AZ FILMMAKER
September/October 2013 November/December 2013
VOL.11 ISSUE ISSUE21 VOL.
Souldier
Documentary with a Cause
Steven Spielberg & John Williams Join The Phoenix Symphony Incorporating Wireless
Audio Systems 90’s Arizona Music Scene Immortalized
Stuck Outside of Phoenix
The Making Of
A COUNTRY
CHRISTMAS
CONTENTS
AZ FILMMAKER AZ FILMMAKER 6
SOULDIER A DOCUMENTARY WITH A CAUSE
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STRONG ARM OF THE LAW
ARIZONA FILMMAKER MAGAZINE, LLC PUBLISHERS
A STRAY MOVIE REVIEW LOCKER 13
David Sipmann Joseph D. Becker
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David Sipmann
EDITOR IN CHIEF
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22 24
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THE FILMMAKER AND THE BUILDER
STUCK OUTSIDE OF PHOENIX
PROFESSIONALISM IN THE BUSINESS OF ACTING
SOCIAL MEDIA FOR THOSE IN PRODUCTION
WHAT MAKES A GREAT MOVIE
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I GOTTA DO WHAT? A GUIDE TO SELLING YOUR MOVIE
INCORPORATING WIRELESS AUDIO SYSTEMS INTO PRODUCTION
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BREAKING INTO ACTING
A COUNTRY CHRISTMAS
ART DIRECTOR Joseph D. Becker
CONTRIBUTORS (Alphabetical) James Alire Joseph D. Becker Jon Bonnell Lynette Carrington Marcelo Dietrich Holly Foreman Debbie Jennings Eva Lewis Paul Vernon
MOVIE REVIEWS Bill Pierce
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JOHN WILLIAMS & STEVEN SPIELBERG
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November/December 2013
FILMPRODUCTION
THE IMPACT OF FILM IN ARIZONA Statistics
The production and distribution of films and television programs is one of the nation’s most valuable cultural and economic resources. The industry is a major private sector employer across the nation, with salaries above the national average. The industry is a nationwide network of tens of thousands of small businesses, located in every state in the country, the majority of which employ ten people or fewer. The industry is heavily reliant on vendors in other industries all over the country. Each year, film and television production activity takes place in all 50 states, the District of Columbia and Puerto Rico. Additional information and updates can be found at the state’s film commission website at http://www.afci.org/browse/united_states.php. ARIZONA Economic Impact of the Industry The motion picture and television industry is responsible for 9,285 direct jobs and $355.0 million in wages in Arizona, including both production and distribution-related jobs. Nearly 1,700 of the jobs are production-related. Movie & TV Production Spotlight • 2010-2011: During the course of 2010 and 2011, 23 movies and 8 TV series filmed in the state. Movies include Under the Bridge, The Coalition, Valley of the Sun, Goats, Killer Holiday, To Kill a Memory, and The Forsaken. TV series include Invention USA, Downsized, Desert Car Kings, Raising Sextuplets, Sunset Daze, The Police Women of Maricopa County, and Baseball Wives. Production Incentive: No significant tax incentive for production. Film Office: Arizona Film Office
A NOTE FROM ME You can see from the sidebar to the right that many famous movies have been shot in Arizona. Since losing our tax credits many films that are set in AZ are shot outside of AZ. Companies who were talking about building sound stages here, pulled out when we lost our tax credits. Some people don’t believe in tax incentives but, movies bring $100’s of millions into our economy. Giving a little tax break is not a high cost for a big boost in our local economy. Don’t sit on the sidelines. Get involved and help us get a new bill passed that will bring jobs to Arizona. Joseph D. Becker Art Director Arizona Filmmaker Magazine
MURCH’S RULES FOR FILM EDITORS Walter Murch is a highly respected film editor and sound designer known for American Graffiti, The Godfather, Apocalypse Now, The English Patient, Cold Mountain and more. Innovative and inventive, he changed the way movie editors work several times in his career. If not for him, we wouldn’t have 5.1 surround sound. According to Walter Murch, when it comes to film and film editing, there are six main criteria for evaluating a cut or deciding where to cut. 1. Emotion - How will this cut affect the audience emotionally at this particular moment in the film? 2. Story - Does the edit move the story forward in a meaningful way? 3. Rhythm - Is the cut at a point that makes rhythmic sense? 4. Eye Trace - How does the cut affect the location and movement of the audience’s focus in that particular film? 5. Two Dimensional Place of Screen - Is the axis followed properly? 6. Three Dimensional Space - Is the cut true to established physical and spacial relationships?
Murch made emotion the most important of all of categories in the list. That should say something to you. The audience is always first in an editor’s mind
The mall scene in Bill & Ted’s Excellent Adventure was filmed at Metrocenter Mall in Phoenix, Arizona in 1987. Some of the extras in the scene were kids from a local high school, Cortez, while they were there on their lunch break. They also used a Tempe bowling alley. What do Back to 3 the Future: Part III and John Ford’s 1946 film, “My Darling Clementine” have in common? Clementine was shot in, and parts of Back to the Future III were shot in Monument Valley, AZ The Quick and the Dead was shot in Mescal, AZ Parts of Three Kings were shot in Phoenix, Casa Grande, and Tucson The Scorpion King was shot in Yuma, AZ while 3:10 to Yuma was not shot in AZ at all. They opted to shoot in NM.
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SUCCESSSTORY
SOULDIER
The Documentary... A Passion and a Cause by Eva Louis
“Souldier,” The Documentary has been born out of love and sacrifices have been made to represent this filmmakers passion and cause. There are four significant faces you will see in the documentary. Here is a little more about who they are. One of the main representatives shown is Sahika Riley, PAC; she is the Founder of Horse Rhythm and has been one of the most vocal supporters of veterans issues in addition she also provides equine therapy to help support Vets through her organization. David Berceli, Ph.D., of the Berceli Foundation, has been “Souldier,” The Documentary is something more than just a film, it is the telltale story of so many veterans that have served our country and found themselves in unknown territory in their own home, their own land, their own skin and without proper support, have found themselves experiencing things
that most would never tolerate. Russ Littlefield, Director, and Paul Digestion, Producer, of Excelsis Film Group have put together a masterful depiction of a veterans experience and series of stories of the plight of many veterans along with highlighting the organizations and those who have identified this situation for the many veterans as dire and needing immediate attention. This documentary was made in the community of Phoenix and the surrounding area. There is much that is unseen and unknown about the plight of the veterans even with all the organizations that exist to help, there are still challenges and there are still gaps. Russ Littlefield, the director, a former vet, knows of this too well. He along with the production team and cast was driven to make this story come to life through blood, sweat and tears. 6 AZ FILMMAKER
involved since the beginning. He has been one of the top supporter and consultants on the development of Souldier. His foundation was created to help unravel the toxic debris of trauma (i.e. those who may be suffering from PTSD). “Patches” is one of the homeless vets, that is documentary is centered around. He was living in his car and in need of medical / psychological help. Following the interview with “Patches” the “Souldier” production team was not able to find him again, but his story epitomizes the challenges and struggle many vets face. “Mr. Henry,” is a veterans’ advocate here in Arizona who helps vets get through the tangle of the VA system and the results he gets makes him one of the most important “go to” people for vets with difficult issues. Another significant marker to this film, is the individuals who have gotten involved to help make this happen. BRUCE LOWE (www.brucelowe.com) of Cinema Show
November/December 2013
Music (www.cinemashowmusic.com), is the Grammy Award winning music composer for the documentary. Bruce has significant credits to his portfolio, which include the likes of Steve Wonder, Madonna, Sir Paul McCartney, Michael Jackson, and many more. Excelsis Film Group is excited about this collaboration and truly has found Bruce Lowe has the magical touch when it came to creating the score and the supporting music or the documentary. “Souldier,” The Documentary is slated to premier on Veteran’s Day, November 11, 2013 to announce its worldwide distribution and officially screen the first time at Harkins Valley Art Theater in Tempe, AZ. Scheduled for release in 2014, Michael Ingram and Christian Burgess, PARADE DECK-DIVINE RETRIBUTION FILMS have planned the distribution strategy across the U.S. (LA, NY, NJ, Miami, Seattle…to name a few cities) with a series of screenings and film festivals, as well as broadcast / cable and web platforms. Many volunteers and sponsors have joined in to help support and to make this possible to bring a voice to the vets that this documentary is about. Current sponsors include Thrive Public Relations, Packages From Home, Horse Rhythm Foundation, Cinema Show Music, and Bercelli Foundation who have all been supporters of “SOULDIER, THE DOCUMENTARY” since its inception. Additional sponsors at this time are Mesa Community College, OrcaTek Photography, and Caffe Boa. To learn more about the documentary and get your tickets for the premier, go to main website www.souldierdocumentary.com.
