Hometown Baghdad

Production, Post and Online Distribution for Hometown Baghdad

MiniDVs, Avid Xpress Pro and YouTube Prove to Be a Winning Combination

It is easy to ignore all the news coverage and constant images of war coming out of Iraq on a daily basis. We constantly hear stories about roadside bombs taking the lives or limbs of soldiers, insurgents attacking our troops and families being left behind as a soldier leaves for another tour of duty. What we don’t often hear about are the stories of everyday Iraqis who must attempt to live normal lives in and around the fighting.

Hometown Baghdad was brought to the Internet to change that. From the web site: “Hometown Baghdad is an online web series about life in Baghdad. It tells the stories of three young Iraqis struggling to survive during the war.” I spoke with Mike DiBenedetto, the online distribution manager, about the project, how it came to be and about the technical issues and challenges faced during the production, and especially the post-production, when creating a series that was shot so far away.

Production and Online Distribution on Hometown Baghdad

How did this project come to be?
MIKE DiBENEDETTO: We wanted to produce a series that would humanize young Iraqis. We wanted to tell the untold story of the Iraq war – the life of the everyday Iraqi. Regular Iraqis don’t have a voice in the international media and we wanted to change that. So we worked with an Iraqi crew to do just that. The Iraqis we worked with (who we had previously worked with) were also committed to helping their fellow Iraqis tell their stories to the world.

Initially, this was planned as a series for television. We developed an idea that would help Iraqis tell their stories and tried to sell it to American TV networks. But they weren’t having it. We heard every excuse from “Iraq doesn’t fit our brand,” to “Americans are tired of the war,” to “in a year from now when the show is done, Iraq will be over.” But that didn’t stop us. So we raised the money to do it from private philanthropists and produced it ourselves. And even when we finished shooting, we tried again to sell it to a network with no luck. The Iraqi crew we met in 2004 when we produced Chat the Planet’s Baghdad 2 Way for MTV’s Choose or Lose Campaign.

How long have you been shooting and when did the episodes begin to "air" on the web?
We began shooting in July of 2006 and finished in about October or November of that year. And we began airing on March 19, 2007 – the fourth anniversary of the war.

How was the decision made to air the series as a web-based series vs. other distribution outlets?

After we had little luck with the networks, we began to explore our options for self-distributing. And we began to realize that we would have more freedom and a bigger potential audience than we could have ever hoped for on TV. Once we realized that, we never looked back and have been happy that we didn’t go to TV first.

READ THE ARTICLE...
http://www.studiodaily.com/main/technique/casestudies/8345.html

SEE THE TRAILER...
http://aimediaserver4.com/studiodaily/videoplayer/?src=ai4/baghdad/baghdad.swf&width=400&height=340
Article by Scott Simmons for STUDIO DAILY
(c) 2007 Access Intelligence LLC, All Rights Reserved

Comparing Film and Video

This graphic compares acquisition resolution, the best image you can acquire through a camera (in other words, the quality of your input). 35mm film, benefiting from about 175 years’ worth of improvements in chemical photography, comes out the clear winner:

CLICK HERE FOR THE CHART...
http://fox-gieg.com/tutorials/2007/comparing-film-and-video/

However, the gap between video and film narrows considerably when it comes to storage resolution, the best image you can extract from your storage medium (the quality of your output). That’s because the perceived quality of an image is influenced more by acquisition resolution than by storage resolution.

Consider the extreme ends of our scale–an image shot on a 35mm film camera and then transferred to VHS tape will, subjectively, look far better than an image shot on a VHS camera and recorded straight to VHS tape, even though the actual storage resolution is in each case the same. And when you consider that an image stored on analog film must be copied several times before it’s incorporated into a finished work, with accompanying generation loss, you can argue that a lower-resolution but lossless digital storage medium can still hold a final product of comparable subjective quality.

In other words, the current limitations of video are mostly the fault of the video cameras, not the video formats themselves. As a result, animators have a handy way to “cheat.” If you acquire your images with an ordinary multi-megapixel digital still camera, or render them straight from software, you can output to HD video and achieve a result that compares favorably with 35mm film.

Nick Fox-Gieg
Nick Fox-Gieg’s Tutorials is © Nick Fox-Gieg.

LIFE after YouTube

Meet the startups making deals with Big Media for online video's next step...

With all the hubbub around Google Inc.'s (GOOG) purchase of YouTube Inc. during the last year, it's easy to realize that three-minute, streaming clips mark the culmination of the online video revolution. But what Google paid $1.65 billion for is more like the "king of what works" today.

Right now, a crowd of startups is hard at work developing Web technologies that will radically change how TV, movies, and other video are distributed, packaged, and experienced in the future.

"We're just at the beginning stages of what will be a long evolution," says Joe Laszlo, an analyst at JupiterResearch. The next few months will see the unveiling of a slew of innovative approaches to dishing up video. They range from the much anticipated launch of something called the Venice Project, by the founders of Skype Ltd., the Internet phone service, to the rebirth of BitTorrent, the video piracy software of choice as a legitimate business.

Unlike Napster or even YouTube, both of which rose to popularity on the back of illegally posted content, these would-be video giants are teaming up with established media companies, in part to aid them in their battle against piracy.

Indeed, one of the most startling developments over the past year is how Hollywood has loosened up, taking a more experimental approach toward online video distribution.There's plenty of work still to be done before video blossoms into its full potential.

"What's the advertising model? How does search work? What's the syndication model? It's the same questions asked with the Web in 1995 that startups helped answer," says Josh Bernoff, an analyst at Forrester Research (FORR ).

Take something as basic as how you track down specific clips. Getting video search right is critical because it is expected to provide the backbone for the sort of targeted advertising that will prop up video sites.

But the technology is still primitive. Google dropped the ball by relying on text descriptions, rather than audio or video identification, in its video search. That created an opening for upstarts Blinkx and TVEyes, which look for actual images and spoken words.

LEARN MORE...

http://www.businessweek.com/magazine/content/06_44/b4007052.htm
Copyright 2006, by The McGraw-Hill Companies Inc. All rights reserved.

Copyright Registration vs. WGA Registration

WGA REGISTRATION vs. COPYRIGHT REGISTRATION

For screenwriters who use the latest version of Final Draft ® to help write their script, one nifty feature is the ability to register the screenplay with the WGA-West Intellectual Property Online Registry with the touch of a button.

Many (if not most) screenwriters register all of their scripts with the WGA Registry, and, believing that they have done all that is necessary to protect their script, they neglect to register the script with the Copyright Office. Imagine their surprise when someone steals their screenplay and they learn for the first time that, other than establishing a date of creation, the WGA registration gives them almost no benefits at all.

In fact, relying solely on the WGA registration can prove extremely costly for the following reasons. First, although copyright protection exists at the moment of creation, registration with the Copyright Office is required before a lawsuit can be brought.

Because it can take up to six months from the time the application is mailed to the Copyright Office until the application is processed and returned, if the writer needs to immediately file a lawsuit (i.e., in order to enjoin the movie's distribution), he must apply for an expedited registration, for which the Copyright Office charges an additional $580.

