his latest film, The Outsider, which has been shooting there at a frenetic pace. This is the third film Miller has directed. His first, Caught in the Crossfire, starred Curtis ‘50 Cent’ Jackson (Get Rich or Die Tryin’ ) and Adam Rodriguez (Magic Mike). “Shooting The Outsider in Baton Rouge was the best thing (that) could have ever happened to us,” says Miller, “because the production value of what we got in Louisiana was 10 times better than what we would have gotten in any other incentive state. Originally, we brought the film to another incentive state, which will remain nameless, and based on all the red tape and their delays, it caused us to pull the film and bring it here.” The Outsider is a breakout role for British acting veteran Craig Fairbrass. The story revolves around British military contractor Lex Walker, played by Fairbrass, who is told his daughter has died. When he arrives in Los 8

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Angeles and discovers the body is not hers, he begins an investigation. “It’s a fish out of water story,” says Miller, “a Beverly Hills Cop-type of story. Craig’s got this real cockney accent, and he is that fish out of water.” “This was an idea I came up with Brian,” notes Fairbrass. “We worked together on House of the Rising Sun. I had a small part. I just came in for a couple of days, but Brian had liked what I had done as an actor. We kept in contact with each other after the film. We started chatting about films we liked… Brian had said he wanted to do a film, and I said, ‘Well, have you ever seen the film The Limey?’” Miller discusses the beginning stages of the

project. “It’s something Craig and I had worked on. We talked about it and then I started building the script. We wanted to do something really modern-day and cuttingedge, like identity theft. The story is basically a modern-day Western where the landowners are now corporations, the sheriff is trying to maintain and manage the system, which is affected by corporate greed, and it takes an outsider, a military contractor, to come into this city and make it all right.” He continues, “A lot of the technology that goes into the film—phishing scams, Internet banking through online lending systems and corporate greed—I saw it first-hand from my experience working in that space and worked it into the film.” Fairbrass describes the film as “a cross between The Limey and Taken in its own unique way. It’s very different. It’s a crocky little film.” “Brian and I watched The Limey together,” says Fairbrass. “We had some ideas and then Brian went off and wrote the script. Eighteen

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months later, here we are in beautiful Louisiana shooting me in my first lead in an American action film, which is really, really exciting and a pretty big deal—a dream come true for me.” Says Miller of his lead actor, “Craig’s got a huge track record overseas, from EastEnders to feature films. He’s been working in this industry for years. He’s also shot a lot of films in the U.S., and he’s been building a following here. He was one of those guys that was due for that breakout role; he just needed someone to believe in him, a director he could trust, and producers who were ready to take that chance. When we put this thing together and packaged it, it just got bigger and bigger and better all the way down the line.” “This is my 39th film, and I’ve been acting for 25 years,” says Fairbrass. “We shot it in 15 days, which is absolutely brutal. There’s a lot of fight scenes and physicality in the film, lots of action, and it’s just been relentless. It’s been tough, seriously tough, but it’s a very tight schedule. I’m an actor first, but because I’m physical, I do a lot of my own fights, although obviously I can’t fall off buildings for insurance reasons.” Stunts, explains Miller, are what deliver an action film. “The one thing I did that was absolutely important was hire my stunt coordinator, Don Abbatiello, who I had worked with on House of the Rising Sun,” he says. “Once I had someone who spoke my language that I could trust and could bring the guys I needed, we were set. And Don’s guys sell the film, diving 20 feet off a balcony into a pool.” Including second unit, The Outsider was shot over three weeks. “It was a quick production,” says Miller. “I storyboarded every shot from beginning to end. I had a shot list and I knew everything I needed. I wanted to know that I was prepared to cover a shot no matter what. This has been one of the cleanest productions I have been on.”

The crew prepares for another action sequence. 10

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On The Outsider, a complicated shot involving a stuntman falling off a balcony into the pool was carefully coordinated.

“We’ve utilized every location. Everything was storyboarded and shot listed. We were going to work every day and just crossing off the list. It’s been like clockwork,” adds Fairbrass. “This film is going to turn some heads when it gets released,” notes Miller. “As a director I was so happy to be working with Craig. He’s malleable. Everyone kept saying, ‘Geez, this guy is just a pleasure to work with.’” Adds Fairbrass, “Brian’s so bright. He’s got a photographic memory, which is really helpful. When he’s shooting, he’s editing in his head. It’s a luxury when you’re shooting a film as ferocious and fast as this.” “Every day has been rewarding on this film,” remarks Miller. “The production has been wonderful, and I’ve had wonderful performances.” Fairbrass, for one, worked hard to make sure his performance was as “real” as possible.

“I love trying to put in empathy and make this guy feel real,” says Fairbrass. “In so many of these films, the guys seem robotic and I tried to make it more than that.” What’s more, with his theater background, Miller is able to coax the best possible performances out of all his actors. “I look at the actor’s perspective,” says Miller. “What do they need? Coming from that space, coming from theater, I can talk with them, which a lot of technical directors can’t do. When someone comes in for an audition, if they’re not off book, I won’t even consider them. It’s just a policy I have. I can work with actors, but I can’t teach Acting 101.” Fairbrass had interesting advice for actors: “Keep doing it. Eventually the opportunity will rise where someone will take a chance on you. And for men it comes much later on. You have to look like you’ve lived in life.” Adds Miller, “You need to understand the theory of film and you need to love film. I started out in Michigan in acting and doing theater. Then I went to film school at Grand Valley State College. When I moved to Los Angeles, I started doing background and eventually got my SAG card while I learned the business. If you’re at USC, UCLA, NYU, you’re doing good. The problem with film schools in the incentive states is that they don’t teach you the business side of the equation because they just don’t know the business. When I was up filming in Michigan, I hired a lot of interns from the local schools there and they worked out well; but if they would not have gone to film school at all, they wouldn’t have been prepared.” “I shot two films in Michigan and my last one in Connecticut,” continues Miller. “The best thing about shooting here in Baton Rouge is the infrastructure; the crews and the locations just pushed the film to the next level. I was very, very pleased with the crew down here in Louisiana, and I would love to shoot more here.” LFV

ISSUE SIX 2012

LOUISIANA FILM & VIDEO MAGAZINE

LOUISIANA LANDSCAPES AT AFI STORY BY W. H. BOURNE PHOTOS COURTESY OF AFI AND W. H. BOURNE

FI FEST 2012 took place from November 1 through 8 in the heart of Hollywood. The American Film Institute’s annual celebration of artistic excellence brings the audience and the entertainment community together to explore the year through the new works of film masters, moving image icons, and breakthrough talents. AFI FEST mixes nightly red carpet galas of Hollywood films with new auteur works from around the world. Launching awards season each year, AFI FEST offers a crucial avenue of exposure to the entertainment community, while providing audiences with the very best of global cinema. This year, AFI featured two films shot in Louisiana—a new auteur work and a red carpet gala. The first, Tchoupitoulas, shot by Bill and Turner Ross, is a slice-of-life docu-

The Louisiana-filmed feature On the Road, starring Kristen Stewart (left) and directed by Walter Salles (right), screened at AFI FEST.

ized we’ve been documenting things all along, the city we grew up in, New Orleans… We like to think we’re a bit more polished now, but it’s the same thing we’ve been doing since

had the hope, the stupid hope, that we would find some kids to take us through the town like we had experienced it when we were young. It’s a bad idea to approach a film that way, with the idea that we’ll just shoot and eventually find some kids. Seven months into the thing, we still hadn’t found any kids. One day we were actually up during the day (as opposed to shooting all night), and they walked right past us. And then I heard William, and I knew these were our kids. When we first talked to the brothers and asked them, they said, ‘Yeah, that’s great but William can’t be in it because he’s obnoxious!’ But 20 minutes into recording and we were like, this

Bill and Turner Ross’ Tchoupitoulas was one of two Louisiana-shot films at AFI FEST this year.

mentary that shows the adventures of three brothers and their big night in the French Quarter. This is the second feature for the Ross brothers, who shot the film in SD with the DVX 100B. “Our mom bought us a camera as kids and we started making movies,” says Turner Ross. “We recently looked at those tapes and real12

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we were kids.” Turner and his brother Bill talked about their inspiration for making Tchoupitoulas and the challenges they faced. “Well, we spent a lot of time (in New Orleans) as kids, and we wanted to show the exciting experiences we had when we were young and growing up,” says Bill Ross. “We

Amy Adams, co-star of On the Road, attended the film’s gala and screening.