November/December 2013
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MOVIEREVIEW
A Stray
Intriguing suburban mystery conceals, reveals the beast within by Bill Pierce
A Stray (2013) Directed by Hayden Blades I have been a big fan of the filmmaking team of Synthetic Human Pictures from the moment I saw their award winning film “Drain” screened at Filmstock Film Festival back in 2009. I couldn’t get enough of their stuff and they always delivered a consistent product; the genre and direction changed with every film, yet the overall look and imagery remained a constant. Each production, whether it was a happy family film or a depressing dystopian short film always incorporated a brooding, dark and grainy look, a miasma that was punctuated by stark shadows and harsh colors, with characters that were often cold and indifferent. The filmmakers have loaded ‘A Stray’ with everything I like in their films, plus a few new gimmicks I could have done without. The film incorporates 8 AZ FILMMAKER
a boatload of plots and sub-plots in order to divaricate the viewer from exploring any one direction or solitary assessment. The extremely short Q&A after the film and subsequent followups with the filmmakers at Hanny’s afterwards failed to yield any solid commitment as to what the film was really about. The response to my queries was mostly that the curious images and overall, immensely ambiguous film was simply and deliberately left open for the viewer’s interpretation. The posters and cover art ever so subtly point the viewer in the direction of a modern day werewolf movie, complete with man versus beast as an increasingly obvious theme, and a final, family saving show-down in the desert with a fearsome, marauding creature. But there is far more going on in this little film then silver bullets and furry monsters with glowing eyes. The beast is internal. The beast is
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within. The animal explodes from its domesticated, meticulously maintained flesh in a snarling uncontrollable rage that is the culmination of rejection and disaffection. There are several very telling yet very subtle scenes that reveal not just the origins of the beast, but the simple and ultimately destructive force behind the animal rage. Gabriel Althaus (Joe Flowers) is a single father raising his six-year-old daughter Katie (Myrsadyse Pangburnin) in their suburban home. Every day for Gabriel is a struggle and a lesson in futility. He meticulously records every expense in his ledger and aligns his identical shirts and pants in the closet. But the world has conspired against him as his cedar fence attacks him every time he takes out the trash, tearing his clothes and putting splinters in his hands. The dog belonging to his neighbors Chuck and Millie (Ronald R. Bush and Laura
Durant) keeps him up every night, and reports of wild animals attacking pets and people fill the headlines. Besides barking dogs, Gabriel’s nightly terrors include glowing eyes staring into his home, violent and bloody dreams and worst of all, endlessly humiliating memories of his wife Evelyn (Mina Mirkhah). The whereabouts and fate of Evelyn Althaus is never fully revealed. The alluring, erotic and haunting Evelyn only appears in flashbacks. And when she does, they are violent, cruel, demeaning and disparaging encounters that leave the ‘man’ of the house whimpering like a puppy. On his nightstand rests a copy of Sartre’s “No Exit.” Here the filmmakers have the right reference but the wrong philosopher. If we truly are watching a modern envisioning of “No Exit,” it is an extremely loose and superficial adaptation of the play. What must be concealed somewhere on Gabriel’s bookshelf is Hermann Hesse’s “Steppenwolf” (1927) with a page turned down on the “Tractate of the Steppenwolf.” Where Harry Haller searched for a balance between his sedentary seduction of the bourgeoisies and his psychedelic immersion into impulsive pleasure, now Mr. Althaus finds himself in a contemporary, suburban American adaptation of this theme. The years have waned on his relationship with his beloved, and not even ten years into their marriage, the spell is broken, the magic is gone and the love is lost. Not just coolly, but cruelly. Everything he has built and maintained to sustain the ideological image of love and family is now his derision and destruction. The idyllic family on the cover of ‘Modern Living’ mocks him for his failure and impotence. In memories of marriage,
Gabriel still seeks the affection of his wife; the young, beautiful and passionate woman he married with a black flowering tattoo that blossoms from the small of her back to the nape of her neck. Not only are his advances spurned, they are met with cruel mockery and humiliating contempt. In a very quick yet revealing scene, the eunuch is on his knees looking up at the heartless harpie. A demeaning finger on her wedding ringed hand hovers an inch from his nose as she sneers, “so this is you.” She lets him label himself as ‘pathetic’ for his ineffectual efforts at demonstrating manhood; his job, his ledger, even his family. She mocks him for the desire he still holds for her, and then destroys him for so willingly caving in. In another significant scene, Gabriel discovers his daughter Katie dressing the family dog “Cowboy” in women’s clothes (a pink leopard print shirt) and styling his hair. Father admonishes his daughter that it is wrong to treat the poor mutt this way, since “he wants to look more manly.” “But he’s NOT a man” she replies. “I know” he says, “He’s your dog.” The flames of passion that burn in Gabriel for his wife are unmercifully extinguished in an amber urine asperity. At night, when the moon is full, the beast is no longer contained within the white picket fence, and ventures into the desert, confronting himself in violent and bloody loathing and ultimately dispatching the tormenting creature. In blooddrenched freedom Gabriel triumphantly ascends high above suburbia, but only momentarily, descending again into his eternal primal hell. The carcasses of dead animals he discovers in the neighborhood are not evidence of evisceration, but manifestations of his own emasculation.
I liked just about everything in this film, and the deliberate misdirections meant to lead us A Stray were a clever and a rewarding distraction. But the deliberate directions, when they did occur, were insulting and lame. In case you missed it, there is a piece of the puzzle missing. To help you visualize what that means is an actual puzzle displayed with (gasp!) a piece missing. But, just in case you missed that subtle sledgehammer, there’s a conversation in the hardware store between Gabriel and Katie about a puzzle (“The Great Wave”) with a piece missing. Still missed that? No problem, she ominously and externally whispers, “You lost the piece.” While the Bud in my beer helmet has become warm, and the corndog in my hand is now cold, I still thought I was doing jes’ fine keeping up with these here Synthetic Human fellers. “A Stray” is a superbly shot film and a welcome return from the supremely talented filmmakers at Synthetic Human Pictures; a close nit filmmaking team I have admired from the very first film of theirs that I raved about (“Drain” 2008). The length of “A Stray” (30 minutes) is somewhat unfortunate, only because it will severely limit the opportunities this film will have to screen at festivals and other venues. The acting is outstanding, and once again Ms. Mirkhah is smoldering and smokin,’ returning to the dangerously exotic, icy seductress she plays so effectively. Hit these guys up and get your copy of “A Stray,” a film that explores not just the darkness in the sunlight, but the power of independent filmmaking. A film with imagery fueled by emotion and experience; an ultra-real descent into rejection and madness and a superbly surreal immersion into the horrific banality of suburban misery.