Second, if the writer registers the script with the Copyright Office only after the infringement has taken place, he will be barred from recovering attorneys fees or statutory damages in the lawsuit. Third, if the script is registered prior to or within five years of its publication, the registration acts as prima facie proof of ownership of the script in the event of a trial. There is no such benefit from the WGA registration.

The only real advantage of the WGA registration is that, in the event of a lawsuit or a credit arbitration, the WGA will have an employee appear and testify concerning the date of the registration. But this is rarely an issue during litigation.

Therefore, if you are a screenwriter wondering whether to register with the WGA or the Copyright Office, the answer should be clear - always register your script with the Copyright Office, and, if you have the extra $10 or $20, register with the WGA as well. And if you have scripts in your drawer that you registered in the past with the WGA, but never bothered to register with the Copyright Office, now is the time to do so, Before the work is infringed.

WGA Registration Copyright Registration Cost $10 WGA members $20 non-members $30 Duration of Protection 5 years, but renewable for additional 5 year terms If author is a natural person ? author?s life plus 70 years; If author is a corporation, anonymous or pseudonymous, then 95 years from publication or 120 years from creation, whichever is shorter. Allows Immediate Access to Court? Yes Allows for Attorney?s Fees If Infringed? Yes, if registered prior to infringement or within 90 days of publication Allows for Statutory Damages If Infringed? Yes, if registered prior to infringement or within 90 days of publication Will Accept Submissions Over The Internet? No Acts as prima facie proof of ownership? Yes Will have employee appear in court to testify about date of submission? No

by Larry Zerner ESQ - Larry Zerner is an entertainment attorney in Los Angeles. He can be reached by email at Larry@Zernerlaw.com or by phone at 310-203-2299.

BEACH PARTY AT THE THRESHHOLD OF HELL

Quentin Tarrantino meets Mad Max...

The history of New America unfolds; the year is 2097 A.D.

Two decades ago, the great nation of The United States fell forever. Now, the survivors must re-emerge from the ashes as the founding fathers of a brutal and bizarre new nation.

And so, a new kind of political race begins. We join Tex Kennedy, driven by the passionate objective to unite this battered nation, as he journeys to the deadly future capital of New America, notoriously known as the Threshold of Hell. Standing by Tex's side are his two robot companions and a fabled young woman known through legend as "Cannibal Sue".

As Tex's epic journey progresses we learn how a young appointed king, his murderously jealous cousin, a giant sea snake, the great, great, great grandson of Fidel Castro, a powerful communication radio tower, and the spawn of Satan himself, all hold a vital presence in the New American mythology.

Through the strange adventures of Tex Kennedy, the humble and terrifying birth of New America began. The events of this fantastical dark comedy will create our early heroes, our early villains and shape the history of our new nation forever.

LEARN MORE...
http://thresholdofhell.com/index_flash.html

BEST KEPT FREE SECRETS

AEFreemart has called Stephen "the most prolific AFTEREFFECTS tutorial writer on earth".

Sometimes the BEST resources

are FREE.

And many times no one knows about them.

Teacher and VIDEO ARTIST STEPHEN SCHLEICHER has a great website with FREE stuff and TUTORIALS galore and where else could you find some of the BEST Storm clouds in Hays, Kansas?

His superb VIDEO clips can be used for any project (commercial/non) and for any purpose.

If you use these clips for a professional project, please be kind enough to drop Stephen a line with the details.

MEET Stephen & LEARN MORE... Hats off to Stephen Schleicher!

And don't fail to visit Stephen's website Coolness Roundup where you will see all the newest gadgets and technology you never knew were already on the market.

VISIT COOLNESS ROUNDUP HERE...

OLD FILMS NEW AGAIN

The rise of the DVD market is the biggest change in film culture since 1997, which has been both a blessing and a curse to revival theaters. Attracting audiences for older films to see them in theaters has never been an easy task. Ten years ago many art-house and revival cinemas shut their doors.

"There aren't revival theaters all over the place, but there are quite a few thriving places that show specialized films," says Bruce Goldstein of Rialto pictures. "They were hurting because of DVDs, but on the other hand, they're now finding new audiences because of DVDs, as well."

The New York Film Critics Circle award for best foreign film went to "Army of Shadows" last year and many enraptured critics put it on their top-10 lists. The New Yorker's Anthony Lane said: "For the first, and maybe only, time this year, you are in the hands of a master."

What made the response so unusual was that the film was made in 1969.

"Army of Shadows" directed by Jean-Pierre Melville, got its U.S. theatrical release last year — its unearthing the work of Rialto Pictures, a company that has distributed old films for ten years.

Rhe Museum of Modern Art pays tribute to Rialto with a 17-film retrospective titled
"Rialto Pictures: Reviving Classic Cinema," that will run through Aug. 10.

Bruce Goldstein, founder of Rialto in 1997, said his success with "Army of Shadows" was his proudest achievement. "It still blows me out of my mind. I can't get over that!"

Mr. Goldstein is also the director of repertory programming at New York's influential nonprofit movie house, the Film Forum — which, like a number of cinemas around the country, will show Rialto releases.

Nearly 40 movies so far spanning some of the classics in cinema include Alberto Lattuada's "Mafioso" (1962), Jules Dassin's 1955 film "Rififi" (famous for its long, dialogue-free heist sequence), Carol Reed's "The Third Man" (1949.

"Until Rialto took the lead and was able to secure good prints of, say, the (Robert) Bresson films, there was a generation of filmgoers that did not see the full richness of some of these filmmakers' achievements," says MoMA senior film curator Laurence Kardish, organizer of the exhibition. Rialto has especially resuscitated the reputation of Melville, also distributing his "Bob le Flambeur" (1955), "Le Doulos" (1962), and "Le Cercle Rouge" (1970).

"I only marketed the films; I didn't make them," says Goldstein.

Goldstein partnered with Adrienne Halpern, a former entertainment lawyer who specializes in obtaining distribution rights, and promptly went after what he calls "holy grails": movies he had long wished to show that were deemed "unavailable".

Spearheading a restoration after uncovering a lost sequence in France, one of Rialto's first was Jean-Luc Godard's "Contempt" (1963) and Federico Fellini's
"Nights of Cabiria" (1957).

Quickly, the Criterion Collection deluxe DVDs became a partner with Rialto, complementing nearly every Rialto theatrical releases. Criterion President Peter Becker added, "It was just an obvious relationship for us. They have fantastic taste."

Although movies distributed by Rialto are played in just a handful of screens (with a few prints gradually traveling across the country), Rialto releases sometimes bring in some of the highest per-screen box-office numbers, frequently besting even blockbusters. To help advertise its films, Rialto cuts together thrilling, riveting trailers, several of which are being highlighted at MoMA.

"We try to do something clever with each one, something that evokes the film without hitting you over the head with ... a narrator and all that junk," remarks Mr. Goldstein.

Studios typically pay for restoration costs which can exceed $1 million. Even if the cost isn't recouped at the box office, the excellent print quality and theatrical runs promote the more lucrative DVD sales. Rialto, however, is only concerned only with the theatrical experience.

"It's one thing to preserve and restore films," said Goldstein. "But you've got to show them to the public, to an audience. That's what movies are. They're for theaters."