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ISSUE SIX 2012

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gentleman can’t be ignored. Most of the footage you see with the kids, we shot on the very first day.” “It’s documentary in that it’s all real life,” says Turner. “It’s unscripted. And when you put a microphone in front of William, that’s what comes out.” “The film is not an issue-based film,” says Bill. “It’s not about Katrina or an oil spill. Tchoupitoulas is a regional identifier that is unique. For us, it was a big, pretty word we couldn’t pronounce as kids.” The brothers talked about shooting on a nonexistent budget, couch surfing while shooting, and struggling to find food and beer money. “It was a daily concern of whether the ship was going to sink,” says Turner. “It seems like every time the credit cards got maxed out, something would happen and someone would help out.” Adds Bill, “If it weren’t for people like Cinereach, we wouldn’t be able to make this film. We used all of our resources, our own money and credit because we believed in it, but it just wasn’t enough. So we did a cold grant submission. Our project was picked at the same time Beasts of the Southern Wild was picked, so we got to know those guys and we became a family. And we’ve taken on some of their producers who have really helped us with our projects.” “We’ve been really fortunate with grants this

year,” says Turner. “Our work is not the kind of stuff that makes money. It’s the choice we have made… but we’re starting to attract financiers who believe in our ideas. And of course, signing with Oscilloscope is just going to make things even easier.” Oscilloscope saw Tchoupitoulas at SXSW and bought it immediately. “They’re doing North American theatrical, DVD and V.O.D,” says Bill. “For our stuff, a film festival is the ‘theatrical’ for us. So being at every festival that’s humanly possible is very important for us,” says Turner. “The bigger we can keep building this base, the more we can be accessible to everyone.” The second film, On the Road, was a big AFI gala with a star-studded red carpet. Directed by acclaimed filmmaker Walter Salles (Motorcycle Diaries) and based on the iconic novel by Jack Kerouac, On the Road tells the story of Sal Paradise (Sam Riley), a young writer whose life is shaken and ultimately redefined by the arrival of Dean Moriarty (Garrett Hedlund), a free-spirited and fearless friend, and his girl, Marylou (Kristen Stewart). Traveling cross-country, Sal and Dean venture out on a personal quest for freedom from the conformity and conservatism engulfing them in search of the unknown and themselves. Seeking adventure and the last

American frontier, the duo encounters an eclectic mix of men and women, most notably Bull (Viggo Mortensen), Camille (Kirsten Dunst), and Jane (Amy Adams). The film was shot in multiple locations, including Louisiana. On the Road features a stellar cast, and Salles talks about casting the film: “Kirsten Dunst was the first actress I spoke to, with Camille in mind. For Kristen Stewart, it happened in an unforeseen way. Gustavo Santaolalla and Alejandro Inárritu had just seen a first cut of Into the Wild, and they told me, ‘Don’t look any further for Marylou. The girl is in the new Sean Penn film, and she is fantastic.’ I met Kristen just before the Twilight madness started, and she stayed committed to the film during all the years of uncertainty. As for Garrett, he came in for a test… and I knew he would be Dean. He was another one who waited for years. Whenever he got an offer for another film, he okayed it with me first. When I cast Sam, I’d seen him in Control, where he’d been brilliant. His tests showed sharp wit and great precision.” Like Tchoupitoulas, On the Road was well received by audiences at AFI. Salles introduced his cast to a packed house at Grauman’s Chinese Theater. Both films featured incredible performances, but it was the visual landscapes that defined both of these pictures—landscapes that can only be found in Louisiana. LFV

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DJANGO UNCHAINED: LOCAL ACTORS TALK TARANTINO STORY BY NATALIE HULTMAN GUEST COLUMNIST

ith a star-studded cast and early Oscar buzz, Quentin Tarantino’s latest film, Django Unchained, is the movie to see this holiday season. The film stars Oscar-winning actor Jamie Foxx as Django, a former slave turned bounty hunter out to free his wife from brutal plantation owner Calvin Candie (Leonardo DiCaprio) with the help of his mentor, Dr. King Schultz (Oscar winner Christoph Waltz). A major part of the film was shot on location in Louisiana. I recently had the opportunity to talk with three local actors who helped bring this story and its characters to life.

Dana Michelle Gourrier of New Orleans plays “Cora,” a house slave on the Candie Plantation who works closely with head house slave “Stephen,” played by Samuel L. Jackson. “Stephen and Cora are like two peas in a pod,” says Gourrier. Despite working inside the house, there is a darker side to Cora’s relatively comfortable existence. “Cora lives on a thin line between comfort and fear—and rightfully so. At that time, if you were a house slave, you wanted to make sure you never lost those privileges and the access you had to everything.” Her first time working with Tarantino, Gourrier was thrilled to see him incorporate many of the ideas she had for her character. “This man is a genius, which is common knowledge, but what I don’t think is common knowledge is how collaborative he absolutely was.” Gourrier is also a gifted singer/songwriter. She wrote a song during filming and pitched it to Tarantino, who loved it. On her last day

Escalante Lundy

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Dana Michelle Gourrier

of shooting, a funeral scene, Tarantino surprised her by asking her to sing the song in the movie. “It was one of the most overwhelmingly beautiful experiences I’ve had— something I’ll never forget. What an honor!” Gourrier is currently in New York playing the title role in the play Maria Kizito, about a Rwandan nun who aided in the deaths of over 7,000 people. The show runs at La Mama Experimental Theatre in New York’s East Village. She can be seen on screen next playing the wife of Lenny Kravitz in Lee Daniels’ The Butler, also starring Forrest Whitaker and Oprah Winfrey. New Orleans native Escalante Lundy plays “Big Fred,” a slave bought at auction by Calvin Candie who, because of his size, is turned into a Mandingo. Mandingos were slaves forced to fight each other in matches that often ended in death. Their owners would gamble money or livestock on the outcome of the fight. “I would describe him as a reluctant warrior,” Lundy says of his character. “He’s not a fighter by nature but when forced to fight for his life,

his animal instinct kicks in.” Preparation for the role included losing 25 pounds prior to filming and training for the extensive fight scenes. “I worked with stunt coordinator Clay Fontenot. He’s what’s known as a ‘cleaner,’ someone who does all the things other stunt performers can’t do. He trained me and he’s the one who fought against me in the movie.” Lundy also had the opportunity to act alongside superstar Leonardo DiCaprio. “I learned a lot just by watching him. He’s very unassuming, genuine, accessible and very generous with his time. He answered any acting questions I had.” Lundy mentions that director Quentin Tarantino came into his life at just the right time. “Any endeavor I get involved in, I give myself a time span. For acting it was five years, and it was when those five years were almost up that I auditioned for Quentin.” As for working with Tarantino, Lundy has nothing but praise. “He brings out the best in you. He can say one word and it will change the scene completely. He knows how to talk to actors better than any director I’ve ever worked with.” Look for Lundy next as “Ezra,” a family man who becomes possessed in the supernatural mystery The Sickle, out in 2013. He would like to thank his agent, Brenda Netzberger at Open Range Management, and his acting coach, Jerry Katz, for helping him get to where he is today. New Orleans-based actor Laura Cayouette plays “Lara Lee Candie-Fitzwilly,” the widowed sister of DiCaprio’s Calvin, who returns to her childhood home after losing her husband. Cayouette says her character makes quite a first impression visually and is a stark contrast to the violence and darkness in the film. “She’s feminine in a very masculine movie. The first time you meet Lara Lee, she looks like a beautiful, pink, Laura Cayouette pristine cupcake.”

Despite fragile appearances, Cayouette found there is much power in femininity. “The more feminine you’re dressed, the more it brings out the gentleman in men. My first day on the plantation was after a rainstorm and there were three different guys who offered to put their jacket over mud!” She laughs. “Things are different now, but back then, that was how things got equalized.” Filming a movie about slavery in the South also gave local actors an opportunity to explore their own family history and relationship to slavery. Many of the actors playing characters on plantations were descendants of plantation owners and the actors playing slaves were descendants of actual slaves. Tarantino even used a piece of Cayouette’s family history to form one of the relationships in the film. “My relationship with (actor) Walton Goggins in the movie is a very warped version of something that happened in my own family.” Cayouette has worked with Tarantino as both a producer and an actor. Django Unchained is their fourth collaboration. “One of the things that stands out about Quentin is that he has this infectious enthusiasm. His love of movies runs so deep for him that you cannot help but care deeply about doing a good job for him.” She shared a trick that Tarantino used to keep his actors motivated during the long hours of filming: “Whenever the going would get tough, he would stop everything and say, ‘Why? Because we love making movies!’ and everybody would yell it with him.” Up next, Cayouette can be seen as the wife of a powerful politician in The Loft and in the thriller Now You See Me, starring Morgan Freeman and Woody Harrelson. Look for her on the small screen as David Morse’s ex-wife in HBO’s Treme. She also writes the blog latonola.com, and her new book, No Small Parts: An Actor’s Guide to Turning Minutes Into Moments and Moments Into a Career, is available on Amazon.com and Kindle. Django Unchained opens nationwide on December 25, 2012. Don’t miss this one!

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LOUISIANA SHINES AT THE 23RD NEW ORLEANS FILM FESTIVAL

(l to r) Jannie Markey with FBT Film & Entertainment, her husband, and LF&VM sales manager Katie Higgins at a VIP Happy Hour event.

Write Stuff Productions’ Jim Jackson and his wife.

Murray Roth (left) mingles with Andrew Vogel (right) and Hunter McGregor (center) of HeadHunter Productions at LF&VM’s NOFF Happy Hour.

STORY BY ODIN LINDBLOM • PHOTOS BY ODIN LINDBLOM AND KATIE SAURO

ew Orleans Film Festival (NOFF) was the biggest yet, running from October 11-18 with films, panels, workshops, music and parties in multiple venues throughout New Orleans. Among this year’s diverse offerings were Japanese auteur Takashi Miike’s (13 Assassins) Hari Kari: Death of a Samurai, presented in 3D; David O. Russell’s (The Fighter) latest work, Silver Linings Playbook, starring Bradley Cooper, Jennifer Lawrence, and Robert DeNiro; Dustin Hoffman’s directorial debut, Quartet, a comedy about retired opera singers; and director Mark Mori’s Betty Page Reveals All, a documentary about the legendary pinup model, narrated by Page herself. The Betty Page screening was followed by a party

with food, drinks and burlesque dancers at the Contemporary Arts Center (CAC). Despite these great offerings, the spotlight shined brightest on Millennium Films, who brought the opening and closing night films to the festival this year, both of which were shot in Louisiana. Opening night featured The Paperboy, directed by Lee Daniels (Precious) and based on the Peter Dexter novel. The film stars Matthew McConaughey, Zac Efron, John Cusack and Nicole Kidman. The Paperboy is set in rural Florida in the 1960s and follows a reporter who returns to his hometown to investigate the case of a death row inmate he feels was wrongly accused. Cinematographer Roberto Schaefer, ASC, AIC (Monster’s Ball) worked closely with NOFF attendees await the screening of closing night film The Iceman, which was shot in Louisiana.

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Colorist Bradley Greer worked on NOFF’s opening night and closing night films— The Paperboy and The Iceman, respectively.