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FILMPRODUCTION
THE FILMMAKER AND THE BUILDER Why People See Film As A Bad Investment by Joseph D. Becker
They need to be done, and should be done by professionals. Filmmaking is a team effort. A builder has a product, houses. He builds one, sells it, then moves on to the next one. To many filmmakers, this is a foreign concept. All they have is one idea and a need to make it into a film. Or, they just want to be a filmmaker and have no idea whatsoever about business.
It’s Not Just Filmmaking, It’s The Movie BUSINESS
A lot of people see film as a bad investment. Part of the reason is that filmmakers don’t see filmmaking as a business. But, seriously, it’s no different than a company that builds houses, or cars, or whatever. In my experience, far too many filmmakers don’t understand the term Movie Business. They are artists who want to make movies. Not businessmen who want to run a business. And therein lies the problem. A filmmaker has to be a businessman, or hire businessmen to round out their team. Artists sell their paintings, sculptures, or whatever it is they create. Whether they like it or not, their creations are products. So, don’t be offended when someone calls your film a product. Don’t be averse to calling it a product. A product is something you produced. If it’s a good product, it means people will want it and appreciate it. Every artist wants their art appreciated. An architect could be considered an artist. I’m sure he feels the same way about his creations as any artist would. He creates functional art. I am not great at paperwork. I’m not great at writing contracts. I’m not great at storyboarding. So, I have someone who is good at that stuff do those things. 10 AZ FILMMAKER
KNOW YOUR BUSINESS. A builder understands his objective. Build a house that will make a lovely home. Something the buyer will fall in love with. A filmmaker needs to make a film that people will pay good money to see, fall in love with, and tell their friends about. It’s easy to make a movie. It takes skill to make a great movie. Shoot for great.
This happens so frequently that it even showed up on the hit TV show Shark Tank. James Lavitola and Brian Pitt present a Fast-and-Furious style motorcycle movie called Track Days. They had a trailer and passed out popcorn. But, they had no script, no actors attached, no backers, no money… What can we learn from these unprepared wannabe filmmakers and successful builders?
“Business without profit is not business any more than a pickle is a candy.” —Charles f. Abbott BE PREPARED A builder has plans, and he budgets and buys materials accordingly. He will know the cost of building the house and exactly what materials and tools he will need to complete the job. He also has an idea of what profit he will make off of the house. A filmmaker has a script, and a storyboard. From that he makes a budget, gets some names attached, gathers some people who believe in his project enough to put some money in. You should know exactly what tools and materials it will take to finish the job. And you should have an idea of how much your movie is expected to make.
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PROMOTION A builder advertises. He will list his homes with realtors, advertise in the local papers... You have to reach your audience. There has to be budget for marketing and a marketing plan. Without marketing and distribution, your film is just a costly home movie. That’s why so many people think movies are a bad investment. That’s why people don’t know how to pitch their movie properly to investors. And that’s why so many movies fail to make money, or even get funding to get started. Start thinking like a businessman, or start a partnership with someone who understands business. Try looking at it from the investor’s perspective. He wants to see a business plan that shows the movie making money. He is interested in ROI. Make sure you can pay back your investors and give them a little profit. And make sure they can see that on paper.
Vanessa Siler
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AZ FILMMAKER 11
FORACTORS
Professionalism In The Business Of Acting by Debbie Jennings
I spoke about professionalism at an industry conference because its an industry where we are all freelancers, even those of us with an agency. We are all self-employed. So what do we know about the business world, and how do we properly behave to get hired? If you think it doesn’t make a difference, think again! I think the #1 reason I get hired and RE-HIRED is because of professionalism. I come from a corporate background, so to me, professionalism comes second nature. But what I found in the acting world, is many people do not come from that environment, and they get a bad rap simply because they don’t know any better. How do you change old habits? Pretend your in an office environment! This is a job, not a hobby. I used to work for CEO’s and Vice Presidents. We are actors, we can “Act” professional. What does that mean? It means I am going to sound like your mother for a minute, but these things will make a difference. • Dress professionally and bring required wardrobe • Pay attention to details on call sheet about
hair and makeup as well • Show up on time, plan on 15 min early if you aren’t familiar with the area or its during rush hour • Call if there is a traffic issue • Take the call sheet with you! • No complaining, drama, or unnecessary chatter • Be courteous to ALL cast and crew • Bring your script and study, study, study! • Need a scene partner? Listen for the Director, but get far enough away from others as not to disturb anyone. • No cell phones/cameras on set. • If you bring one in, set to silent before filming then turn off completely once filming begins. • It’s usually ok to take non-production photos in holding areas, etc, but make sure it’s NOT while they are filming (nonproduction) and ask permission when taking photos with other actors. Especially stars! • Do not take production photos without permission. • If it is ok, with permission, keep flash off and keep to a minimum • If your too tempted, leave in the car or at home. • Its never ok to bring your cell phone on a Union set. • Listen more than talk, follow on set instructions and make sure you understand what is said • Don’t be chatting with your neighbor when the Director is trying to tell you what
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they need you to do. • Go above and beyond when you can think outside the box • Bring extra clothes • Always bring makeup/curling iron in case MUA doesn’t show • Grooming is important! • Bring something to read, not electronic devices if possible. (no iPods, iPads, or Laptops, but Kindles are ok) • Besides being disruptive, they can get stolen! • Smile! This is fun, right?! J J
I don’t have all the answers. Just doing my part to help you. Give yourself a break. I still make plenty of mistakes, all of us do - we are all human. Just learn and do better the next time. Be the absolute best you can and you will be a professional before you know it! Just remember, professionals hire professionals. Thanks and good luck! Deb https://www.facebook.com/ DebbieJenningsActor https://twitter.com/ActressDeb http://www.imdb.com/name/ nm4824944/?ref_=fn_al_nm_1 http://debbiejennings.biz/
What Makes a Great Movie?
FILMPRODUCTION
It’s Simpler Than You Think by Joseph D. Becker Part 1
Anyone can make a movie. It takes skill to make a great movie.
It’s true, anyone can make a movie. You can see that on Youtube, Netflix, or at your local theater. Anyone can make a movie. But, how many of them are actually fun to watch? How many of them keep their audience glued to the screen and immersed in the story? Sadly, the answer is, very few. Percentage wise, many more expensive home movies are made than real films, even though many of those expensive home movies were intended for the big screen. People have an idea, and they think they know what they’re doing, but they just can’t seem to pull it off. What’s the main reason most films fail? Everything. That’s right, everything. When it comes to filmmaking, everything matters. But, it’s not just in filmmaking. It’s true in home building, baking, brain surgery and rocket science. You don’t build a house but cheat on the wiring. You don’t bake a cake but, leave out the eggs. You don’t operate on a brain and forget to wash your hands…
sorrow, and their joy when they finally overcome all the odds and obstacles in their way.
EMOTE
Imagine a storyteller standing in front of a crowd, he’s waving his arms, his voice goes up and down, loud and soft, his facial expressions from wild to peaceful, to angry, to fearful… Now, imagine a storyteller, telling the same story, sitting on a stool in front of his audience, hands in his lap, his face expressionless, his voice monotone. So, what goes into making a great story come alive so that people want to see it again and tell their friends about it? EMOTION. That is the critical factor. How do you convey that emotion? In a film, you use EVERYTHING. You use the camera, the actors, the dialogue, the music, facial expressions, body language, effects, make-up, props, costumes, fog, anything and EVERYTHING.
DIALOGUE
The first thing you need is a story worth telling. A story needs a beginning, a middle, and an end. It needs a protagonist and an antagonist. It needs the protagonist to go through increasingly difficult and seemingly impossible struggles. There needs to be laughter, and heartache, triumph and fear. Hills and valleys, war and peace.
Once you have your story, you need to act out each scene and see if it’s believable. Would someone really say, “go to the store on the corner and get me two dozen grade AA eggs”? Or, would they be more likely to say, “pick up some eggs”? Less is often more. If it’s important to the story, be specific. But, if you can say it in fewer words, be concise. We don’t say everything we’re thinking. We say things quickly and in short sentences. Use everyday language, and communicate the essence.