By JAKE COYLE, AP Entertainment Writer
Copyright © 2007 The Associated Press. All rights reserved.
On the Net:
http://rialtopictures.com
http://www.moma.org/exhibitions/

FS-4 revolutionizes onsite video production

Covering live events is never an easy task. The big challenge of condensing hours, even days, into short, meaningful video clips can be compounded with the added time pressure of onsite video production — and the slimmest of deadlines. That’s the reality for Jay Delp of JAY DELP PRODUCTIONS. Hopping from plane to plane, Delp covers approximately 15 multi-day conferences each year and produces onsite video highlights special made for show attendees.

“There’s literally no tomorrow when it comes to onsite convention highlight production,” said Delp. “I’m shooting, editing, producing, and duplicating video all on site. Time is really of the essence.”

Initially, Delp recorded to mini DV tape — resulting in real time capture for every hour of footage recorded throughout the days’ events. “Having to spend time capturing video before I could begin editing was the main time crunch for me,” he explained.

Solution: “There was an instant connection when I realized that Direct To Edit technology was available and in my price range,” Delp stated.

Delp invested in the FS-4 Pro portable DTE recorder from Focus Enhancements. With its 80 GB storage capacity, the FS-4 lets camera operators record DV and HDV streams directly to disk via FireWire. After shooting, Delp connects the recorder to his computer like any standard FireWire hard disk drive and drag and drop files straight into his NLE’s timeline — bypassing the time-consuming steps of capturing tape and converting footage. By eliminating these intermediate steps, footage is ready for editing almost as soon as it has been recorded.

The FS-4 further improves Delp’s workflow with its folder system. The FS-4 lets users pre-name 9 folders for scene marking and file organization. During a convention, Delp can record footage directly into pre-named folders heeping everything in order, giving him neatly organized clips later when it’s time to edit.

Weighing only one pound, the FS-4 can be mounted to a camera or belt. “I really appreciate the flexibility of both the belt clip and camera mount,” Delp explained. “Using the belt mount helps reduce arm fatigue when shooting without a tripod for extended periods. Plus, I can still use my camera’s hot shoe for lights or wireless microphones.”

READ MORE...
http://blog.digitalcontentproducer.com/briefingroom/2007/07/18/fs-4-revolutionizes-onsite-video-production/

© 2006 Penton Media, Inc.

SCREENWRITING: FREE Mini-Course

Paul Cooper has been a working freelance television and motion picture screenwriter for more than twenty years. His awards include three Emmys, the Humanitas Prize, and The Writer's Guild Award.

MorningSideWriters.com is a culturally diverse group of fiction, screenwriters, and graphic novel writers in New York City. We are avid readers, editors, and published writers who challenge each other to write better, reach individual and group goals, and kick each other in the literary pants.

We firmly believe that writers write! Writing is a solitary art.

Walking, sleeping, or having dinner, a writer's mind is always engaged. Family and friends of writers are sometimes apprehensive, especially when a writer's eyes are taking notes of the immediate area and ears are recording conversations.

The writers in the three groups have varied and complementary educational and professional experiences. We not only talk about the mechanics of writing, we write obsessively, and are voracious readers. We believe that writing can be taught if a person is dedicated and disciplined.

Click HERE for Paul Cooper's Mini Course in Screenwriting.(c) 2001, HollywoodWorkingWriter.com - All Rights Reserved.

Shadowboxing

Forgetting never undoes the past.

Gerald is a loner who moves back home in order to take care of his ailing father, Kenny. Knowing that his days are few, Kenny begins to try and bridge the years lost between him and his family. Maria, Gerald's sister, must hold the family together while at the same time keeping her failing marriage alive. Kenny holds a secret, and that secret is what can bring them together, or possibly destroy what family they have left.

Shadowboxing is a dramatic independent feature length film shot the Panasonic DVX-100A. This is a montage of some scenes from the rough cut. Please be aware that there is strong language and depictions of violence.

SEE THE TRAILER...
http://www.galapagosfilms.net/shadowboxing_trailer.htm

Independent INVESTING

There are probably as many as ten thousand independent films being made or planned right now.

Independent Film, Desktop Video and Desktop Filmmaking are changing the way digital recorded entertainment is made and distributed. Those who see and understand this revolution in the making, will benefit by being at the forefront. Even George Lucas after completing his final STAR WARS film remarked about how the days of the Hollywood multi-million dollar epics are numbered.

GETTING STARTED
I would ask any potential investor for films or otherwise, a.) if they can afford to lose the money they are considering investing; b.) if they have done due diligence in evaluating the project they are thinking of investing in; and c.) what their real goal is in investing in such a project.

Too many people have told me they wrote a business plan that anticipates that the film would be a big success and have enormous profits, but then they often infer that they just do not have the time to evaluate the project. Some have even said that they want to put the money in "to make the film and have the chance to see their name in lights".

Unbelievably, many of these people with money to invest also have no idea what a good script or good acting really is. Anyone can pick up a camera nowadays. That doesn't necessarily mean that they know what thay're doing.

A MAJOR CONSIDERATION:
If you are thinking of putting time or money into a venture, ASK who greenlighted the film project? Whoever did should have extensive experience in the film industry and a working knowledge of what sells and what does not. Too often, filmmakers are so excited about working on their project, any project, that they are willing to work on anything-whether it has merit or not. Some films are literally, "a waste of film."

TYPES OF INDEPENDENT FILMS
As a retired filmmaking and television teacher, I have been amusing myself by following what is happening with independent films on websites for about a year-and-a-half (I also write screenplays and produce films, but that's another story). I have noticed three distinct types of independent film projects calling for "investors":

1.) TRUE INDEPENDENT FILM: Independent films destined for big studio release where the investment will usually be a million to several millions and these usually have a "name" attached to them and/or are being produced by people who have a track record. People funding these can usually afford to take the loss if the film bombs.

2.) THE STUFF THAT DREAMS ARE MADE OF-WANNA-BE INDEPENDENT FILMS: Independent films with the imaginary hope of distribution are generally budgeted from $5000.00 to $75,000.00 and filmed on very skimpy budgets. Thanks to advances in technology, many videographers today can afford 1080i 24p high-definition video cameras.

It is every filmmaker's dream to pull a "Blair Witch" or an "El Mariachi" out of the hat, but this happenes only once in a hundred thousand or more efforts.

Most people who work on films in this category aren't paid. Many are dreamers and the people who put money into this type of film are friends and relatives who generally have to wait years to see returns trickle in. A few lucky ones are able to secure distribution that pays something in advance but most low-budget distributors pay nothing beacuse they know it will cost a good dael of money to promote the film.

Not everyone can produce a film? Today, investors are pouring thousands of dollars or more into every type of project imaginable and they usually do so to show support for the project and to get their name on the film for the bragging rights, even if it isn't anything great. Every film student with friends and access to good equipment is joing the revolution. Everyone with a camcorder who has seen the wedding market dry up is now looking at making it big by producing their own feature film.

THE BEST $6000.00 EVER SPENT! Read about it here:
http://www.google.com/search?hl=en&q=El+Mariachi+%246000.&btnG=Google+Search

This is the proving ground for all the beginners with high aspirations. If they produce and complete a successful film in this category, they are destined for category 3.