Cineworks and Louisiana colorist Bradley Greer on creating the look of the film, as the negatives were developed and HD dailies were created at Cineworks’ Elmwood facility. When the shoot wrapped and work was set to begin on the Digital Intermediate, Schaefer had a scheduling conflict. “Roberto told me, no one knows the color of this film like you and I,” said colorist Greer. “You need to go to New York and oversee the D.I. for me.” Greer complied and the end result is a warm, muted palette that captures the era of the story, and hot highlights that convey the unrelenting heat of the Floridian summer and the overt sexuality of the film’s characters. The Paperboy screened at the recently renovated and reopened Joy Theater on Canal Street and was followed by a packed afterparty at The Saint Hotel featuring food, drinks and live music. The festival closed with The Iceman,

The Expo’s Lolita Burrell (left) with executive editor Andrew Vogel and Katie Peters.

(l to r) Katie Higgins and The Boss & Company’s Brent Byrd and Kim Kiser at LF&VM’s Happy Hour.

starring Michael Shannon, Winona Ryder, James Franco, Chris Evans, Ray Liotta and David Schwimmer. Ariel Vromen (Danika) directed the film, which is based on the true story of Richard Kuklinski, the hitman known as “The Iceman,” whose wife and kids were unaware of his profession until his multiple murder convictions in 1986. The film’s story unfolds over three decades in New York and New Jersey, but it was shot predominately in Shreveport. The Iceman was the first major motion picture to have its film developing, dailies and final color correction done in Louisiana, with Cineworks providing the services. D.I. colorist Greer also worked on this picture, maintain-

Ashley Charbonnet (right), director of programs at NOVAC, explains their programs and services to NOFF attendees.

ing the film’s rich color and detail even in its many dark shots. Louisiana Film & Video Magazine’s VIP Happy Hour event was a highlight of the NOFF weekend. Andrew Vogel introduced himself as the new executive editor of the magazine to a packed house at the Contemporary Arts Center’s VIP room. Friends of the magazine mingled and networked as they enjoyed gourmet catering service and an open bar provided by Bill Laderer Catering & Special Events. LFV

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LOUISIANA FILM & VIDEO MAGAZINE

AMERICAN FILM MARKET 2012: THE IMPACT OF V.O.D. ON INDIE FILM STORY BY W. H. BOURNE • PHOTOS BY ODIN LINDBLOM

he 33rd annual American Film Market (AFM) recently wrapped in Santa Monica, California. Sponsored by the Independent Film and Television Alliance (IFTA), AFM is the largest film market in North America. From October 31 through November 7, leaders from the global film industry were buying, selling, pre-selling and financing films in every stage of development and production. This year the market attracted more than 7,749 attendees from more than 70 countries, screened 442 films, and the AFM Conferences spoke to large audiences of more than 700 in attendance each day.

Charles Smith and Bill Hess represent Central Louisiana in Film at AFM.

Louisiana films were in abundance at AFM, with Millennium/Nu Image being the biggest source for films shot in the Bayou State. The Millennium suite stayed busy the entire show with company co-chair Avi Lerner on hand negotiating with buyers and investors. In addition to distributors and sales agents, several Louisiana vendors were exhibiting at AFM. PES Payroll just opened offices in New Orleans this past May and was hoping to pick up some new business. Ease Entertainment Services was demo-ing their budgeting and accounting software for AFM attendees. Ease also has a New Orleans office. “We love Louisiana,” said Adam Batch22

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elor, VP of Planning and Operations with Ease. “We do 75 percent of all payroll services there.” “We do well here every year,” said Bill Hess, who was attending on behalf of Central Louisiana in Film. “This is our sixth year (exhibiting) at AFM. We represent 11 parishes and help with more than just the Louisiana tax incentives. We provide free scouting, free security, free public works assistance (like fire engines, police cars, and buses), and free casting calls for extras and local speaking parts. We have been able to negotiate $35 hotel rooms in Alexandria for crews that even included breakfast. Our asset is that we look like non-traditional Louisiana locations. Recently we’ve become a TV hub with Swamp People,

Director Sacha Gervasi discusses making the jump from Anvil to Hitchcock.

Ghost Hunters and Cajun Pawn Stars, in addition to a couple of pilots. Cajun Pawn Stars is great because they’re there all the time.” This year marked an improvement in the offerings of the AFM Conference sessions. Perhaps in response to changes in the market in recent years, conferences on Video-OnDemand (V.O.D.) were added this year, in addition to the ever-popular film finance conference. Of course, the topic that seemed to dominate this year’s AFM, from sales to marketing to financing, was V.O.D. As physical product sales continue to decline and digital sales increase, the entertainment industry still appears to be struggling with how to value, market, and sell films in this ever-changing world of distribution. “V.O.D. in Hollywood used to be a dirty word, a bottom feeder. There is a stigma that exists that we are trying to eliminate because it is a great platform for the future,” said Jason Janego, copresident of RADiUS- TWC. Janego does multiwindow V.O.D. for The Weinstein Company. “Getting your talent to understand that V.O.D. is an exciting platform to be on is huge to getting them on board with release strategies.” Recent films Arbitrage, Margin Call, and Bachelorette are great examples of how there are “no rules for windows,” according to David Spiegelman, president of Domestic and Digital Distribution at Relativity Media. “There’s not a single way consumers want content now,” noted Janego. “Exhibition has a 90-day floor minimum. It used to be 120 days, and before that, 180 days. Is there going to be a collapsing window?” asked Tom Ortenberg, CEO of Open Road Films. “Yes.” But Ortenberg maintains that most theaters

Panelist at AFM discuss how to build your global film financing strategy.

won’t take “day and date” releases, the model made famous by Mark Cuban and Magnolia Pictures. “By going ‘day and date’ (theatrical and V.O.D.), you won’t get any more than 250 theaters to play your movie,” said Ortenberg. Yet Ortenberg believes that some films will benefit from a day and date release. “The move to digital distribution gives you complete control over letting the most lucrative model go out first,” said Tom Adams, director and principal analyst at Screen Digest. “The great hope for V.O.D. is the Internet.” Panelists agreed that starting on a smaller release schedule has nothing to do with marketability or commercial-ability. Prints and advertising (P&A) for art house films are ever increasing. Social media is seen as a way

of marketability and digital convergence. “Netflix is its own social network, and it tells you what to watch,” said Bruce Eisen, vice president of Online Content Development and Strategy for Dish Network. “That’s why it’s so successful.” Curating seems to be the single most important issue for V.O.D. While DVD release schedules are available online, V.O.D. release schedules are non-existent. “There has to be improvement of the user interface on cable. We need search-ability and a social element,” said Todd Green, general manager of Tribeca Film. “If we get that, V.O.D.’s perception is going to go up.” “It’s critical to put indie films on the front page of search screens. Having it there pervasively will train consumers that indie movies are

something they should be searching through,” said Damian Benders, senior vice president of V.O.D. Programming and Marketing for SnagFilms. “For an independent film that does not have a big marketing budget, a platform like iTunes can change the entire trajectory of what you are going to make on the movie.” “Just as the VHS and DVD markets evolved, the V.O.D. market is maturing. Technology cycles are getting faster and the cable-V.O.D. gatekeepers are getting tougher on which films are getting in,” said Eamonn Bowles, president of Magnolia Pictures. “Today, smarter audiences are gravitating towards television and as a result, V.O.D. films need to have quality just to compete and get on TV.” Clearly the message at AFM this year was to make a “quality” film for the least amount of money. As the market continues to change and distribution becomes more complex, the halls of AFM become more daunting to indie filmmakers. As mini-majors like Lionsgate and Millennium dominate sales at AFM, the expectations for quality content increases. “With micro-budget (films), you try to put every dollar on the screen. If you are making small movies for quality, you need the people involved to take ownership of the film and be invested,” said Jonathan Schwartz, producer at Super Crispy Entertainment. “We work hard trying to get great actors to work for us for little money. Material is the only way to make that happen.” LFV

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LOUISIANA FILM & VIDEO MAGAZINE

FEATURED CATERER

HANNA BROTHERS

anna Brothers Film & Event Catering Company is the Southeastern United States’ premier on-location caterer to the film & television industry. We work as locals in New Orleans, Atlanta, and Miami, so we have you covered for your next production in any of those areas. We promote a team and family environment within our company and hire career-minded individuals when openings or growth occurs. Many of our chefs, all of whom are Serv-safe certified, have been with us in excess of 10 years and they do not freelance themselves out to other catering companies in between jobs. Our company and employees pride themselves on the fact that we have grown into the best film catering company in the Southeastern United States. Hanna Brothers serves buffet-style and uses action stations for daily variety. We pride ourselves on keeping the look and variety of meals different from day to day. Action stations at breakfast can include: fresh juice station, eggs any style and omelet station, pancake and waffle bars. A few of our lunch stations are: pasta station, custom tossed salad station, taco bar, sushi bar, build your own burger, and baked potato bars. When it comes to menus and budgets we are very flexible. Our objective is to provide the best value for your catering dollar. At the start of the process we will work with the production manager to come up with a solution that will keep the crew happy, along with not squeezing the budget. If you want to go organic and/or green please let us know and we can tailor our menus and purchases to that end. We have done a great deal of research on green products and local organic farms in our main service areas: New Orleans, Atlanta, and Miami. Additionally, when prices are comparable and/or budget allows, we always choose the more environmentally friendly and healthier product. We have worked on a full spectrum of projects; from mega-budget studio projects to small independents and movies of the week, no project is too big or small. With credits on over 150 projects, some of which we have fed over 2,000 people per day, our experience comes through on any size show. We take a great deal of pride and consider it a compliment that the bulk of our work comes from repeat clients, many of which we have been working with in excess of 10 years. Here’s what a few of them have said:

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“Treme’s regular season shoot schedule spans seven long months from Fall thru Spring. We are rarely in the same place for breakfast and lunch and almost never film in the same location from one day to the next. Hanna Bros Catering regularly overcomes these logistical hurdles all while meeting the challenges of pleasing the same crew day in and day out for 28 weeks in a row. The rotating menus provide for plenty of variety with a combination of local sourced regional favorites, always healthy alternatives and seasonal classics. Always ready on time and never a complaint when the schedule changes. Whenever possible added bonuses like smoothie bars or made-to-order pasta bar and taco bars help keep the crew spirits high when the hours get long. Jim and Joe Hanna are always available to troubleshoot and work with our production when scheduling issues arise. The chef and his crew take an obvious pride in their work with the goal of keeping the crew happy as their primary focus. You’d be hard pressed to find a more experienced, professional and film savvy catering company to meet your production’s needs than Hanna Bros.” –Joe Incaprera, Unit Production Manager

“These guys are THE BEST. Many shows in many locations and I’ve never been let down ... always on time and with gracious style. Their food is outstanding. I love ‘em.” –Billy Higgins, Line Producer / Unit Production Manager

“I’ve worked with Hanna Brothers several times and they are always my first choice when it comes to quality, flexibility, service, price and professionalism.” –Mark Indig, Unit Production Manager

“The best food and best service in the film business.” –David Robinson, Producer

Give us a call on your next project; we would love to add you to our list of happy clients. LFV For additional information please visit us on the web at wwwhannabrothers.com.