In other words, life has to happen in that story. People have struggles. Everyone has struggles. We like to win. We like to overcome the daily struggles of life. A hero will give us hope. We experience their doubts, their pain, their
Let the action tell the story. You don’t have to say, “I’m going to have a beer now”. Just pour the beer. Your audience will see that. They don’t need you to tell them everything you’re doing. This is NOT radio so, let your audience see the
TELL A STORY
action, not hear it.
CAMERA
Now that you’re letting your audience see the action, think of how you’re going to show that action. A wide shot of the street shows it’s deserted except for two gunmen. People can be barely seen peering out their windows through drawn curtains. The gunmen look into each other’s eyes with steely determination. The clock strikes noon, and the gunmen draw. You see smoke from a gun, and then one man falls. How would you shoot that? How many shots did you see in that scene? You have the beginning establishing shot, a few close-up and/or medium shots of people timidly peeking out from behind closed curtains, close-ups of the eyes of the gunmen. Maybe a shot from behind one of the gunmen showing the other far away from between the legs… then a medium wide of each as he draws, a close-up of a smoking gun, and then, a head to toe of each, before one falls… You get to see the action, you get the feeling of dread, you see the fear in the people hiding, you see the, yup, steely determination, of the gunmen… You don’t even need any dialogue. The camera and the actors do all the work. The editor, the music, the foley, the SFX, the VFX… it all adds up. If the costume is wrong, or the gun is wrong, or the actors aren’t believable, the music is wrong… any one piece can mess up the whole thing. It all has to be right. to be continued...
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AZ FILMMAKER 13
FILMPRODUCTION
Incorporating Wireless Audio Systems Into Film Production by James Alire, edited by Holly Foreman
Wireless Microphones As stated before, there are many options to making your production audio setup wireless, but the first step in the signal flow is the microphone. Most film sets use two types of microphones, a shotgun mic and lav mics. Both are very valuable options to have and both can be used wirelessly.
In a world of advancing technology, being mobile is on the top of the priority list. Having a corded home telephone
seems foreign to most people these days. Likewise, the same holds true in the production audio world. The days of cables running all over a set seem like a thing of the past. But what options do filmmakers have in regards to wireless audio? Surprisingly enough, quality wireless audio is available in today’s market, and there is an actual benefit to using it. When using any type of wireless device or adapter there is always pros and cons. The key to a successful production is picking the best gear for the environment, and being able to balance any negative aspects – or simply accept and work around them. The one thing I have learned is the way you record audio on a production will change per shoot, per scene, and sometimes even per take depending on the issues you run into. When it comes to working wirelessly the biggest pro is, well, no wires. Being able to freely move is of the essence. Most of the convenience is because you can easily adapt your position to get the best recorded sound when a scene has a lot going on without worrying about your XLR cable getting coiled or tripping an actor or camera op. There are many other times when going wireless comes in handy. For example, you can have wireless mics on actors for wide shots when a boom mic won’t work, you can even run your audio out of a mixer wirelessly into a camera – removing the need for a breakaway cable. Recently I have also come across various adapters that you can use to control your wireless adapter with another wireless adapter.
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Interference when using digital wireless (Photo credit: Wikipedia)
On the other hand, the biggest con for wireless gear is batteries. Most wireless gear uses either rechargeable or regular batteries. No one wants to carry around a heavy pack full of batteries, or worse – not pack enough. Having to worry about battery levels before shooting a scene is just another layer of stress we don’t need on set. In addition to batteries, you have to worry about the distance between the wireless transmitter and receiver. If you go too far, the signal will drop completely and give you a sound similar to that of white noise.
Sennheiser SKP 300 G3 Plug-On Transmitter
The biggest issue in regards to wireless audio devices is RF (Radio Frequency) Interference. RF signals are the invisible signals used by many electronic devices in addition to radio, television, and cell phones to send wireless signals to their intended receiver. All of these devices can cause interference while recording and completely ruin a take. Having the option to scan frequencies for clean channels can be a very valuable option when picking the right gear.
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I don’t usually see shotgun mics being used wirelessly. The typical setup for most of the independent films I have been part of is a shotgun mic with a cable running to a mixer or recorder. If you are working as both boom op and the sound mixer, this wired setup isn’t that big of a deal, but if you are a boom operator and there is a separate sound mixer, being attached to that cable becomes a variable you (as the boom op) have to worry about rather than focusing on getting the best audio for the scene. There are some options to allow for this, and from what I have seen are widely used on major productions. Depending on the shotgun mic you are using, it probably requires phantom power, which makes using a plugin adapter more of a pain. Constant phantom power drains batteries. One of the lower end products available is the Sennheiser SKP 300 G3 Plug-on Transmitter ($530). It offers selectable frequencies and phantom power. On the higher end you have the Lectrosonics HM Digital UHG Wireless Plug-On Microphone Transmitter ($1,070). Not only does it offer the same phantom power and selectable frequency options, but the Lectrosonic transmitter uses a Digital Hybrid Wireless Technology. This technology converts the audio signal to digital before transmitting it wirelessly, overcoming the pickup of noisy artifacts introduced by analog transmitters.
If your shotgun mic doesn’t require phantom power, or you just need the use of a wireless handheld microphone, the available transmitters are much more wallet friendly. The Sennheiser SKP 100 G3 Plug-on Transmitter ($299) offers the same benefits as the SKP 300 model, minus the phantom power option. Keep in mind that you also need a compatible wireless receiver in both situations plugged into the mixer or recorder to properly complete the signal flow.
Sennheiser ew 112-p G3 Camera Mount Wireless Microphone System with ME2 Lavalier Mic
A Lavalier mic (aka “lav mic”) is a general go to when a boom or shotgun would get in the way of the shot, usually in wide shots. In my experience, it is the most widely used mic with a wireless system. They are usually secured to an actor, but I’ve even used them stationery – by putting one in a flower pot to keep it disguised in a scene with a lot of action. Lav mics can be used as wired mics and sometimes they are a valuable option, but you can get wireless systems similar to what you would use for the shotgun or handheld mic. Since wireless lav setups are much more common, the options out there are less expensive than the other wireless tools out there.
If you are a filmmaker on a budget, the Audio-Technica PRO 88W-830 Wireless Audio System ($170) is a very cost effective wireless system. The only downside to this system is having only two frequencies to choose from. If you are on a set where both frequencies are giving you issues, then you will have to find another way to record your audio. A middle of the road option, and the one I personally use on a regular basis, is the Sennheiser ew 112-p G3 Wireless Audio System ($630). This wireless setup includes 1680 scannable frequencies to minimize RF interference, and integrated EQ and Soundcheck modes. If however, money is no object, then the Lectrosonics UCR411 Wireless Audio System ($3,187) is more up your alley. Like the plugon adapter, the Lectrosonic uses the digital hybrid technology to make RF interference a non-issue and includes 256 user-selectable frequencies.
Lectrosonics UCR411 Wireless Microphone Kit
Mixer and Recorder Wireless Audio Options Not a lot of people use wireless options when it comes to their mixer and/or recorder setup. The biggest reason is that wired is much more reliable and easier. Although, if you are a sound mixer set
up on a stationary stand, or a boom op/ mixer combo trying to boom, being attached to a camera op to sync audio can invite issues. Some tackle this downfall with what is called a Wireless Hop System.