3.) POSSIBLE INDEPENDENT FILMS: Independent films with the real hope of distribution are generally budgeted from $100,000.00 to several hundred thousands and are filmed with everyone getting paid something.

The category includes filmmakers who made independent film type 2 and are now in control and they want to make money for themselves and their workers even if they produce a bomb that will never sell. Because they raise more money, they can pay themselves and their help and hopefully their product will be much better than those in the category above, but beware: I have seen enthusiastic filmmakers waste everything convinced that they will be the next C. B. DeMille or Steven Spielberg.

In the end, the product is only as good as the script and the people who put the film together. LOOK CAREFULLY at the track record of the producers, directors, writers and distributors BEFORE you invest money. NOTHING beats having a great script to begin with and good competent people who are fully able to develop and produce it.

And last, but not least, NOTHING beats having a good distribution deal BEFORE you start filmming. For obvious reasons, distributors of low-budget and independent films are reluctant to give away distribution figures of what independent films earn but be forewarned, what low-budget films gross is dependent more on the advertising budget than anything else. After the film is finished, a much larger amount is always necessary to properly promote it and attract the audience that will pay to see it.

NOTE: Today, with the Internet, there are hundreds of schemes to raise money to "make films". Many sell inexpensive shares on E-bay with the promise of putting your name in the credits.

(c) 2006, Stanley Lozowski. All rights Reserved. Please request permission before using any part of this article.

USING your WEBCAM

How to make yourself look your best on a webcam! So you got yourself a webcam. What next? Here's a basic primer, showing you what to do and what not to do to get the most out of your webcam.

Whether you're in a corporate environment or at home, I'll show you how to pay attention to lighting, what to wear, where to locate your webcam, how to deal with the audio, and special techniques you can use to enhance your webcam experience. Best of all, just by reading this article, you'll know more than most people do about giving your webcam appearance a professional flair.

CAMERA ANGLES
When you first take the webcam out of the box, you'll be presented with a quandary: where to place the webcam? The most natural place is to clamp it onto the top of your computer monitor. This is probably going to be the best place to put it. Keep in mind, though, that if your face is higher than the top of your computer monitor, the webcam will be shooting at an upward angle to your face, which is not flattering for hardly anybody.

You don't want that camera to be pointing up your nose, getting detailed pictorial renditions of your nose hairs. Raise the camera angle so that its lens is at least level with your eyes, if not slightly higher.

Next, make sure your shot is properly framed. Position yourself in the shot, and then tilt and pan the camera until your head is not cut off, but don't tilt the camera up so much that there's too much space over your head, either -- that makes it look like you're sitting in a hole. Frame it up so there's just a slight amount of space between your head and the top of the frame. Make sure you're close enough to the lens so that your face can be plainly seen.

Experiment with camera placement, too, where attached atop your computer monitor might be its default position, but be open to other locations as well. For example, if your computer is close enough to the kitchen, consider getting a long USB cable, and setting up your webcam at the dinner table, so that a long-lost relative can have a simulated dinner with you and your family.

LIGHTING
Lighting is crucial to good video, because after all, the camera is only picking up the light that's bounced off its subject, namely, you. If you're in a naturally dark room such as a basement office, the simplest thing you can do to improve the lighting is to take the shade off a lamp and place it directly next to your webcam. It might seem overly bright to you, but it will make you look much better.

If you have the inclination and budget, you might even consider purchasing a special soft light with fluorescent bulbs inside, called the Ego light by Lowel (pictured at right). It shines 200 watts' worth of soft and even light, and if you're frequently using your webcam it might be the best $100 you ever spent.

Short of that, simply turn on all the lights in the room, and if you have a window behind you that's brighter than the light shining on your face, close the drapes. Another suggestion is to make sure there's plenty of light on the background, so that it doesn't look like you're sitting in limbo in a dark room.

LEARN MORE...
By Charlie White for
http://homeoffice.consumerelectronicsnet.com/articles/viewarticle.jsp?id=49366
Photo courtesy Logitech, Inc.

BEHIND THE SCENES

This inspiring film documentary is a MUST-SEE for all filmmakers looking for fininancing and direction in producing their vision.

Only you can make your film a reality and with nothing to work with except pocket change, you can still create something meaningful if you bring the right cast and crew together. It's been done before and it will be done again.

The difference is ALWAYS your attitude and your ambition. Think big and "AIM HIGH". That was the advice my teacher gave me many years ago and it's as vital today as it ever was. Be sure you're right, then go ahead!

The Producer/Director of Allie-Way Films, Inc. recently stated, "The problem in this business...is that EVRYONE THINKS this is a competition. I have friends making films back to back because of investors and Heaven forbid they should share any information. No one wants to share their investor or investment firm info. I have such great projects, juicy and ripe for the pickins for the right investors. I dunno man! I just can't wait to get passed this stage where eventually they start throwing money at me to make a film."

Mike Arbouet and Albert Allie are Independent Filmmakers based in New York. They are currently working on their feature Cross The Line. I managed to talk to the dynamic directing duo and learn that you don’t need a big budget to make it look big budget.

ME:Not many films are directed by more than one person, it’s usually a solo job, what was it like sharing the director’s chair?

MA: Well for me it was cool, it takes a lot of the pressure off when the cast and crew can go to more than one person. It’s also cool to have another set of eyes on set.

AA: For me personally, it was a bit weird at first. But we seemed to make it work by both being on the same page and making compromises on EVERYTHING. Mike and I both seemed to see everything the same so it made it easier. We both had our own jobs and we did them and compromised on things that seemed to get stuck.

ME: I’m taking a look at some of the production photos and noticed that you used a quite a variety of locations, what kind of facilties did you guys end up using?

MA: Oh god where do I begin?

AA: *Laughing*

MA: Well we lucked out on a lot of locations, for example our exe. producer gave us the run of his offices so that location we used for the police station as well as one of the mob guys hideouts.

AA: Corleone’s Gym and not to forget Premiere Trucking company, too, right? We shot out in their warehouse and parking lot and had use of one of their trucks.

MA: Yeah, it helped to know alot of people that will let us have the run of there space for the day. Even one of our actors Szu helped out with a great location that served as his hideout.

ME: What kind of equipment and devices did you guys need to use to generate the special effects and fake the stunts in this film?

AA: Well the stunts (falls, etc during fight scenes and shoot outs) were actually really performed by the actors, with no devices at all. *Laughing*

MA: Another funny story. This film was made using the website Myspace.com. We used air guns during the filmming and then the special effects guys who are located in Hollywood, Florida, and California added the magic.

AA: Other on set devices where what we called “HOME MADE” to accomplish other types of FX not done digitally.

MA: Not to mention Spat from Spatcave Studios an old friend from school who provided a lot of the stuff we used.

ME: That’s right you guys did end up using Myspace (man, is this going to help advertise them…), how did Myspace aid in getting each other together and end up expanding the studio as well make Cross The Line?

AA: Well Mike and I personally met up on myspace at first.

MA: Yeah, back in October 2005

AA: Then we did our casting and crewed up using myspace and their bulletin board and classified section.