WINNING THE LOUISIANA FILM PRIZE STORY BY CHRIS ARMAND GUEST COLUMNIST

(l to r) Chris Armand, Noah Scruggs and Thomas Woodruff won the first annual Louisiana Film Prize.

n late May 2006, I met Noah Scruggs and Thomas Woodruff at a skatepark in Bossier City. All three of us had a lot in common from the start, but what stood out amongst everything was our sense of humor and passion for filmmaking. We really didn’t take anything we did with film serious at first. We started filming skits for the sole purpose of laughing at each other and having a good time. We never imagined being part of such a huge event as the Louisiana Film Prize. When the Film Prize came around, one of our friends mentioned it to us and said we should give it a try, so we began conceiving a short film based off of a cowboy character we had developed for a skit we made awhile back. We took that concept and developed it into a story that would work for a short film. Our film is about a goofy cowboy who stumbles upon something very significant that changes his life in a very odd way. The title, The Legend of Luther Anderson, came from the idea that this legend of Luther Anderson had never been told before and had slipped through the cracks of time. The short is our telling of the Legend…the Myth…the Luther. We had no expectations of our film being chosen for the Film Prize’s top 20 selection. The goal for us was to create a film that would make people laugh, and if it just so happened to get selected, that would be icing on the cake. When the announcement day came and our name was called to be a part of the festival, we were ecstatic, never having been part of a film festival before. Viewing the film with an actual audience in the theater for the first time was extremely nerveracking but exciting for us. Surprisingly, everyone had nothing but compliments and seemed to

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welcome us with open arms. Talking to the filmmakers and judges during the weekend definitely boosted our confidence towards filmmaking. That entire weekend was full of an excitement that we had never experienced before in Shreveport. Just seeing everyone come out and support the city and all of the filmmakers involved was a great experience. When the final announcement day came, regardless of the outcome, we were fully satisfied with how the weekend went and how people had received our film. When the announcements started, they began by giving away $3,000 founders grants to three of the films towards their next Louisiana Film Prize project. They called our name, and we were extremely honored to have been selected for such a prestigious award. We then sat down after the other filmmakers were called and awaited the announcement of the grand prize winner. They announced the grand prize winner and we all started clapping, not realizing they had called our name again. We came to the realiza-

tion it was our film and all sat there shocked, staring at each other. We slowly approached the stage as if it was some sort of joke. It ended up not being a joke and we won the grand prize of $50,000, which was probably the biggest achievement in our lives. It was a tremendous honor to be placed in the same film festival as the other filmmakers, and we still can’t believe we won. We ended up splitting the winnings three ways and are all putting our share towards different things, but we are definitely holding some back to invest into our future projects. Currently we have sent the film out for consideration to six other film festivals and plan on sending it to more. We are still making short films at the moment and looking forward to next year’s Film Prize. For not expecting anything, we got way more than we could ever ask for. The experiences we had that weekend are some we will never forget, and we are very honored to say that we were a part of the first Louisiana Film Prize. LFV

FILMMAKING IN A RECESSION STORY BY HELEN KRIEGER GUEST COLUMNIST

ive years ago, I wrote a collection of short stories about a group of creative malcontents dealing with the absurdities of life in post-Katrina New Orleans. Those stories (In the Land of What Now) became Flood Streets, a film I co-produced with Harry Shearer and my husband, Joseph Meissner. While we were traveling to festivals across the U.S. and Europe, Joseph and I also carved out time to create a dark online comedy, Least Favorite Love Songs. As we gear up for the release of both these projects this month, I thought I’d take a look back at what I learned making these projects during a time of serious change for the independent film community.

1. Don’t wait for the money. The advice filmmakers always hear is to use OPM (Other People’s Money) to fund their projects. But in today’s economically depressed world, that’s hard advice to follow. When we were ready to make Flood Streets, the economy had just crashed, and we soon realized it might take 5 to 10 years to raise money. Because Flood Streets was such an important story for us to get into the world, we decided to fund it ourselves, and we sold our house to raise the budget. I don’t recommend everyone sell their house to make a film, particularly now because it’s such a hard time to monetize features. So for our second project, Least Favorite Love Songs, we decided to shift our focus to episodic

storytelling, where we could create shorter pieces for no budget while continuing to hone our craft.

2. Focus on your strengths. Joseph and I both come from strong writing and acting backgrounds, so when we created Flood Streets, we catered to those strengths. We spent more than two years rewriting the script and getting feedback, and then we spent almost a year casting the film (using local actors in all but one role). When we were ready to make Least Favorite Love Songs, we had a new strength we could call on—editing. I had learned how to edit working with our crew on Flood Streets, so by the time we went into post for the Web series,

Meschiya Lake and members of the Preservation Hall Jazz Band lead creative malcontents through the surreal streets of postflood New Orleans in Flood Streets. (PHOTO BY KIM WELSH) 28

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Helen Krieger and Jonathan Evans review a shot on the set of the new Web series, Least Favorite Love Songs. (PHOTO BY ISADORA BICKHAM)

I was ready to shape and tighten the show from the editing suite.

3. Don’t stop promoting. Don’t stop creating. Writing, shooting and editing the film is a lot of work, but it’s fun work. Getting people to actually see the film is a lot of work that isn’t necessarily fun. We’ve been promoting Flood Streets for the past two years, playing at festivals, museums and bars. We’ve built an e-mail list, worked with social media sites, called hundreds of reporters and handed out thousands of postcards and flyers, and even though we got distribution on November 27, our job hasn’t ended. We still have to work with the distributor to promote the film so people rent it, buy it and add it to their Netflix queues. But even while all this is going on, I still had to think about my next project, because filmmaking is a kind of assembly line, and it all starts with the writing. So while Joseph was still working with our editor on a rough cut for Flood Streets, I started writing the next project, the Web series. Every time you finish a project, you learn something new, so you owe it to yourself and your audience to keep growing through new work. And who knows? Maybe that next project will finally be the one where you can use Other People’s Money. Just don’t count on it. LFV Flood Streets was released on Netflix and Amazon on November 27, and Buffa’s will have free screenings on December 16 as part of their upcoming Louisiana film series. The book of short stories that inspired the movie, In the Land of What Now, is available now through Amazon. Least Favorite Love Songs premieres online the same day, www.LeastFavoriteLoveSongs.com.

TRAILER PARK JESUS

DOMINATES THE FESTIVAL CIRCUIT

ouisiana’s own Trailer Park Jesus continues to make its presence felt around the nation. “We are quite excited by the support Trailer Park Jesus has received on the festival circuit,” said the film’s director, Sean Gerowin. “It’s been fun meeting new disciples across the country. Currently, we are winding down our festival run and focusing on distribution.” Since its world premiere this past spring, Trailer Park Jesus has screened at more than a dozen festivals. Here is a look at the film’s award-winning journey:

Director Sean Gerowin (left) on set.

March 30 Gasparilla International Film Festival (World Premiere) June 22 Philadelphia Independent Film Festival (East Coast Premiere; awarded Best Comedy Feature) June 24 San Antonio Film Festival August 16-17 Gen Con August 18 Indie Gathering International Film Festival (awarded Best Comedy Feature) September 23 Brainwash A still from Trailer Park Jesus. Movie Festival (West Coast Premiere; awarded 5th Place overall) October 14 New Orleans Film Festival (Louisiana Premiere; awarded Audience Award – Louisiana Feature) October 14 The Other Venice Film Festival (Los Angeles Premiere) October 20 NYC Independent Film Festival (New York Premiere; awarded Best Narrative Feature) October 27 Mississippi International Film Festival (awarded Best Feature) November 4 Chicago Comedy Film Festival (awarded Audience Choice Feature) December 1 Nevada Film Festival Winning the Best Feature at the Mississippi International Film Festival. (awarded Best Comedy)

The Trailer Park Jesus team celebrates at the Indie Gathering International Film Festival, where they were awarded Best Comedy Feature. 30

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The film is also slated to screen at the Long Island Film Festival next February. For more information, visit www.trailerparkjesus.com. LFV