Basically it is a wireless setup that transfers 2-4 audio channels from a single receiver to a single transmitter. It is a great way to send a stereo mix to a camera without being attached, if your project requires an audio mix to be fed to the camera. Zaxcom ENG Stereo Wireless Camera Link However, these setups are not cheap. The Lectrosonic D4T Transmitter ($1875) and D4R Receiver ($1875) combo features 4 channels, digital or analog inputs/outputs and a resolution up to 48k/24bit. The Zaxcom ENG Stereo Wireless Camera Link ($4,145) only does stereo, but allows for over 200 scannable frequencies, has an optional remote for adjusting gain, and can record up to 6 hours of audio internally rather than relying on the audio to only be recorded when the camera is recording. In addition, having to use a setup like this on some of the lower market cameras can actually create audio issues since audio circuitry on inexpensive cameras degrades the audio quality. There are some other not so well known accessories for various mixer/recorders out there today. If you already own a
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AZ FILMMAKER 15
FILMPRODUCTION
Incorporating Wireless Audio Systems CONTINUED Sound Devices 788T or 788T-SSD, there is an adapter out there called the Sound Devices CL-WiFi, which is a hardware accessory that allows you to control your recorder with a direct device to device WiFi connection from any Apple iOS device. Some features that you can control from the app are access to transport controls, viewable time code, editing meta data, and changing the routing of tracks.
Sound Devices CL-WiFi for 788T
When it comes right down to it, whether you make the leap to wireless will be a decision made based on cost, situation and a weighted balance of flexibility,
quality, and control. There is equipment for every budget, but some of the cons will likely outweigh the benefits if price point is your main concern. If your production team can afford the high end pieces, you’ll find yourself more flexible on set, with happier actors and directors, and you’ll likely spend less time in post. An accomplished musician and consummate professional, James Alire brings education, passion, and a wide range of experiences to the sound table. He has functioned as an IT specialist, recording engineer, and sound mixer/ editor in many arenas. He lives in Chandler, AZ, where he is expanding his company, 5J Media, to include web design and audio/sound services for musicians and filmmakers. For quotes or to hire James for audio and web services contact 5J Media.
ARIZONA FILMMAKER MAGAZINE is always looking for new material. If you’re a filmmaker and want to share your experiences, thoughts, tips and tricks, please contact us and let us know. We prefer short articles with photos. A full page with no pictures is about 700-750 words. The more pictures you supply, the fewer words you have to write per page. FACEBOOK www.facebook.com/AZfilmmaker TWITTER https://twitter.com/AZfilmmaker
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AZ FILMMAKER 17
FILMLEGENDS
Entertainment Industry Icons
JOHN WILLIAMS and STEVEN SPIELBERG Visit Phoenix
The Phoenix Symphony Benefit Concert Was a Sold Out Event By: Lynette Carrington
With names like John Williams and Steven Spielberg, how could any event involving these two Hollywood icons not be a sell out? On Saturday, September 28th, Maestro John Williams and Steven Spielberg visited Phoenix in a once-in-a-lifetime show celebrating the magic of music in film.
21-time Grammy Award and five-time Academy Award-winner Williams donated his services to conduct the Phoenix Symphony in an unforgettable evening of music from the movies. Almost all of the selections were composed by Maestro Williams himself. Arrangements played included his iconic scores such as “E.T.”, “Star Wars”, “Indiana Jones”, “Schindler’s List”, “Jaws”, “Harry Potter” and many others. Williams and Spielberg both made special appearances with the Phoenix Symphony to benefit the Phoenix Symphony’s Education and Community Engagement programs. The benefit concert featured the iconic music scores of Williams (plus a few other songs) along with an assortment of film clips. Spielberg also took the stage to discuss some of the films and the music that served to enhance the onscreen action. The evening started off with a VIP and sponsor reception which was
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by John Williams. They were recordings that were used by Spielberg and Lucas back during production of Raiders of the Lost Ark to match up music with footage that had been filmed.
attended by The Phoenix Symphony Board of Directors. 150 guests at the private reception enjoyed cocktails and hors d’oeuvres. After the reception, more than 2,200 attendees experienced a night that Phoenix won’t soon forget. Williams conducted The Phoenix Symphony in playing Star Wars, Harry Potter, Jaws, Schindler’s List and much more. Five curtain calls culminated in the theme from Raiders of the Lost Ark being played as the final selection. This was particularly poignant for me, as I happen to own the original physical recordings of the main theme for Raiders of the Lost Ark as conducted
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Ben and Barbara Kloss of Phoenix attended the performance. Ben Kloss stated, “There was definite magic in the air. With a full-house, I was struck by how everyone seemed to be on the edge of their seat… a palpable sense of excitement. When Mr. Spielberg came out, the place went crazy. Aside from the celebrity, there was a definite sense of, ‘Wow, two masters at their craft, are standing here in the flesh reminiscing about their journey together, and we are in-on-it.’ It was just surreal.” The night went from having people on the edge of their seat to having people in tears. “The defining moment of the evening, in my opinion, arrived during the solo from the “Schindler’s List” piece. There are no words to
describe it...just pure emotion. The room was stunned. Aside of the birth of my son, this was probably the most beautiful thing I’ve ever experienced-truly transcendent,” Ben Kloss explained. The crowd couldn’t get enough and there were five curtain calls. The fundraising evening concluded with a post-concert VIP Meet and Greet of a select group of 50 people. Guests enjoyed desserts and champagne and
Williams and Spielberg posed for photos and signed autographs. Both Williams and Spielberg donated their time for the evening and over $600,000 was raised during the event.
Phoenix Symphony. “My sincere thanks to our special guests for donating their time and tremendous talent and to our event sponsors for demonstrating a commitment to music education.”
“What an honor to have such an incredible benefit concert with two of the biggest names from Hollywood Maestro John Williams and legendary film director Steven Spielberg,” said Jim Ward, President and CEO of The
The Phoenix Symphony’ Education and Community Outreach includes community and school performances and music educational experiences at various locations across the state. To learn more about The Phoenix Symphony’s outreach efforts visit http:// www.phoenixsymphony.org/educationand-community/our-mission. For tickets and season information, visit www.phoenixsymphony.org. twitter.com/LLCarrington.com lynettecarrington@hotmail.com 602-717-0806 480-924-2344 November/December 2013
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FILMPRODUCTION
Strong Arm of the Law by Paul Vernon
I have been a fan of film and TV westerns ever since the early 60s, having been brought up on a diet of Bronco, Cheyenne, Lawman, Bonanza and the like. Even way back then I thought that it would be great fun to make a western of my own. Planning started last October. I had already established friendships with a couple of guys in California and Arizona who shared common interests in most things western. Dan lives in Camp Verde, knew of a few good possible locations and was in contact with some stunt actors down in Phoenix. Phil lives in California, and was keen to help out with props, some expenses and looking after the welfare of our actors – if we found any!
A Texas Ranger out to avenge the death of his father
Ten years ago I heard this track from Texas country music artist Aaron Watson called Strong Arm Of The Law. It was locked away in my brain for future reference as it was perfect if ever I should decide to make that western! Last September 2012, as I hit my 59th birthday and my 60th year, I decided that I would love to mark the anniversary of my 60th birthday by having made my own short western – in Arizona – cowboy country. I am an amateur photographer, and photography and video is a hobby of mine. So one can understand when many of my friends and family members thought I was mad – a hobbyist Brit going to make a western in Arizona! 20 AZ FILMMAKER
FOTOR, a killer on the run from the Strong Arm of the Law
The script was drafted using the lyrics of Aaron Watson’s track as major inspiration.
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An ex-work colleague and friend, Carol, helped cross the t’s and dot the i’s and worked on the storyboard.
Pa, gunned down in cold blood
production, shot in colour on location in Arizona. In late May 2013, with script, storyboard, costumes, props, locations, accommodations, transport, cast, crew and equipment all sorted, I stepped off the airoplane at Sky Harbor Airport in Phoenix, confident and with the sun shining. This was going to be fun.
“No fella in the wrong can stop a fella in the right who keeps on a-comin’!”
Permission was granted to use the track for purely private use and possible festival entry, and as long as I did not reap any financial gain from the project.