MA: It was really amazing how fast everything came together.

AA: A quality film for a tiny budget or a “POCKET CHANGE FILM” as Mike likes to call it can be accomplished, as long as people are willing to share their skills and experience for a worth while project. Most will NOT because they consider the film biz a competition.

MA: Its also pretty cool that we never “met” the people that helped out on the visual effects and one of the composers lives in Hawaii but we talk and do all our changes on-line.

AA: That’s true *Laughing*

ME: Could we get a quick summary of the film in your own words?

MA: I’ll let Al take this one…

AA: Gee, thanks Mike. *Laughing* Cross The Line is more than just an action film about two detectives who are divorced and do not want to be around each other. It’s about (and you see it in the sub plot) life and family. Not knowing what you have until it’s gone, or almost too late. How we are quick to accuse people of things without proper evidence (as in a cheating husband who is not cheating). Like I said. More than just an action film.

ME: Al you starred in the film as well correct? Tell me a little bit and your character, and Mike, how did it feel to direct a director?

MA: It was kind of funny, because I would be behind the camera with a question about a scene and I would then have to get Al’s take on stuff before moving on, but once I got the hang of it I think it helped the movie overall. It’s like having a spy on the other side of the line. *Laughing*

AA: Well Joe is a hard character to explain. He is totally dedicated to his family. Loves his daughter tremendously. Loves his ex-wife but is stubborn and won’t admit that. He is kind of the guy who scares you enough to not cross him, but can be the best friend you would want on your side. He has a quick temper, but you can see how he differs and seperates that character or personality, when he is with his daughter. The character was actually written to fit my own personality in many ways. He tries never to mix the two….until now. I believe strongly in putting lots of reality based storylines into what I do. Even if it IS action. It should have something real that the audience can relate to.

ME: You said earlier on that you two originally met on myspace, so I’m guessing this is your first production together. What kind of history with film do each of you have and have you made other films alone?

AA: Cross the Line is like my sixth project. I have shot a few other features and a low budget sitcom pilot entitled Life Together.

MA: Yes, well I went to film school, (which was a waste of time) worked at NBC in New York for a year then did some PA work on a feature film called Girl In the Watermelon from there I have done three shorts that have been in festivals New York Minute, Falling, and Upon the Gates of Hell. Cross The Line is my first feature. I also am the exe. producer on a feature, Serial.

ME: All directors have weaknesses, what are each of yours, and did you find having two directors helped to balance the weaknesses out?

MA: Mine, I’m a tyrant. *Laughing*

AA: Thats not a weakness its a godsend.

MA: Not really, unless you count laughing and having a really good time.

AA: But I haven’t really noticed in my own opinion any on Mike’s end. He’s got a great eye as a director and we cannot be on the set without having fun.

MA: Sometimes Al would give me a look that would just crack me up.

AA: That keeps up moral. *Laughing*

ME: So I imagine you two are planning to work on more together in the future, do you have any new ideas and/or projects planned?

MA: I guess I would say when the clock is running and we are running out of time, that’s when I can have a dark side to me.

AA: Yea we both do, Mike.

MA: Yeah, maybe Cross the Line 2.

AA: Ah, yes. I would love to work on more projects with mike. Well (hint hint) script is possibly in the works…

MA: Cross the line 2. Keeping the story under wraps though.

ME: Really? Cross The Line 2: Damn, I crossed it.?

AA: *Laughing*

MA: We hope that the first one will make enough of a splash to give us the chance to do “2″ on a bit of a bigger budget. I think in the future, (the near future) you will see a lot of people doing what we are doing.

AA: That would be great.

MA: Making film on a low budget with a big Hollywood look. I think Al and I are true students of Robert Rodriguez and QT.

AA: Robert Rodriguez paved the way for us, and hopefully we can do some paving of our own.

ME: Do you plan to enter Cross The Line in any festivals or for any contests?

MA: Absolutely.

AA: Yes.

MA: We’re actually still looking around. The festval run is just about done for 2005. So I’m looking at Slamdance in January.

AA: Hopefully one’s that are pretty close. We’d like to start getting some screeners sent out also.

ME: What’s a typical day on the set like?

AA: WOW. Typically? *Laughing For us? Hmmm…

MA: A day on the set always starts with breakfast, *Laughing* But seriously it begins with what we will be covering that day, what shot we need. Then about an hour to set up, finally getting that magic from your actors when the camera is rolling.

AA: Yeah and it’s usually nothing too typical. It changes for us because we have such an off beat way about us. First things ALWAYS FIRST. Lots of coffee.

MA: You’ll find that on most sets the cast and crew are always talking about the food.

ME: Did you ever hit any roadblocks while you shot, “Oh crap we forget to do that…”, and ended up changing something?

AA: *Laughing* Where do we start?

MA: Yeah, almost everyday.

AA: Don’t forget. We had lots of people working for us but mike and I had to remember to keep track of EVERYONE ELSE’S work besides our own, so that things get done the way we needed them to be. One of the flaws you encounter when people are working on a project for credits.

MA: Nothing ever goes according to plan. I heard an interview with John McTiernan. If you get 50% of the story shot the way you want to, you’ve done a good job.

AA: That’s true. Usually though as far as my own experience, you have people who are dedicated to the project and putting out a great final product.

ME: Any particular films of Tarantino and Rodriguez that greatly inspired this movie or anything you ended up doing for the movie?

AA: I am huge on Reservoir Dogs. That started out the inspiration for me actually sitting and completing this script. Sitting and watching Michael Madsen torture that cop. *Laughing* QT is sick but gets his point across not only in dialogue but in his shots.

MA: For me Rodriguez film Once Upon a Time in Mexico In the DVD Robert really shows you how easy it is for creative people like us to make a big budget film on a low budget. With QT, Kill Bill is the way he tells a story. That what directors really are, storytellers.

AA: The rest would be attributed to films like Once Upon A Time In Mexico and Desperado, which to me are the greatest of all of Rodriguez’s films. And the fact that he gives us a glimpse into how he does the post production and is actually willing to teach us something, is one of the most admirable things a filmmaker can do. Kill Bill. What a FILM,TOO, The fight scenes are just…..WOW!!!!!

MA: You can ask Al, every time we are suppose to be working. I stick in a DVD doc of QT or Robert while we wait for things to render.

AA: What a way to wait for rendering though. Learning while we work.

ME: Well if there is anything else you guys would like to say about your film, to the readers of my website, or to other Indies?

AA: Well to other filmmakers…..Never let it be said that it is impossible to make your dreams of shooting a film come true. Endurance, the will and a great cast and crew can all make it possible. Study your craft and study those who are doing it like we do. QT and Rodriguez are masters of their craft and they got there the same way we are getting there. Don’t give up. Look for different and new ways to do things for your film. You’ll get there.

MA: You don’t need thousands of dollars to make a movie. All you really need is talent, the desire to tell a good story and the imagintion to pull it off. Bruce Barton says it best. “Nothing splendid has ever been achieved except by those who dared believe that something inside them was superior to circumstance.” Do what you dream, and you’ll find a way to make it happen.