THE EASE OF TAX CREDITS STORY BY W. H. BOURNE

ecently, the Incentives Office at EASE presented their Fall Bonanza 2012 Incentives Panel at the Landmark Theater in West Los Angeles. The workshop attracted local producers as well as those in town for American Film Market. Ease Entertainment Services, which has eight offices in North America including one in New Orleans, presented the half-day workshop, which focused on film financing and tax incentives. Alan Bailey of Tax Credits LLC notes that the best finance strategy is to get any foreign or domestic sales minimums from distributors and then add tax incentives to complete the financing to cover the film. Unfortunately, most films cannot be financed in this manner and require equity financing. The panelists agreed that bank gap financing was preferable to equity because it was usually cheaper, but bank gap usually would finance no more than 20 percent of the budget. “First-time directors are the hardest to finance,” notes Heidi Jo Markel of Eclectic Pictures. Markel was recently in Louisiana as the executive producer on Olympus Has Fallen. Independent films also face challenges for financing, says Dama Claire of Ease. “Independents are valued less (for financing) than studios due to recapture risks.” One look at Emmett-Furla Films, and it’s evident that not all independent films face these challenges. Jeff Begun of the Incentives Office notes, “Randy (Emmett) could be the poster boy for independent film.” “I started with really small movies— straight-to-video titles,” says Randall Emmett of Emmett-Furla Films. Emmett has produced over 70 films, many of them in Louisiana,

Heidi Jo Markel, executive producer of Olympus Has Fallen.

including The Expendables, Broken City, and The Tomb. “It all comes down to the script. We were able to find better scripts over the years, which attracted better directors, which attracted higher-end cast.” The market is improving, but pre-sales for films are still hard to come by unless you have a long track record and a stellar cast. While gap financing may be difficult for indies and first-time directors, tax credits are Randall Emmett, a funding source accessible to most producer of Rambo, filmmakers as long as the The Expendables, and program’s criteria are met. more than 70 films. Currently, 40 states in the U.S. offer some form of tax incentive. Additionally, many foreign countries have film funds or incentives, as well as cheap labor and a favorable currency exchange. “I made movies in Bulgaria for many years,” says Emmett, “and I like the U.S. much better. The incentives are so diverse here. I think you should fight to keep movies made in the U.S.” “It’s really important to do due diligence,” warns Claire, “particu-

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larly when trying to navigate the various tax credit programs. Sometimes a tax credit looks bigger than it is.” Ease has tried to help with this by creating a budgeting software program that analyzes the financial advantages of shooting in the various tax incentive states. “Without tax credits today, we’d have far fewer productions. I believe it’s fiscally irresponsible to not use tax incentives. You have to be smart when putting a film together,” says Emmett. “Our investors won’t let us make a film without incentives.” Most filmmakers and producers feel this way, which is why Louisiana has become such a popular filming location. “Louisiana is the best incentive state,” proclaims Claire. “The credit is 30 percent both below and above the line for Louisiana spend with no caps on talent or directors. An additional 5 percent (for a total of 35 percent) for local labor is available for below the line. Local labor credit above the line is available up to the first million.” “It’s an easy tax credit,” says Markel of Louisiana’s incentive program. “Recently on Two Guns, we split shooting across two incentive states,” says Emmett. “We shot 80 percent in Louisiana and 20 percent in New Mexico. As long as you hit the minimum Louisiana spend of $300,000, you can mix incentives.” He adds, “I shoot in Louisiana all times of the year, even when humidity is 100 percent and no one else is shooting. But during the season when big films are shooting, someone without experience in the state might have problems finding crews.” Louisiana has the oldest tax credit and some of the deepest crews, but there is a learning curve to using the credits most effectively. Knowing the busy season and when to book studio space and crew early is important. “You pull great crews,” notes Markel, who also recently filmed Playing for Keeps at Millennium Studios in Shreveport. “I don’t read tax code,” says Emmett. “Jeff (Begun) and Dama (Claire) are a great resource. They walk you through this stuff, introduce you to the (film) commissioners. They can really help you through it all.” “In my opinion, Louisiana is the best state, particularly for bigger-budget films,” he concludes. “You look at the volume of films being shot there, everything qualifies! I’m in Louisiana 80 percent of the year.” LFV

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LOUISIANA FILM & VIDEO MAGAZINE

AN INDUSTRY THAT CONTINUES TO GROW STORY AND PHOTOS BY GARY MICHAEL SMITH GUEST COLUMNIST

ilm researchers and historians Susan and Ed Poole are no strangers to the industry—within Louisiana or elsewhere. For four decades they have achieved the largest collection of Louisiana movie posters ever assembled, which is detailed on their website and bookstore, LearnAboutMoviePosters.com. Ed and Susan Poole This site holds an impressive collection of more than 200,000 pages with more than 3 million visitors a year. The Pooles also penned the reference text Collecting Movie Posters, and even maintain a database at MoviePosterDatabase.com, which holds approximately 95,000 cross-referenced film posters. Additionally, they created and maintain HollywoodontheBayou.com as the authority on Louisiana film history. Susan and Ed specialize in film accessory information that is hard to find, such as tracking lithographers/printers, poster artists, logos, plate numbers, NSS documentation, and movie still production codes. Moreover, they recently released their 15th book, Louisiana Film History—A Comprehensive Overview Beginning 1896. This unique reference lists all films totally or partially shot in Louisiana since the inception of cinema, and chronicles the general history of film in the U.S., moving through various decades in Louisiana, and is illustrated with posters of the major films. The last decade is 2000 to 2012 with a final chapter that details the boom in filming in Louisiana, and includes explanations of how this came to be. Ed took some time to give a personal perspective on his and his wife’s ongoing research and archiving within the Louisiana film industry. Gary Michael Smith: You just released your latest book on Louisiana film history. How long have you two been involved in such research? Ed Poole: Susan and I have been conducting film accessory research for more than 30 years. And 34

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remember, we don’t have anything to do with the production of film. We start documenting when a film is finished, so we see it from a completely different viewpoint. As a researcher, I believe that the focus is all on new production, and the state is forgetting about Louisiana film history. If you look at California and New York, each have a huge number of research facilities for filmmakers, students, researchers and tourists, while these areas are overlooked in Louisiana. GMS: How would such an undertaking benefit the state? EP: Let me give you a couple of examples. From the filmmakers’ points of view, they rely on location managers to find specific places for their films. We are already getting calls asking where specific scenes were shot from older Louisiana films because they liked the location. But no records were kept on it. Finding such locations results in happy filmmakers, which is good for the state. From the academic point of view, we are getting calls asking if certain films were made in Louisiana because they can’t find any records. Currently, any serious research has to be done out of state, meaning we’re sending people away from Louisiana instead of keeping them here. Texas is making huge strides toward becoming the film industry research center for the South since Louisiana has been negligent in this area. From a tourist point of view, when you go to California, how many people go on tours to see where films were shot? Multitudes! And one of the major industries in Louisiana is

while we personally collect Louisiana material, up until last year our work was from a national and international perspective only. When we realized that there was no research here in our state, we started on a quest to make sure this information was saved. GMS: As a researcher, how do you feel about the state’s approach in handling the film industry? EP: Overall, the state is doing a fantastic job bringing the film industry to Louisiana. But

Ed Poole

tourism. Why do we turn away the additional tourists who would come to Louisiana for our fantastic film industry? There should be a central place for everyone to be able to go for research. Since the state has overlooked this area, we are doing our best to put this together before the information is completely lost. And while we are assembling and maintaining this data as fast as we can, it will be quite a while before we can get into such areas as preservation and restoration. GMS: When you talk about the need for preservation and restoration, can you give an example of what you mean? EP: Yes, one example of something needed would be the formation of a Louisiana Film and Accessory Preservation Society. You have all types of historical preservation groups in Louisiana except one for the abundant film industry. This could be a non-profit organization made up of anyone interested in preserving our great film history that would try to locate, preserve, and restore Louisiana films and accessories. Once restored, they could loan material to various schools and organizations for exhibits and educational purposes. They also could raise funds for placing markers on shooting sites and for educating residents and visitors, thereby benefiting tourism without taxing the state. GMS: Aren’t there classes on this type of operation?

Susan Poole

EP: There are, but not in Louisiana. We know the companies that do preservation of both film and accessories. We just need to find a way to bring them here to teach our people how to do it. GMS: Don’t the colleges get into that? EP: The colleges have made major advancements in providing support for the film industry, but unfortunately they haven’t made it to the research and preservation areas yet. GMS: How do you get that aspect into colleges? EP: We’re trying numerous ways. Last year, we started giving a one-hour presentation on

Louisiana film history to historic organizations and libraries. We currently are working with the Baton Rouge library system to schedule presentations for early next year. We also are putting on the first complete exhibit on Louisiana film history in February at Nicholls State University in Thibodaux. It will run from February 4 through June 21. We’re hoping the exhibit will generate more interest in research and preservation. Also, we have put up a free call-in phone line to help those interested in Louisiana film history. LFV Gary Michael Smith can be reached at gms@ garymichaelsmith.com.

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SPOTLIGHT ON:

ST. JOHN CENTER SOUNDSTAGE

The St. John Center Soundstage has hosted a number of productions since it opened, most recently 2 Guns.