And fun it was!
We placed ads in the Arizona free press and on the internet for potential cast members and I went out on a scouting mission in March 2013 to look further for suitable locations and to meet up with my potential cast.
Strong Arm of the Law is a revenge western about a Texas Ranger searching for the killer of his Pa, set to the Aaron Watson music track of the same name.
And the result? Strong Arm Of The Law – a western in the form of a music video.
Long Synopsis
As a young boy he witnesses the cold blooded murder of his father. Growing up he learns to shoot, intent on finding his father’s killer. Now a man he leaves his distraught mother to find the outlaw, wearing his father’s badge and carrying his ivory handled Colt 45. Face to face there is a classic shoot out. Justice meted out, he can carry on - a Texas Ranger ‘till he takes his last draw.’ The film ends as it begins by the calm of the river.
Strong Arm Of The Law 2013 https://www.facebook.com/ StrongArmOfTheLaw http://www.paulv.co.uk
It is an independent, not-for-profit
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FILMPRODUCTION
Stuck Outside of Phoenix
Moving in the Right Direction by Holly Foreman Photos supplied
will recognize the flannel shirt and Converse kicks uniform of the early rocker as Hote gets a phone call from a friend in the burgeoning Seattle grunge scene. With hindsight, we recognize the significant crossroads this 21-year old faces – and we wonder throughout the next three days whether he will make the leap and drive that old VW Beetle north or stay in the Valley of the Sun to see his story play out.
Executive Producer Nico Holthaus
At their core, most musicians are hopeless wanderers. Whether they wander the chord changes, the bar circuit, or set off cross country in search of their place in the scene, they are constantly looking for what’s next. Stuck Outside of Phoenix captures the spirit of the nomad in us all, while staying true to the breakout roots of the ‘90s rock scene in none other than Tempe, Arizona. Based on the 2003 book written by Art Edwards, Stuck doesn’t spin its wheels. We first meet Josh Hote as he’s noodling around on a Fender Jazzman in his room at his mom’s house. Everyone
Hote, expertly played by Brandon Hannifin, finds himself in an odd limbo. He has told his band mates he
stays in town one more night to see a concert with the elusive Lola, endearingly portrayed by Kat Bingham. Hote struggles between watching his hometown dreams take steps toward reality and the choice he has made to be part of the Seattle movement. At times we feel he is Receptive and energetic crowd at the premier of Stuck desperately trying to find Outside of Phoenix at the Tempe Pollack Cinema redemption in his home town, something to love, something to make him want to stay. is quitting in favor of the Seattle scene. His few belongings are packed, but he Several times during the making of Stuck, Executive Producer Nicholas Holthaus had reason to think it would never see the big screen. Intense personal cost and unusual production issues made getting the film into post-production seem insurmountable. But after some bizarre interference, heartbreaking losses and setbacks, Stuck finally premiered at Tempe Pollack Cinema on May 2, 2013 to an enthusiastic crowd of almost 400. Actor Donald J. Steward said after watching the movie, “I’ve never seen a film that so accurately nails what starting a band is like.”
During taping of a scene in which BlueBottle rocks out for an appreciative audience
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Doug Hopkins’ bloody “Ghost Guitar”
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It has since played to positive reviews at other Arizona locations, including the inaugural Jerome Independent Film Festival in June of 2013, and has received several distribution offers. Stuck returns for one last local showing at Tempe Pollack Cinema October 26th. Especially with so many transplants living in the Phoenix area, local moviegoers strongly identify with this story of being at a crossroads and hoping to make the right choice. The film’s environment is the Tempe music scene, which burst wide open in the early ‘90s with such majorlabel bands as the Gin Blossoms, Refreshments, Pistoleros and Dead Hot Workshop. Holthaus was able to use his years of intimate knowledge of that time to ensure a virtual reenactment of the rock scene that brought international attention to Tempe. Many of those bands’ songs are featured in Stuck, as is the storied guitar of Doug Hopkins, who was a member of the Gin Blossoms and Pistoleros. Amicably dubbed the “ghost guitar”, it’s the instrument on which massive pop hits “Hey Jealousy” and “Found Out About You” were composed. The guitar visited pawn shops after Hopkins’ suicide in 1993, and then was found and returned to Hopkins’ estate during the production of the project. It bolstered its ghostly legend when, upon its case first being opened by Holthaus, a disabled car alarm shrieked for no apparent reason. During the final night of filming, it cut open Holthaus’s thumb. Similarly strange occurrences have been attributed to Hopkins’ guitar when in the hands of others. It sits in its rightful place today, with family, and has harmed no one since. Associate Producer Susan Rienzo said of the film, “As an actress, I’d never seen a movie build from the ground up before, from all the pre-production meetings to the finished product on the screen.
Stuck Outside of Phoenix movie poster
All that goes into it, it’s nothing short of miraculous. If it had been anyone else producing, this film would never have been made.”
The combination of efforts from local crew and actors with the intense dedication of Holthaus brought a film to the screen that not only chronicles a key time in Tempe history, but reminds us all of the wanderlust of youth, love, and the open road.
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FILMDISTRIBUTION
I Gotta Do What?!!
A GUIDE TO SELLING YOUR MOVIE by Jon Bonnell Part 1 of a continuing series
Everyone has an idea for a blockbuster film. Everyone in Hollywood has a script ready for production. I’m even betting that quite a few of you reading this article today have a film already in the can. The decisions made in development will determine whether those films will ever see the light of day in DVD or theatrical distribution. The unfortunate reality is that many will become very expensive home movies and those that do not may or may not result in a return on investment for its investors. From a distribution standpoint, the success of your project is determined before you ever roll camera and shout Action! As with all things, you have to build on a strong foundation. Luck was on my side with my first film, Match(dot)Dead. I blindly stumbled into an opportunity that turned into a day job in the film distribution industry. What I learned there made me realize the magnitude of decisions I had and had not made before, during, and after filming. You aren’t reading this because you want to end up with an expensive home movie; so let’s get a couple of things clear coming out of the gate. No one is an overnight success and without the studio industrial complex behind you, you’ve no guarantees for success. That means you need to follow a pretty simple formula. It may not achieve “high art” but it will maximize your potential to sell. 24 AZ FILMMAKER
Trust me, being able to walk into meeting with a film in distribution under your belt is a plus. Being able to approach your next meeting with an investor, agent, or manager with a profitable film under your belt is even better. The artistic risks you long to take will have to wait until you have proven yourself as a reliable investment. Consider this—Steven Spielberg did not come out of the gate with Schindler’s List. A film career is just like any other. If you work smart and hard you can create a niche for yourself that will generate you a living wage. If you continue to work smart and hard you will become respected in your field and given more artistic freedom along the way. Sorry, that’s just the way the world works. So it’s time to ask yourself a difficult question, a question that could determine whether filmmaking becomes a career or an expensive hobby. Do you WANT to sell your movie? If the answer is yes, then it’s time to get to work. PROFESSIONAL OR HOBBYIST? At some point in your life journey you made the decision you wanted to be a filmmaker. You found a group of like minded individuals and you began your journey. Perhaps you chose to go to film school and hone your craft under the watchful eye of instructors. Then again, perhaps you decided to learn the trade in the trenches. Both gave you real world experiences making short films. Both afforded you opportunities to gain credibility as a team player working as a production assistant in the trenches. If you’re reading this book hopefully it is