The behind the scenes look at the making of the "pocket change" feature film titled CROSS THE LINE contains adult language and adult content that may be unsuitable for persons 13 years or younger. Viewer discretion is advised.

SEE BEHIND THE SCENES making of CROSS THE LINE...CLICK ON News Updates and Screenings
http://www.crossthelinemovie.com/
http://www.maximummovies.net/2006/07/06/mike-arbouet-and-al-allie-cross-the-line/

Cross The Line a new film by Mike Arbouet and Albert Allie, Allie-Way Films and Arbo Pictures, Inc., © 2006
Copyright ©2006, Max Einhorn

Do You Have the Time & a Good Computer?

NOTE: If you have the time and a good computer, you can make your independent film virtually without money. This filmmaker used everything from 8mm, Super 8 film to Hi-8/DV video; all edited together using iMovie. This wasn't originally intended to compete with professional movies, but tthe production has earned a huge profit for the $200 it cost to make it.

At the age of eleven, TARNATION director Jonathan Caouette borrowed a neighbor¹s video camera and began documenting his daily life, interrogating his family members and making short films to escape the drama of his everyday existence. Caouette utilized six different cameras over the years, including Super-8, Betamax, VHS, Hi-8 and Mini-DV, with which he shot the bulk of the footage that appears in TARNATION.

In addition, he compiled still photographs, archived answering machine messages and audiocassette diaries - all of which documented the details of his tumultuous life. As a self-proclaimed pack rat, Caouette saved what turned out to be 160 hours of personal recorded materials in a wide range of different video and audio formats, spanning over twenty years. When considered as a whole, these materials offer a devastating, yet

mesmerizing portrait of a troubled American family. The footage includes unsettling domestic situations, unique dramatic performances (by a pre-teen Caouette and his mother) and unexpected demonstrations of compassion and love that could only be called unconditional.

The evolution of a filmmaker
Almost 20 years after shooting his first footage, Caouette began using the editing software iMovie while working on his short film “The Hospital.” The program came bundled with his boyfriend’s Apple computer and was “as easy to learn as riding a bike,” according to Caouette. In “The Hospital,” a young man with a troubled childhood remembers details from his brutal past while incarcerated in a psychiatric hospital. Although the film’s story is fictitious, the young man’s memories are depicted in flashback sequences constructed from actual footage of Caouette’s childhood.

While crafting these initial montages, Caouette had no intention of making a feature documentary about his life and family. But excited by the possibilities of iMovie and driven by a powerful, almost insatiable need to tell his life story, Caouette began loosely compiling and editing his archived audio and video material as a separate experiment.

In early 2003, Caouette auditioned for a part in HEDWIG & THE ANGRY INCH director John Cameron Mitchell’s new film SHORTBUS. For his audition tape, Caouette included excerpts from his work-in-progress.

Impressed with the unfinished work, Mitchell encouraged Jonathan to finish his film. Soon after, Caouette learned Renee had suffered brain damage from a lithium overdose. After returning to Houston for five months with the intention of perhaps bringing his mother back to live with him in New York, Caouette turned to his camera and his home editing suite to help fully confront the legacy of his past. Returning to New

York, Caouette discovered that the deadline for the MIX Film Festival was in less than four weeks, so he feverishly reworked his materials, increasing the scope of his project, to include more recent footage and a substantial narrative overhaul of the existing material.

For Caouette, editing TARNATION together and building the story was an organic stream-of-consciousness process. He would randomly review whatever material seemed interesting, import it, and start editing. None of his footage was logged or labeled. According to Caouette, “I would look at some footage and think ‘this is from 1983 or so when I was doing such and such. Don't I have some other stuff from that time on a VHS tape somewhere?’"

The material he began to add included movie clips, pop songs, and odds and ends like scenes from the 1970’s children’s television show “Zoom.” He would pull music CD’s off the shelf and incorporate a favorite song into the work. He also began structuring the film around his depersonalization disorder, intending to portray reality as conflicted and unreliable. As Caouette describes it,

“I conceived the film as a new way of looking at documentary, as though it were imitating my thought process, giving the audience the experience of seeing what it was like to be inside my head.”

From this, TARNATION was born. With the MIX Festival deadline as a motivating force, Caouette embarked on an intense three-week editing marathon. What began as a stroll down memory lane soon evolved into a two and a half hour rough-cut that had all the resonance of an epic documentary. This cut explored Caouette’s personal trajectory while also paying tribute to his long-suffering mother. After viewing a rough cut, John Cameron Mitchell expressed his approval: “I was incredibly moved by the unbreakable bond of love between Jonathan and his mother. It kept them both alive.”
SEE THE TRAILER...
http://www.imdb.com/title/tt0390538/
LEARN MORE...
http://www.wellspring.com/movies/text.html?page=synopsis&movie_id=56

DO YOU NEED REPRESENTATION?

Here's the scenario: You meet a manager or agent. Maybe it is at a pitch-fest, screenwriting conference, Sherwood Oaks event, or through friend of a friend. But there you are, face-to-face with one of those people who can put your career in high gear.

The question is "How can I get them to represent me NOW?"
First, remember that you are entering into a business relationship and both parties need to get value out of it. Just as important, this manager/agent is about to put their reputation on the line for you. So they want to know that you're a good business risk.

Here's the first secret about getting an agent:
The more attractive you can make yourself (from a business perspective), the better your chance of getting and keeping a manager/agent.

Here are three keys to your success:
1. You need to be ready.
2. You need to be prepared for a collaborative relationship.
3. You need to get in the door in a professional way.

Let's look at those three keys and see if we can solve this mystery.
1. You need to be ready. Everyone I talk to says they are ready for representation, but in reality, most aren't. And this is very important. If you're not truly ready, you'll burn contacts, frustrate anyone you work with, and experience a lot of disappointment.

Answer these questions to see if you're ready:
A. Do you have at least one highly marketable project that is professionally written?
B. Is your writing skill at a professional level? By that, I mean at a level that is consistent with produced screenplays that are exceptional.
Key advice: Don't compare your work to the worst writing, compare it to the best.
C. Do you understand enough about the business side of screenwriting to interact as a professional? Understanding the business means you won't make obvious mistakes or crazy demands that will kill future deals.

Why does all of this matter? Because a manager/agent is in the business of promoting marketable writers and marketable scripts. If the answer is "no" to any of those questions, you still have some work to do.

STRATEGY 1. Prepare yourself so thoroughly that any manager or agent will feel lucky to represent you. You need to be prepared for a collaborative relationship.

Collaboration is an important part of this business. While the process starts with a single person (the writer), by the end, there are hundreds of creative and business people involved.
Many of those people bring something of value to the table and in some cases, they can dramatically improve the movie. The reality of the business is that the more collaborative you are, the more likely people will want to work with you in the future.

Collaboration goes both ways. You present your ideas, reasons, etc. and you listen to those of the producer. When you turn in a script, you've just presented a blueprint that will be used to make a $5 - $100 million movie. Important decisions will now be made by producers, directors, actors, and about 200 other collaborators.

If you don't understand collaboration, it will seem like people are ripping your script apart. On the other hand, if you go in prepared to collaborate with other industry pros (and you will be considered an industry pro if you collaborate), you'll enjoy having all of this feedback and the amazing learning experience that can come from it.