STORY BY MEGAN RYBURN, COMMUNICATIONS MANAGER, RIVER PARISHES TOURIST COMMISSION

he St. John Center Soundstage in LaPlace has become one of the premier film studios in Louisiana, most recently hosting Mark Wahlberg’s 2 Guns. An open and comfortable atmosphere coupled with a welcoming staff makes St. John uniquely appealing. “The St. John Soundstage is an amazing place. It’s everything all in one,” said construction coordinator Glenn Miller, who has worked on numerous projects at the facility. “They have ample parking, the employees are very efficient, cater to every need, and always a pleasure to work with. It’s the only soundstage with AC that is controlled by a computer unit.” Only 25 minutes from downtown New Orleans, the St. John Center Soundstage is located in the heart of New Orleans Plantation Country. Because the facility dually serves as the office for the River Parishes Tourist Commission, clients have access to all of the historic, beautiful plantations along the river road. The St. John Center was not always the production headquarters that it is today. During the construction of St. John’s Parish Center, concerns were voiced that rental fees alone could 36

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not maintain and operate such a the birth of St. John Center large facility. The Parish began Soundstage and the facility has investigating additional uses. since hosted a vast array of At the time, film scouts who productions, both commercial were in the area began showing and film. Recently, the popularity interest in using the facility for film of the Center has grown substanproduction. It was determined tially as St. John has hosted over that film production would be the 12 large-scale productions in the Megan Ryburn (left) and ideal ‘additional use’ for the facillast 2 years. Paul Aucoin with the River ity. The Center was still under “We are very proud of the Parishes Tourist Commission. construction during Hurricane quality of the St. John Center Katrina, which created a necessary delay that Soundstage,” said Paul Aucoin, chairman, gave the Parish an opportunity to upgrade the River Parishes Tourist Commission. “Everyfacility to meet the needs of the film industry. one who has filmed here has been pleased with The first film to use the Center was The Curiour product and the assistance we provide.” LFV ous Case of Benjamin Button. At that time, it was For more information, visit www.thestjohncenter.com or call the largest set built in Louisiana, encompassing 866-204-7782. the entire Center (25,000 square feet). This was

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HOLBROOK MULTI-MEDIA CELEBRATES 35TH ANNIVERSARY AFTER 35 YEARS OF AWARD-WINNING AUDIO, VIDEO AND FILM PRODUCTION, HOLBROOK SETS ITS SIGHTS ON CONTINUED GROWTH NOT JUST FOR THE COMPANY, BUT FOR THE ENTIRE INDUSTRY.

olbrook Multi-Media, Inc. sets the bar for full-service production companies. This November marked the company’s 35th anniversary and the start of a new Holbrook look, focus, facility and generation of leadership.

In 1977, Holbrook Multi-Media had humble beginnings, starting in New Iberia, Louisiana, as a music jingle production company. And while other local companies struggled and failed, Holbrook prevailed and soon became a major audio production house in the Gulf South. “We were fortunate, producing awardwinning jingles, TV image campaigns (including “Hello Acadiana”), and writing film post scores for regional and national brands,” said founder Bob Holbrook, Sr. “This success in 1982 allowed us to buy-out a major video/film production company. That launched us into the film production business overnight.”

Holbrook crew on location in Lake Charles (2004).

Bobby Holbrook II shooting national DOW “Great Stuff” commercial with Sony F65.

Bob Sr. and Doug Kershaw work on a Louisiana State Tourism production, Louisiana Love Affair, written by Kip Bacqet (1977). 38

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Over the last 35 years, Holbrook has continued its quest for quality, producing hundreds of top television commercials for major regional and national brands, as well as music videos and audio productions for local and national artists. Their lighting and grip department has supported major Hollywood hit movies, while their pre- and post-production staff has helped to create major films and HD productions from script to screen. Holbrook’s advanced experience and technical knowledge has not gone unnoticed by major equipment manufacturers. For over 20 years

now, Holbrook has served as a beta test site for six major audio equipment brands, as well as pre-testing and reviewing the new C300 HD+ Cinema camera by Canon, prior to its release. Sony has even reached out to Holbrook as a result of a Web site launched by Bobby Holbrook II, TheF65project.com. This site features test reviews, tips, tutorials and much more on Sony’s latest 4K monster camera, the F65 and soon F55. “We’ve been flying under the radar in the eyes of statewide filmmakers for a long time, but now we are relaunching the brand with a new Web site and plans for a new facility that are going to shake things up,” said Holbrook II. “I want to give anybody and everybody the chance to allow Holbrook to help them with their production, regardless of budget. We intend to be the first and last resource you’ll need for your next production... of any type.” Now with a focus more on production, Holbrook has begun the initial stages of building a major soundstage and studio production facility. This incredible state-of-the-art Holbrook home will house multiple HD/4K edit suites, a color grading suite, recording studios, DAWs, a

Bob Sr. and artist George Rodrigue shooting 90 mini-docs on George‘s paintings.

full scale 4K viewing theater, multiple lighting and grip truck packages, soundstages with a green screen and a white infinity stage, all available for filmmakers, photographers, ad agencies, out of town production teams, as well as indie and big-budget films. In addition, Holbrook intends to offer offices and production space for other industry-related companies, hosting an entire creative community. “We love Lafayette and feel this area deserves a facility of this caliber,” says company founder, Holbrook, Sr., who intends to continue doing marketing consulting for major businesses and brands across the U.S., while turning day-to-day management over to his son. After 35 years, a passion for the highest quality production still flows. LFV Sammy Holbrook mixes national 2013 Coca-Cola jingle.

The new Holbrook mega-facility is expected to be completed by 2013-2014. For more information on Holbrook Multi-Media, visit www.HolbrookMultiMedia.com or call 800-809-2725.

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PROTECTING YOUR SCREENPLAY – WGA VS. COPYRIGHT OFFICE STORY BY MURRAY ANTHONY ROTH, ESQ. GUEST COLUMNIST

ver the years, it has become commonplace for screenwriters to register scripts with the Writers Guild of America (WGA) as a means of protection. The WGA has established a registry for this purpose, and many screenwriters have a mistaken belief that WGA registration alone fully protects their rights. This is not completely true because registering only with the WGA (and not the U.S. Copyright Office also) will limit the writer’s rights should an infringement suit become necessary. As most writers know, copyright protection begins when an author creates a work by fixing it in a tangible medium of expression. Therefore, the right to your “copy” begins immediately upon creating the work on paper or by other tangible means. The problem is proving when the writer created the work, which is why registration at some level is vital. Although WGA registration provides a means to prove a claim of authorship and prove the completion date of the script, the benefit of WGA registration is more procedural than legal. Registration with the WGA does not provide any statutory or legal rights to the writer, which are the most important should an

infringement lawsuit become necessary. On the other hand, registration of a screenplay with the U.S. Copyright Office creates “prima facie” evidence of copyright, which means that the burden of proof is shifted to the alleged infringer in an infringement suit. In other words, the alleged infringer must come forward with evidence to prove that his/her work was created before the date of the U.S. Copyright registration. Registration with the WGA alone does not provide this shift of the burden of proof, which can be extremely important in a litigation setting. Further, §412 of the U.S. Copyright Act mandates that a plaintiff in a copyright infringe-

IN ORDER TO PROPERLY PROTECT ANY SCREENPLAY, A WRITER SHOULD ALWAYS REGISTER THE WORK WITH BOTH THE WGA AND THE U.S. COPYRIGHT OFFICE.

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ment suit cannot receive compensation for attorney’s fees or statutory damages unless the work was registered with the U.S. Copyright Office before the infringement commences. Consequently, if the screenplay was registered only with the WGA, the writer will generally have sufficient evidence to obtain an injunction to prevent further exploitation of the story. But what about all the money that the infringer made from the work before the infringement was discovered? And what about all the attorney’s fees necessary to get the infringer to stop? If the work was not registered with the U.S. Copyright Office, the writer will generally not have a claim to these damages or reimbursement for these costs. Therefore, in order to properly protect any screenplay, a writer should always register the work with both the WGA and the U.S. Copyright Office. The procedures for both are relatively simple and relatively inexpensive considering the amount of work necessary to create a quality script. Should an infringement occur that generates substantial income for the infringer (sometimes even a studio or a major producer), litigation at some level will probably become necessary to protect the writer’s rights. And, if an infringing (but financially successful) movie is illegally created from a writer’s work, the writer may choose compensation as opposed to forcing the cessation of the financially successful project. Registering with both the WGA and the U.S Copyright Office provides the maximum protection and leverage needed to protect literary rights, and you should always do both—always! LFV Murray Anthony Roth, Esq. is an attorney in Louisiana and CEO/co-owner of Upperline Entertainment, LLC.

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FILM DAY AT THE EXPO: LOUISIANA ACTORS & FILM INDUSTRY CONFERENCE STORY BY LOLITA BURRELL, CHIEF OPERATIONS OFFICER, THE EXPO

or three years, actors wanting to work in the Louisiana film industry attended the Louisiana Actors Expo for current information and resources. This year, the event expanded to include filmmakers and screenwriters. The September 28th Film Expo premiere marked an evolution of the Louisiana Actors Expo to The Expo: Louisiana Actors & Film Industry Conference. The Film Expo, devoted to screenwriting and film production, grew organically to meet the market demand for information, resources and opportunities of aspiring writers and filmmakers. Panels and presentations included “The Treatment Project,” “Casting Your Film,” “Shooting in 3D,” “The Cut – Editing for Filmmakers,” and “Film Finance Forum.” The day culminated in the highly anticipated “Pitch to Producers,” where three lucky filmmakers had the opportunity to pitch their projects to working, professional producers for a chance to get their projects green-lighted.

Panelists of “The Treatment Project” showed that those who can, do—and teach. As college faculty and/or private coaches, all four Writers Guild of America (WGA) screenwriters have shared the wealth of their experiences with film students nationwide. Their advice to Expo attendees on how to craft treatments and market their scripts was rich with takeaways for all. Among

the featured screenwriters were Steven Esteb, screenwriting coach and director of several independent films, including Favorite Son and the acclaimed Dirty Politics; Henry Griffin, filmmaker, University of New Orleans professor of screenwriting, and director of the multi-awardwinning short film Mutiny; Mari Kornhauser, writer for HBO’s Treme, who recently wrapped production on a reality TV pilot for A&E Network and teaches screenwriting at Louisiana State University; and Suzanne Weinert, president of Flatiron Pictures, who interned for director 42

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presented “Casting Your Film,” featuring an interview with LaTanya Potts by Shawn Summerer. Potts, a native Louisianan and Los Angeles principal casting director with over 17 years of experience, has worked at Paramount, CBS, Warner Bros. and Fox. Summerer, Breakdown Services’ Web site training and support coordinator, is a screenwriter and graduate of the prestigious USC film school. Filmmakers interested in cutting-edge technology were treated to Sean Fairburn, CEO of MIO 3D, and Ben Balser, Louisiana’s only Apple-certified Final Cut Pro Shawn Summerer and LaTanya Potts present “Casting Your Film.” Editor. MIO 3D offers state-of-theart, affordable 3D technology for which Fairburn recently filed a patent. A specialist in Digital Cinematography, Fairburn is renowned as an expert in advanced camera technology and the only United States Marine ever to win an Emmy Award for cinematography of actual combat. Balser presented “The Cut – Editing for Filmmakers,” which included key tips for how to shoot a film for easier and more dynamic editing. Balser is a digital media instructor at Delgado Community College in New Orleans, and founder and director of LA Cajun Cut FCPUG.