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because you’ve come to a fork in the road. Turn one way and you begin the journey toward becoming a professional filmmaker turn the other and you will enjoy filmmaking as a fulfilling, albeit expensive, hobby. The choice is yours. Make expensive home movies or saleable films. You will have complete artistic control as a hobbyist. As a professional, you must temper your artistic passion as you navigate the demands of investors and distributors. Don’t think I’m telling you to sell out. Keep your vision. Keep your artistic eye. It all helps. But you might want to think about: …casting your significant other in the lead role. Even if they are the best actor you know. …having your first film be a black and white film noir. …trying to do a romantic comedy with your friends. I’ll explain these and other considerations as we get to them. STAGES OF DISTRIBUTION You’ve probably learned about the stages of filmmaking and your stages for preparing for the sale of your film are no different. It definitely is NOT something you should wait until you are done with your film to consider. It is far too late by then. Preparing for distribution isn’t something that begins once you’re out of post production. In fact there are five stages of distribution. Five points along the journey of your film where your choices can make or break your ability to successful sell your film. • Development • Preproduction • Production • Post Production • Sale
At any point along the way your choices can inadvertently sabotage the process. I Gotta Do What?!!!! Is here to help you understand the choices that affect the saleability of your film because we don’t believe professional filmmakers should be making expensive home movies. THE MOVIE BUSINESS It’s not called the “Movie Art” or the “Movie Hobby,” it’s the Movie Business. I believe one of the reasons that so many filmmakers fail when it comes to distribution is because they’ve lost sight of the business side or don’t even want to consider it. Why? Maybe it’s because business and art have always been at odds. In fact business quite often gets categorized as evil by artists. After all, it tries to put rules, boundaries, and limits on everything you do, right? Obviously you need to engage your artistic/creative side while making your movie, but you need to keep your eye on the bigger prize and that is going to take a head for business if you if you want to make a living at this. There is an entire industry of people out there that will be your business head for you: agents, managers, producers. Unfortunately, most of them won’t talk to you until you have a track record. The first time filmmaker usually has to wear both the business and artistic hats. Even your lawyer (you do have one, right?) can’t make the decisions for you. They can only advise. Every successful filmmaker I’ve worked with knows there’s a time to be creative and a time for business. What I’m saying is that you need to allow both a creative process AND an analytical process at EVERY stage of your filmmaking. Do your homework. Lay the foundation correctly so that when it comes time for the sale you don’t have to redo everything. If you
build it into the process FROM THE START you’ll achieve your sale. IT’S WHO YOU KNOW This is the most important thing you need to learn and I can’t stress this enough: network, network, network. This should start before even the stages I’ve outlined and never stop. This business, more than almost any out there, is about who you know as much, if not more, than what you know. You are going to need help, insight, advice, and more through every stage of the process you are about to embark
Every successful filmmaker I’ve worked with knows there’s a time to be creative and a time for business. on and the sale and distribution is no exception. Surround yourself with people that both are willing to come with you on this journey and that have done it already. You’ll need both. DEVELOPMENT In this stage, the filmmaker finds a story. After identifying a theme or underlying message, the filmmaker works with writers to prepare a synopsis. Next they produce a step outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Then a screenwriter writes the screenplay. The screenwriter may rewrite it several times to improve dramatization, clarity, structure, characters, dialogue, and overall style. And this is where distribution starts to rear its head in the process. A film distributor, or preferably several, should be contacted at an early stage to assess the likely market and potential financial success of the film. Hollywood
distributors adopt a hard-headed business approach and consider factors such as the film genre, the target audience, the historical success of similar films, the actors who might appear in the film, and potential directors. All these factors imply a certain appeal of the film to a possible audience and should take DVD sales and worldwide distribution rights into account. The filmmaker then prepares a film pitch, or treatment, and presents it to potential financiers. If the pitch is successful, the film receives a “green light”, meaning someone offers financial backing. The parties involved negotiate a deal and sign contracts. You may accomplish financing without distribution in place, but unless it’s coming from friends and family most investors are going to want to know how they are going to be paid back and that means you have to have a distribution plan as part of your package. So let’s look at some of the land-mines to saleability that you may encounter with distributors. THEMES No script is without its messages but unless you are creating a training film, audiences watch movies to be entertained not indoctrinated. Avoid overt political and religious themes. Subtlety is the name of the game. You want your story on the mind of your audience as they dissect the subtleties of the messages you’ve woven into your story. Don’t beat them over the head with it. Oh, and don’t make a movie about making movies. The only people that get those are other filmmakers. You may have a bone to pick or axe to grind, but remember, we’re focusing on making your investors their money back. to be continued next issue...
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AZ FILMMAKER 25
SOCIALNETWORKING
Social Media For Those In Production Reaching Your Potential Worldwide by Marcelo Dietrich
who you are, your stage name, the name you want to see in the Play Bill, the opening credits. Use this name. This is crucial. Your Grandmothers name for you might not be a brilliant idea, but I’m sure she’s a sweet lady nonetheless.
I cannot stress enough the importance of utilizing social media in your production career. With the ability to reach out across the world, social media can no longer be ignored. I have established relationships, booked gigs & given gigs to people in other countries! I’ve established relationships that I would not have been able to if I had not utilized social media. In this multi-article topic, let’s first discuss Twitter. Twitter is, according to their Wikipedia page, “an online social networking service and microblogging service that enables its users to send and read textbased messages of up to 140 characters, known as “tweets”. http://en.wikipedia. org/wiki/Twitter Allow me to share what Twitter is for me. Twitter is a place where I can receive & share information regarding my interests. I hope that the people that “follow” me are interested in & will benefit from the information that I share or “tweet” about. I like to occasionally tweet about what I’m working on. Let’s set-up or look at your Twitter page in a step-by-step format. 1. Your name. This is you, your brand, 26 AZ FILMMAKER
2. Your “username”. This is the name that will be proceeded with the “@” symbol. Again, this is crucial. Try to utilize your entire “name” from above. There is a chance your “name” from above might not be possible as perhaps someone is already using that name. Perhaps you could use just your first or last name & your favorite number…
5. Website. How do we contact you? How can we see your work? How should Ben Affleck contact you to play opposite him in his role as Batman? Share your website! Perhaps you can use your agents (that also wisely utilizes social media) website! Link us to your page on your agent’s website! 5 Useful &/or entertaining tweets. Give us something! Tweet with a purpose. Would you want to read what you tweet? I promise you that nobody cares about what happened at the grocery, how often you work-out or what you found in your swimming pool – unless of course it is truly useful &/or entertaining! Yes, you should tweet about a gig you booked, or the premier of your film but, first and foremost, let us get to know you, so we’ll care! Don’t always just promote yourself. Who truly enjoys conversations with that overly-talkative person anyways?
3. A profile picture of you. Show us who you are! Use 1 of your newly acquired headshots! This is crucial! It’s your “look”! We want to see who we are following & who is following us! I have to advise against using a pic from your wild Vegas weekend. 4. Bio. This is a description of who you are & what you do. Use this space wisely, creatively & effectively. Are you an Actor? Are you a writer? Are you a producer? Are you a DP? Are you an editor? Do you sell oranges by the Freeway? Tell us about you! Be sure to leave room for #5, a very crucial element!