STRATEGY 2: Think of your finished script as the beginning of the collaborative process of the movie-making process and welcome the changes while continually working to make the script/movie even better.

One last thing: If the idea of collaborating once your script is "done" is offensive to you, there are other options. If you need total
control, consider directing (although you'll still be collaborating, but you'll be the primary decision maker). Another way to maintain control is to finance the production.
But for those of you who are pursuing a career as a writer, you'll need strategies to approach agents, managers, and producers.

LEARN MORE...
http://www.scriptforsale.com/

Flawed scripts/Scripts that worked:

For those professionals who study screenwriting and strive to be the best, here is my two cents script analysis on some recent netflix I got that DID and DID NOT WORK:

DID NOT WORK:

Man On Fire - 1st half was a transformation plot, then it went to a revenge plot in the second half. This was a weak structure for the script to have 2 plots back to back. The revenge plot also had no conflict since Denzel was set up as a guy who would achieve his goals of revenge no matter what. I like the definition of conflict as: "the uncertainty of the protagonist achieving his goals". When the second half starts up, it's completely clear that there is no uncertainty. If he was established as an underdog, that would have conflict. However, he's painted as a badass who fears no one. i.e. no conflict.

Way Of The Gun - no identifiable protagonist, let alone sympathetic protagonist so the movie failed big time in the first 10-15 minutes. Just a terrible piece of work. Nice direction though, but if it ain't on the page who the f*** cares?

World Trade Center - didn't escalate the tension and conflict, it just flatlined in Act 2. The central question of "Will they survive?" is only interesting enough to propel a full movie if we see the protagonists actively TRYING to survive and FAILING, then TRYING some more, and FAILING again. Act 2 was a waiting game devoid of conflict, with character exposition. Just a shoddy screenplay, period.

16 Blocks - bad pacing structure, the script slowed down in act 2 after starting out fast, plus failed to establish who the protagonist was. But this script did have its good elements.

Original Sin - failed to establish protagonist, protagonist's goals and central conflict early on, just a total head-scratcher. The studio must have thought Production Design+Antonio Naked+Angelina Naked+No story = hit.

Hard Candy - failed to establish who the protagonist was; viewer sympathies were split between two characters therefore diluted; plus if the protagonist was the girl, being a torturer provides little conflict - the protagonist in that situation has all the power. IF YOU HAVE A TORTURE SCENE, the protagonist better be the one being tortured, otherwise it won't work.... Again, if conflict is the uncertainty of a protagonist achieving their goals, if you are torturing someone, you hold all the cards, it's a pretty sure bet you will achieve whatever goals you may have in mind.

The reason I say a lot of these films failed to establish who the protagonist is - - I think you will find that in most of the well-regarded films and timeless classics, there is NO DOUBT AT ALL as to who is the protagonist.....

SCRIPTS THAT WORKED THAT I RECENTLY NETFLIXED. These at least had a clear protagonist, premise, conflict, plot structure, and decent pacing:

The Pursuit Of Happyness
To Live And Die In L.A. (>>> French Connection)
Single White Female
Pacific Heights
Bad Influence
Lantana
Derailed
Notes On A Scandal
Ladder 49
187 (Top 10 underrated of the 90s nominee)
Coach Carter

Edited by Dave. © 2002 – 2007 Meetup Inc.

Film Financing Scams

Hello All...

I've been away for a bit, and partly because I was feeling very frustrated with the whole process of financing. I'm just sick of all the BS.

In response to this due diligence topic, I want to say that the most recent reason for my frustration was that both I and my legal counsel went through 3 heavy duty weeks of putting together legal documents for a company who we thought as being legitimate only to at the very end find out that they were one of these Nigerian scams.

It was a London based company (how appropriate for this group, eh?). Everything they said from the get-go seemed legitimate, and we even had "on phone" conversations. They sure did their homework when it came down to investment terms and the like. There were some red flags along the way, and so we also did our "due diligence" on their company. They were legally listed as an investment firm in the credit reports that we were able to access going back 10 years, and they had a street address in London, however no placard there when one of my associates in England checked it out for me.

What finally blew the whistle was my research into their websites, which were being hosted by Microsoft Office Live, a free website server. They had previously claimed that their website was down and under construction, so when it was finally up, I looked into it under Register.com Who Is database, only to find out that the domain name was just registered a month prior, and I was even able to get the name and address of the persons registering that website which had no bearing on the directors of the investment firm.

When they started haggling over the terms in our Term Sheet, it further added fire to the burner, and when I confronted them about their website and unwillingness to provide references that were legitimate, that exposed them and they dropped out of site, website and all.

They were also asking for $6,000 to cover their due diligence costs, and when we researched, we found that most due diligence companies charge less than $1,000, and even a few for $250 for an extensive report.

If any of you have any further questions regarding the name of the company in question, or about due diligence and term sheets, etc., please feel free to contact me, but do so by emailing me directly.

Best wishes and Success to All !

Brian Coposky
coposky2005@yahoo.com
Xavier Enterprises LLC
Reposted here from Intl' Producer's Alliance Board

Screenwriters to Watch: Michael Bacall

Being a child actor can lead to bad things down the line. But it also has its benefits, like reading every kind of script imaginable. Thesp-turned-actor Bacall credits his exposure to every genre as one of the reasons why he's become sought after to write just about every genre imaginable.

Bacall grew up in the San Fernando Valley, and during childhood and college he made a respectable living acting in supporting roles in both film and television. His first script was the teen drama "Manic," which he co-wrote with friend and fellow thesp Blayne Weaver. He followed that up with the crime thriller "Bookies" (Sundance 2003) and then began to score some studio assignments.

"When I started out, I just wanted to write things in multiple genres and see how far I could go," Bacall says. "I wanted to try and cover all the bases because I like being challenged."

In just a few short years, Bacall has already lived up to those lofty expectations -- his seven projects currently in development include a revenge thriller ("Justice Deferred" for Tobey Maguire at Warners), a sports movie ("Hole Shot" for Mark Ciardi and Gordon Grey at Disney), a mystery ("In Search of Captain Zero" for Radar Pictures, with Sean Penn attached to star), a private detective franchise (adapting John Sanford's 16-volume "Prey Series" for director Mike Newell) and an untitled horror pic for 2929 Entertainment.

But Bacall's current genre of choice is most definitely comedy, and he's got three plum assignments to show for it. "Psycho Funky Chimp," a spec about a "battle royale between two obsessive collectors of Pez dispensers," will go into production later this year, with Todd Phillips and Paramount/MTV producing.

He's also penning a fictional version of the Slamdance docu "The King of Kong," about the subculture of classic arcade-game competitors, for New Line.

READ MORE...By MATTHEW ROSS
http://www.variety.com/article/VR1117967391.html?categoryid=2607&cs=1
© 2007 , a division of Reed Elsevier Inc. All rights reserved.

HOW ONE COMPANY makes money with VIDEO

Reel Biography's origin, and still our mission today, is capturing the stories of everyday people in their own words through digital video. For us, the most natural route was to begin with families and family businesses. Though the majority of our projects are now for companies, executives, and organizations, we still produce Family Reels™ upon special request.