Ron Howard, was a faculty member at both Fordham University and The School of Visual Arts in NYC, and is on the Advisory Board of the SXSW Film Festival. The panel moderator was Christopher C. Brown, an independent filmmaker who serves on the New Orleans Film Society and Film Festival Advisory Board. The Expo’s title sponsor, Breakdown Services,

Brent Caballero, Ryan Glorioso and Lisa Marie Dupree

Christopher Brown and Ashley Charbonnet

Lolita Burrell and Shanda Quintal joined forces to expand this year’s conference.

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The “Film Finance Forum” panel consisted of top film production professionals in Louisiana and Los Angeles, and featured an invaluable discussion on various funding options, from leveraging tax credits to guerrilla financing. Panelists included attorneys Eric W. Thompson, Esq., legal representative for and former vice president of Feature Film Development at Twentieth Century Fox; Will French, Esq., co-founder and president of Film Produc-

The Treatment Project panelists Henry Griffin, Mari Kornhauser and Steven Esteb.

tion Capital; and Rob Wollfarth, Esq., counsel at Baker Donelson. Jason Hewitt, executive producer, contributed his expertise as CEO of Films In Motion, one of Louisiana’s premier production and post-production companies. Entertainment Partners’ Melissa Wiseman moderated the panel. Wiseman is a manager of EP Financial Solutions and has over nine years of production accounting experience, which has included working at Warner Bros. and Walt Disney Studios. Getting a production deal is all about the pitch. Three filmmakers experienced a rare opportunity to pitch their projects to industry

professionals and business developers. The panel featured Michael Arata, producer/executive producer of more than 20 internationally distributed feature films as well as a host of awardwinning short films and documentaries; Danny Bigel, founder of The OIX and independent film producer, who has produced 12 feature films with many of Hollywood’s most established stars and directors; Suzanne Weinert, an accomplished producer who also participated on the “Treatment Project” panel earlier in the day; and Carol Markowitz, financial expert and entrepreneur-in-residence at globally recognized New Orleans-based The Idea Village. Steven Esteb, who was also a “Treatment Project” panelist, returned as the moderator of “Pitch to Producers.” Participants received invaluable feedback, contacts, and networking opportunities, which is what The

Liz Atherton , Nicke Krause and Shanda Quintal

Jim Gleason and Shanda Quintal

Expo is all about. And as the Louisiana film industry continues to grow, The Expo: Louisiana Actors & Film Industry Conference will continue to develop programs and opportunities to support it. LFV Lolita Burrell joined forces with founder Shanda Quintal in the expansion and production of this year’s conference and will oversee future growth of the Expo. In recent years, she was honored as a “Woman of the Year” by New Orleans CityBusiness magazine for spearheading the “New Orleans Does Business Right! Corporate Governance and Ethics Conference.” Lolita is also an artist and was named one of “New Orleans Jazz Divas” by Offbeat magazine, in 1999. She graduated from Tulane University’s A.B. Freeman School of Business, and is a licensed CPA with 15+ years of internal auditing experience. She is an alumna and board member of the New Orleans Regional Leadership Institute. For more information, visit www.louisianaactorsexpo.com.

ACTORS EXPO: INSIGHTS FROM THE FRONTLINES While this year’s Louisiana Actors & Film Industry Expo expanded to include filmmakers, screenwriters, and other integral film professionals, there was still a major focus on actors. Attendees were able to take part in discussions and presentations such as: “Headshot and

Resumé Critique,” “Casting Director Critique,” “Actors Access and EcoCast Demonstrations,” and “Don’t Get Cut: Editing for Actors.” In addition, actors had the opportunity to meet with professionals in their chosen field for critique and feedback of their work during the “Agent Meet-

ings and Casting Sessions” portion of the event. The Actors Expo day was truly invaluable to aspiring and professional actors alike. Here’s what some of the attendees had to say about this year’s event:

“This was my second year attending the Actors Expo. The Expo experience was beneficial for me to network with fellow actors, and offers the opportunity to hear from and speak with casting directors. The workshop most interesting to me is always the Q&A for the casting directors. I also enjoyed the Editing for Actors workshop. If you want information about auditions, the Actors Expo is an opportunity to hear firsthand from top casting directors in Louisiana, Los Angeles, etc.”

“I always love to see more people at these events. I think the info that an actor can get here in NOLA is invaluable. Talking to casting directors, agents, critiques. Actors need to be here to take part in these events to learn more about the business of being in this business.”

—KIM BAPTISTE, LOCAL ACTRESS

—JASON TERESI, ACTOR’S ACCESS (EXPO SPONSOR)

“I thought it was great! As actors we need events like this to help us reach out to people who are important. In most cases you just can’t show up at people’s offices and chat. This was an environment where everyone was happy to be there and didn’t mind mixing and mingling with each other. The casting session was essential. Probably the most powerful part of The Expo for me. The chance to have real casting directors critique my work letting me know my strengths and weaknesses was awesome.” —MICHAEL CAROLLO, LOCAL ACTOR 44

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“The Expo gets bigger and better every year. Previously, our programming was specifically geared toward actors. This year, however, we added an additional day for filmmakers; yet, the purpose of The Expo stays the same: to give actors, and now filmmakers, the resources and information they need to move forward in their careers. All of the panelists and presenters are invested in the Louisiana film industry and welcome the opportunity to provide invaluable insight to aspiring and experienced actors and filmmakers. It’s this dedication, on the part of the panelists, guest speakers and attendees, that will continue to keep Louisiana in the top three states for film production.” —SHANDA QUINTAL, EXPO FOUNDER AND DIRECTOR

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FROM HOLLYWOOD SOUTH TO INDIA’S KOLLYWOOD, DP INSPIRES DIRECTOR TO UNCOVER FIVE GEMS

Five Gems shot on location in Chennai.

he film Five Gems arrived in Hollywood with filmmaker Artemis Preeshl for the 10th annual DIY Film Festival in March 2012. The Do-It-Yourself Film Festival celebrates artists who make films. The short film Pancha Ratna (Five Gems) won Honorable Mention in Best World Cinema. Pancha Ratna focuses on the contemporary decisions that Indian youth make about marriage and dowry, which sometimes result in murder or suicide. Dowry is an amount of money that the bride’s family is expected to give to the groom’s family in an Indian marriage. Although dowry became illegal during India’s independence in 1947, most women are expected to provide a dowry. If the dowry is not sufficient, the husband’s family may pressure the wife’s family to give more money or property. Because 70 percent of Indians are Sudra (servant) caste and 10 percent are Brahmin, class issues also cause difficulties for couples. If dowry is insufficient, 46

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or the family objects to marrying outside of caste, the wife may be induced to kill herself or she may be murdered. Shot in South India, this Tamil film with English subtitles was created in partnership with Liquid Gems, a Bharatanatyam/Western dance suite. Kalakshetra Foundation, the “Juilliard of India,” featured the film and dance presented side-by-side to explore the concept of intervisuality, storytelling in diverse mediums. When filmmaker Artemis Preeshl applied for a Fulbright Senior Research Fellowship, New Orleans director of photography Keith Gruchala suggested the city of Chennai. Gruchala had worked in India and has since

invited Indian filmmakers from Chennai to shoot in New Orleans. Fortune smiled and Preeshl secured an invitation to conduct visual literacy research at Kalakshetra in Chennai. Preeshl assembled a team from Gruchala’s contacts, Kalakshetra dancers, and actors and crew from the University of Madras’ street performance company, “Muktam” (“courtyard” in Tamil). “Artemis and I met through a mutual friend and professor of theatre at Tulane University. We collaborated on a short film project that we shot in Louisiana in a beautiful bayou environment, even though it was originally set in basically English countryside. I was pleased with how it turned out—very reminiscent in feeling to a Terrence Malick-type piece,” says Gruchala. “Artemis told me of winning a scholarship grant to study and collaborate in India, and because I spent nearly two years living and working there, I advised her on the working conditions and helped put her in touch with artists and collaborators there—particularly in Chennai—that could be of help to her.” The film’s theme emerged from a girls’ chorus who sang Pancharatna Kriti, the Five Gems of the Hindu god, Ram. The five gems symbolized the idea that women are worthy to marry regardless of caste or socioeconomic status. During the concert, priests bathed Ram’s statue in rosewater, turmeric, sesame oil, coconut, river water, fruit, honey, milk, curd and sandalpaste in a ceremony called the Abhishekam. The flow of liquids became a metaphor of transformation for the female characters. In Five Gems, three villagers, Aishwarya, Vinodha and Sangeetha, contemplated marriage without dowries. Aishwarya supported her ailing father by making beauty products. Vinodha sold milk and Sangeetha sold coconuts. Arjun, an IT entrepreneur, returned to the village of his birth to start a literacy project with his friends, Raghu and Krishna. Aishwarya’s late mother had arranged an unusual marriage between Arjun, a low-caste sudra, and her Brahmin daughter, Aishwarya. His friend, Raghu, courted Sangeetha because his parents wanted him to marry a village girl. Krishna discovered

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LOUISIANA FILM & VIDEO MAGAZINE

Filmmaker Artemis Preeshl interviews a University of Madras (Chennai) actor.

his ex-girlfriend, Vinodha, in the village and won her love despite caste differences. When Ravi, Arjun’s half-brother, returned from prison for kidnapping and allegedly raping Sangeetha, he thought that if Sangeetha cleared his name, Aishwarya’s father would permit him to marry Aishwarya. The incensed