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6. Personality. Let us see you who are! Be fun, engaging, outgoing! Don’t be a downer! Would you want to have a conversation with that someone that is always just complaining? Again, this might be acceptable if it is truly useful &/or entertaining! The bottom line is this: your Twitter page is an extension of who you are & what you do. It is your gateway to more work & exposure. Use it wisely. I hope this article is of help to you. Let me know if you have any more tips! In the next issue, we’ll discuss other Twitter features that could be of benefit to you! https://Twitter.com/MarceloDietrich
FORACTORS
BREAK INTO ACTING A Step by Step Plan by Marcelo Dietrich
AUDITION I’m sure you’ve been asked how to break into acting. I like getting asked this, for a number of reasons. Being asked this question shows that this person has the ability to pursue an interest of theirs and this is a great indicator of their dedication. I want to share with you how I answer this question.
a 1. TAKE CLASSES. First and foremost; learn the craft. A quick internet search provides a number of establishments and colleges that offer a variety of acting classes. There is improvisational (improv) acting, theater acting, film acting, commercial acting as well as varying styles. You can also take classes on auditioning techniques! Soak it up! Learn as much as you can! I always stress the importance of learning theater acting.
classes from, but seek more opportunities beyond that. Look into your closest universities and colleges that have film programs. Film students need actors. Search for community theaters & acting groups. I always stress the importance of learning theater acting. 3. GET HEADSHOTS. Your headshots are your “calling card”; an absolute necessity. Ask your new acting friends who did their headshots. Ask to see your friend’s headshots. Visit the website of these photogs and look at their work. Headshot can be expensive. You’ll also need to get your headshots printed - another expense. Often time’s photogs offer sales and discounts. Ask them if they’re offering any. When I went for my headshots the photog had a sale that ended 2 weeks prior but, extended the offer to me! I must write that I believe it crucial to first gain acting experience prior to getting your headshots done & beginning your “marketing campaign”. (I will elaborate on your “marketing campaign” in another article.) 4. SEEK REPRESENTATION. Look for an agent. Again, ask your newly-made fellow actor friends who their agent is. Investigate them! Ask your friends about them. Look at their websites.
Do your homework, find a reputable establishment, take classes.
Call them to schedule a time to talk with them. It may take a few meetings to find the agent you like and it might be the first one you talk with, as what happened for me.
2. ACT! You’re not an Actor if you’re not acting. You will have opportunities to act at whichever venue you decide to take
Also, an agent will be able to assist you in finding classes, photogs and, of course, acting opportunities. I intentionally placed “Seek
representation” as number four. Personally speaking, it is in your best interest to approach an agent with at least steps 1 & 2 addressed.
d 5. GET ACTIVE! Again, seek more opportunities! Utilize social media to find gigs & “market” you! One of the many things I like & appreciate about my agent is that she is very active on a number social media sites! I cannot stress enough the importance of utilizing social media in your acting career! (However, I will attempt to in another article.) When you’re asked how to break into acting, you might offer different advice. I can appreciate that. I’d love to hear what advice you offer to the aspiring thespian! IN CLOSING, I always stress the importance of learning theater acting.
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A COUNTRY CHRISTMAS HEARTWARMING AND MAGICAL Joseph D. Becker - Photos Supplied
An interview with director Dustin Rikert A Country Christmas is a heartwarming family film. This is quite a departure from your earlier films. What made you go this direction? William Shockley and I were on a plane coming back from shooting pick-ups for a Zombie film we did in Vermont. It was his initial idea actually. It started
out from a process of wanting to make a holiday movie from the nostalgia that Winter in Vermont gave. The small town people, friendliness, etc.. By the time we were done with the plane ride we had a story-line fleshed out. Within 2 weeks we had a rough draft of the screenplay done. However, I will say that it was the magic that William and Eric Brooks breathed into the script on its second draft that really made the project shine. You’ve got an interesting cast. You seem to have cast in pairs. The mom and dad, the two kids, the politicians Kevin Pollak and Illeana Douglas, Santa and his elf, and a horse and a goat. (and you have two country stars working on the project, Trace Adkins and Kix Brooks). How did all these pairs of characters interact with each other? Did it add a new dynamic to directing? It’s an interesting observation, but that’s not really how the casting went. You put out a complete character breakdown
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and see what flows in for submissions from Agencies. The key thing is to find actors who have chemistry and who can play well off each other. Chemistry is a huge thing in my opinion. We were fortunate to have such a great cast for this film. You have two country stars working on the project, Trace Adkins and Kix Brooks. We had 3 actually. Trace, Kix and Jay DeMarcus from Rascal Flatts. They were all awesome to work with. Each guy has his own unique personality. Jay is a laugh a minute. Trace can be reserved, but is such a nice person. And also very funny when he wants to be... And Kix, well Kix is just about the classiest guy I know. They broke the mold when they made him. You deal with the themes of magic and faith. Are those themes important to you? Yes they are. Both of them because I
in their life, you need not look any further than him. His blogs on Facebook are about the most inspirational and moving things you’ll ever see. There’s magic in his writing and in his heart. Working with magic, you are shooting on green screen, adding special effects… think in some grand way they both go together. I’m very private about my beliefs, but I do believe in God. I also believe that there’s room for a little magic in there too. I think too many people try and fit religion into a perfect box these days. There’s to many rules. Sometimes it feels good to just
look up in the sky and have a one on one conversation sometimes without having to pray through a this saint, or that person... Mikey Post who plays Elliot the Elf in the movie was recently diagnosed with MLS. If you want to see the classiest example of how someone deals with a devastating disease like that
All of the above depending on the scenes. We had an extremely modest budget for this film, but what made it great was the acting and writing. When we did show magic, you already had bought into the characters so the fact that we didn’t have as many special FX as a Disney movie didn’t really matter.
Tell us about working with animals on set. I’m sure it’s a bit different than working with actors, even if Hitchcock did see actors as cattle. We actually got lucky with these animals. They were pretty on Que. It’s true though, they can be a time-suck. I’ve done westerns where a horse can cost you hours.
This is a big project. Tell me about some of the most interesting props you had to build for this movie. Natalie Allen Sullivan and Daniel Koenig and their teams were amazing on this film. The scene where Santa makes all the Christmas decorations come and go through magic was tough because we only had a few hours to rig everything. When you have a 15 days shoot, those things count. What about the sets. I know you were shooting on location. Were there some sets to build as well?
Everything was shot on location and in practical buildings. Were there any special costume challenges with this film? Santa and Elliot the Elf’s costumes took a lot of time and planning because we wanted them to be something that
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A Country Christmas
hadn’t been seen before. Especially for an Elf. Paula Rogers (our costume designer) did an amazing job with her team. And fitting Abraham Benrubi is no easy task. He’s almost 6’7.
...continued
darken the footage in post?
shoot the sequence in. That was the hardest. Next was probably the debate scene because of all the extras. Again, we pulled this movie off in 15 days, which is hard, but it came out great. We had a great team.
It depends on what we’re going for in the film. I’ve shot practical, day for night, and even shot plates and done sky removal and added in stars and darkened it. It seems no matter how much experience you have, new challenges arise on every film. Working with animals, children, green screen and special effects all add to the mix of things that can go wrong. Tell us what special circumstances you had to overcome that were specific to this film.
You shot a few night scenes in this one. Tell us hoe you handle lighting for a night scene. Do you shoot in bright light and
The flying Goat stuff was very tough. Not because the goat wasn’t awesome, but because we had very little time to
We always feel good when our “baby” is finished and presented to the public. But, this film is different than anything else you’ve done. What’s special about finishing this one and getting it into the hands and homes of the public? The film is magic. Its got that thing you hope for in making a good film. Yes its an indy film, but its easy to buy into the characters. The acting is fantastic. It’s a real tear-jerker too. People of all ages will respond. Of that I’m certain. Its tested off the charts when we’ve screened it. Is there any fear about presenting something this different to your fans who know you for action and zombies?
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I never wanted to be known for action or Zombie movies. It just kind of happened. For a long time I simply took what projects I could to survive as a filmmaker. It’s only now in the last few years that I’ve gotten to choose a bit more. Mostly because I decided to only do films I wanted to do, and not films I had to do to survive.
vision, but to be there to listen to theirs. In family, your generally setting up comedy or smiles.. In a zombie or horror film, your trying build an emotion of fear. You’ve still got to build a world around these characters and you’ve still got to tell a great story. As a director, what’s the difference between directing a zombie film, and directing a family film? Not as much as you’d think. Your always doing your best to work with the talent. To not just convey your
A Country Christmas will be available in Walmart stores on October 29, and everywhere November12.
What do you do differently when animals are thrown into the mix? Keep focuses and hope that they cooperate. And if they don’t, I go to plan B. Always have a plan B in lower budget indy films... always. November/December 2013
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