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Ravi murdered Aishwarya’s father. Durga, the mother goddess to whom Aishwarya prayed, induced Ravi to throw himself onto the funeral pyre of Aishwarya’s father. The three couples created a literacy project sponsored by the Indian Government. When the team shot on location in a Tamil

village near the archeological site of Mahabalipuram, permissions had been obtained. A drunken motorcycle gang interrupted the initial shooting of the funeral. Imagine the goddess Durga chasing the murderer Ravi through a harvested field even as the production executive Soundar Bairavi gamely pacified the gang! Fortunately, holy cows mitigated the feud by eating the funeral grass. The next day, a new location was secured: the cremation was shot in a picturesque orchard. The Kollywood (Chennai) film industry suited Five Gems. The songs with classical and Bollywood dance made Pancha Ratna stand out. Rarely do short films include musical numbers. The comedic approach to social justice played well, due to Bharatanatyam gestures, which became in-jokes for the informed audience. When Arjun indicated his strength, good looks and status, the audience spontaneously applauded, laughed and cheered. Tamil film director Abdul encouraged U.S. distribution because a cinematic treatment of Hindu rituals would interest a Western audience. Kollywood producer Zac Samuels called the production “enjoyable.” Pancha Ratna engaged both an Indian audience and the DIY Film Festival in Hollywood. Since Five Gems, Keith Gruchala has made two feature films in collaboration with Indian artists, one of which was featured in American Cinematographer magazine. LFV

FILM INDUSTRY BOOM = OPPORTUNITIES FOR SECURITY COMPANY STORY BY BRIDGETTE HOMER, LOFTON STAFFING AND SECURITY SERVICES

ince Louisiana’s explosive growth in the film industry, Lofton Security has been given the opportunity to team up with numerous production companies and provide them with on-site security. Lofton works closely with location managers to ensure all needs are met and promptly executed. In the last four years, Lofton has seen its business grow tremendously in the film industry. So, in our effort to support this growing industry, we have really put an emphasis on tailoring our services to meet the client’s needs. Lofton has developed a special training course to educate guards on the film environment and expectations needed to successfully secure a location site, both pre- and post-production. Because this business can be scattered while shooting in different location sites or cities at one time, Lofton put together specialized billing for each location site, making it easier for their accounting department to process invoices. These small improvements have helped both the client and Lofton in making the process a smooth and enjoyable experience. One of our biggest challenges to overcome

was being able to promptly staff guards on short notice, and we have honored these requests without fail. It’s nothing for a location manager to request additional guards or change the location site multiple times, which can make scheduling tricky for everyone involved. But having a complete understanding of the challenges our clients are faced with has paid off for our growth in film security. It certainly takes a willingness to have a complete understanding of how this industry works, and if you’re not able to embrace the fast and furious, surviving the industry can take a toll on your business. This has certainly encouraged our security team to get involved and engaged with our guards on

every project, not to mention just how much fun it is to meet the cast and crewmembers and see what it’s like in the life of the film industry. It’s a compliment to Lofton, knowing that these production companies trust us to guard their most expensive equipment, explosives, parking, and cast and crewmembers. We can provide 24/7 security coverage and on-call services, even if the production is shooting in two different cities. No matter how early or late, if it’s a holiday or weekend, we are available to support our client and guards. I would laugh and tell my clients, “We know what we’re getting into.” The film industry can be a moving target—and we know that’s what we’re signing up for when we take on the project. In my opinion, what makes our partnership work is that Lofton understands that our clients have other options when it comes to security, and this is why we take pride in our business and will go the extra mile for our clients. Lofton is truly grateful for every opportunity we’ve been given. Working in the film industry has proven to be rewarding, exciting and fun! LFV

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Tel: (504) 835 -1685 / Fax: (504) 835 - 5773 / E-mail: mail@thebattman.com ISSUE SIX 2012

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RECAP: FEAR FÊTE HORROR FILM FESTIVAL T he Dead Carpet VIP party at Spanish Moon set the tone for a weekend of horrifyingly good times. Free drinks, an award ceremony, and some great ’80s music afterwards made for an exciting occasion.

The following day, a line outside the Rave Theatre in Baton Rouge wrapped around the outside of the building as an anxious crowd awaited the grand opening of the festival on Friday, October 5. The audience was treated with 18 freaky flicks over the course of the weekend, followed by Q&As hosted by the cast of the TV show Haunted. Congratulations to all the filmmakers for their hard work and to the team of Fear Fête for a successfully scary weekend.

With film screenings, Q&A sessions, parties, and an awards ceremony, Fear Fête scared up a lot of fun this past October in Baton Rouge.

LOUISIANA FILM & VIDEO MAGAZINE

ISSUE SIX 2012

Behind the lights, cameras and action are a remarkable group of talented kids training in TV and Film under the instruction of Debby Gaudet.

Introducing the next generation of Louisiana Actors ... info@youngscreenactors.com ISSUE SIX 2012

LOUISIANA FILM & VIDEO MAGAZINE

LIFF HOSTS “MOVIES ON THE MISSISSIPPI”

n October 27, the Louisiana International Film Festival (LIFF) hosted “Movies on the Mississippi” Louisiana Horror. Attendees enjoyed complimentary red carpet photos and screenings of two famous Louisiana-made horror films, including the black and white 1964 classic Hush…Hush, Sweet Charlotte and the more recent box office smash, The Last Exorcism.

House, Ring Marketing, Toon Squad, Baton Rouge Recycling Office, American Audio Visual & PSS Sound, Ham’s Radio, Upper Line Event, Dixie Marketing, Lt. Governor’s office, Event Rental, and Lofton Security Services.

Halloween weekend, and cuddled up with blankets, pillows and their family and friends to enjoy the screenings. Local food truck company Sno Dat LIFF Director of Programming Alan provided warm refreshAbrahams and LIFF ments including hot Executive Director Chesley Heymsfield. chocolate, chili and fresh jambalaya. Presenting sponsors included: Louisiana Technology Park, LouisianaTravel.com, Noesis Data, and CBBR, Inc. Foundation. Event sponsors included: Beard Brothers Lighting, Sno Dat, USS Kidd Destroyer Ship, City of Baton Rouge, Houmas

Louisiana Film & Video Magazine Executive Editor Andrew Vogel (left) and New Orleans actor Ruben Juarbe.

LIFF presented “Movies on the Mississippi” as part of its Film Series Program for 2012. With the beautiful backdrop of the Mississippi River after sunset, the outdoor screening was held right in front of the USS Kidd Destroyer Ship. Many attendees came in costume celebrating

Shanna Forrestall and Tony Bentley, who both starred in The Last Exorcism.

Alan Abrahams, LIFF Director of Programming, and Toon Squad.

LIFF will soon open submissions for its first annual film festival, scheduled for April 2013. For more information, visit www.lifilmfest.org. LFV

OUT IN FRONT

From concept to completion...

Contact Attorneys: Tom Clark Baton Rouge 225.378.3246 tom.clark@arlaw.com

The Adams and Reese Entertainment and New Media team covers the legal arena within the entertainment, film, music, and book industries including intellectual property, technology, and new media. From concept to completion, we are advocates for our clients in contract preparation and negotiations as well as in purchasing, selling, licensing, protecting, and enforcing intellectual properties.

Meg Alsfeld Kaul New Orleans 504.585.0426 meg.kaul@arlaw.com www.adamsandreese.com

LOUISIANA FILM & VIDEO MAGAZINE

ISSUE SIX 2012

L&R SECURITY SERVICES, INC. 3930 OLD GENTILLY ROAD NEW ORLEANS, LA 70126 PHONE: (504) 943-3191 F AX: (504) 944-1142 TOLL FREE: (800) 324-4672

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3930 Old Gentilly Rd | New Orleans, LA 70126 phone: (504) 943-3191 | fax: (504) 942-1142 | email: info@lrsecurity.com

ISSUE SIX 2012

LOUISIANA FILM & VIDEO MAGAZINE

FILM FESTIVAL FLIX

NATIONAL FILM SERIES COMES TO NEW ORLEANS IN NOVEMBER

ilm Festival Flix, a national monthly event that brings critically acclaimed movies and filmmakers to you, presented The Athlete on November 12 at The Zeitgeist Multi-Disciplinary Arts Center. With help from sponsors BreakThru Media magazine, Maison St. Charles, B97, and Louisiana Craft Beer, The Athlete drew a packed

house. Attendees enjoyed Cajun/ Creole fare from Montrell’s Bistro and Tin Roof brews from LA Craft at the red carpet pre-reception. Following the feature film, B97’s Stevie G interviewed writer/ director Davey Frankel about the making of the movie.

Bruno Doria and Sarah Smith.

The Athlete’s writer/director Davey Frankel hits the red carpet.

LOUISIANA FILM & VIDEO MAGAZINE

ISSUE SIX 2012

Ian Casselberry, Vicky Illk and Nick Gomez.

Film Festival Flix will be back monthly with new films and stars. Visit www.filmfestivalflix.com for more.

I.A.T.S.E. LOCAL 4 78

Motion Picture Studio Mechanics of Louisiana & Southern Mississippi Louisiana motion picture tax incentives aren’t news. They’re a success story. IATSE Local 478 now has 1,100 members and we’re still growing. These dedicated men and women work in various crafts in the art department, construction, crafts services, electric, first aid, greens, grip, locations, paint, props, set dressing, sound, special effects, video assist and wardrobe. We have one of the strongest and longest lasting incentives systems around which means these professionals have worked on hundreds of movies over more than ten years. They bring experience to your production. They raise the bar and lower your bottom line. If you’re looking for your next location, look no more.

432 N. ANTHONY STREET SUITE 305 • NEW ORLEANS, LA 70119 OFFICE (504) 486-2192 • FAX (504) 483-9961 • iatse478.org ISSUE SIX 2012

LOUISIANA FILM & VIDEO MAGAZINE