Reel Biography is a Digital Video Branding Company. We create personalized content that enables both individuals and businesses to present their story in their own words, in a professionally produced, yet unscripted, attention-getting online video. At Reel Biography, the focus is on people, putting a human face on businesses as well as showcasing individuals.

Reel Biography’s work provides an outside perspective for clients seeking high-end commissioned video that is distinct in both production values and narrative content. With a team of top filmmakers, broadcast journalists and marketing communications experts who are truly focused on each and every client, our Reels have an array of uses in marketing, recruiting, events, internal communications, investor relations, publicity, and overall brand building.

COMPANY REEL: Creating Web-video documentaries to energize marketing, recruiting and brand building for all types of business.

NON-PROFIT REEL: Enabling organizations to get out their message and promote their cause.

NEW MEDIA: Helping clients maximize the potential of new media and technology via video blogs, podcasts, live webcasts and remote shooting.

VIDEO RESUMES: Providing professionals with an innovative tool to present their credentials and attract the next assignment.

We continuously review work from established and up-and-coming creative and technical talent to add to the Reel Biography team. If you would like to send us your information or mail us samples of your work, please contact us at: T: 212-867-7287 - jobs@reelbiography.com

LEARN MORE...
http://reelbiography.com/index.html

MY GOD...Start Your Own Religion?

We have 60 days and $5000 to start a new religion.

All we need is a messiah. How about you?

We're looking for a guru, a prophet, a messiah, a preacher, a god, or a goddess.

Spread the word, or apply today!

my god is a new independent documentary film currently in production from andy deemer...

Right now, around the world, there are over 4 billion people who belong to one of the three major religions. As different as these religions are from each other, they share one thing in common: once upon a time, a long time ago, they were all started from scratch.

And we wondered whether maybe there wasn’t room for one more religion, that WE would start from scratch.

We weren't alone in this thinking: we had some great examples we could learn from (the Kao Dai in Vietnam, the Unification Church, Christian Science, and so on) and also some lessons on what NOT to do (Jim Jones, Aum Shinrikyo, Heaven's Gate, and so on).

The first lesson we learned was you need to find the right person at the top. So we're setting out to pick a leader for our new religion, and we want to do it the right way.

Now all we need to know is: how do you interview for a messiah?

Join the filmmakers as they follow modern-day gurus on their spiritual journey. At the same time, the filmmakers themselves will delve into their own spiritual past and future, and explore the history of new spiritual movements in America today.

"Three blind men come upon an elephant in the forest. So this is an elephant, says one, grasping its tail - it's long and thin; no, says the second man, grasping its trunk - it's long and fat and open at the end. No, no, says the third man, grasping its leg - it's just like a tree trunk." - Ancient parable, as retold by Mick Brown, The Spiritual Tourist

"To study different religions need not imply infidelity to one's own faith, but rather it may be enlarged by seeing how other people have sought for reality and have been enriched by their search." - Geoffrey Parinder, World Religions: From Ancient History to the Present

READ MORE AND LEARN MORE...
http://www.startyourownreligion.org/

PROTECTING YOUR SCEENPLAY IDEAS

I'm beginning to draw up a list of people to approach for money to go the indie route. A few people I think will throw me a few bucks, but the reality is (as we're all painfully aware), that I'm going to get a lot of doors slammed in my face.

Besides registering the script with the WGA, is there any way I can protect the idea without someone I pitch for money simply going "Ahh, that's not bad, I think I'll just go ahead and do that myself". Now I know I'm assuming a lot here about the quality of the script etc, but you get the idea. I'd rather be paranoid and safe now than get shafted later on....just in case.

AS FAR AS I KNOW, you can't really protect an idea, however every screenplay is protected. This is why the quality of writing is key rather than an idea. Ideas grow on trees imo. It's what you do with 'em.

The general rule is the higher the concept the more stealable. A low-concept idea like a man must deal with his wife's infidelity ain't gonna get stolen. However, if you've seen that movie "Deja Vu", the TECHNOLOGY idea in that could be stolen. Other stealable concepts off the top of my head are What Women Want, Bruce Almighty, the Number 23, Phone Booth, Panic Room, etc.

Also ideas that are pertaining to a very specific thing such as a comedy that focuses on stamp collectors or something - someone might do that and beat you to it. (To anyone who just read that and is thinking "stamp collectors? YEAH! I like that...", be warned my lawyer is an animal). Just kidding.

Look, I can definitely relate to this, but the bottom line is you can't be paranoid. It's not like everyone out there is a professional idea-stealer. At the end of the day, if they steal the idea, they still have to come up with a script, and in most cases it would be easier to use your script than go find a writer to write it. So what's your idea anyway? Just playing...

Now that I think about it, since you're approaching investors, you could potentially protect the idea as well by making them sign a Non-Disclosure Agreement. Once they sign that, you can tell them the idea.

This is pretty common in regular business deals, in fact people who are not in the know of the movie biz would probably expect it. I don't see why that wouldn't carry some weight in court if it came to that.

Intellectual property precedent is one thing, but a signed piece of paper with the stated idea and their signature that they won't steal it won't look very good if they are involved in a movie with an identical concept...

At the very least it's additional ammo if they try to jack your s**t. So my advice is - to industry people, just hope they don't steal it, to regular businessfolk - get them to sign an NDA.

Yeah, it's easy for concepts to be stolen-- and if you have a concept that truly has never been done before (odds are it has) I'd protect it and write the script. Because once you write a script: a) it's a lot easier to copyright and b) it makes the entire prospect of a producer going through the trouble to steal your idea, commission another writer to write the spec, and then deal with lawsuits after the film is released-- when they could just pay you the tiny fee a budding screenwriter commands to option your script.

This column from Wordplayer.com is very helpful for anyone who's concered about screeenwriting and plagiarism:

"Steal This Column" by Terry Rossio
http://www.wordplayer.com/columns/wp04.Steal.this.Column.html

© 2002 – 2007 Meetup Inc.

Talk with MyTVPal.com Aaron Keogh on IP-TV!

DMN Podcast: Interview With MyTVPal.com Aaron Keogh

We are in a media on demand world now plain and simple. Gone are the days of yore when I would look in the TV Guide praying that my favorite movie would be on this week. I remember having to wait months to see The Wizard of Oz playing on the old tube. Those times are over. We want what we want now. No more waiting for us.

Is this good or bad? You decide.

Todays show: I had a chance to interview one of the players in the streaming on demand media realm, MyTVPal.com. High Definition video over the internet. And best of all its free!!

Aaron Keogh takes us into the streaming media world. He discusses why MyTvPal.com will survive the battle for internet High Def supremacy.

LISTEN TO THE PODCAST...By David Basulto
http://images.digitalmedianet.com/2007/Week_28/la0lhv9v/story/dmnpodcast_episode07.mp3
© Copyright, 2007 Digital Media Online, All Rights Reserved

JUNKYARD DOGS

Set in a junkyard, quirky and reclusive Will lives with his older sister Louise.

For the past five years, her wits and reckless courage have protected them from harm while living in an abandoned yellow school bus on the Brooklyn waterfront. On the day of Louise’s graduation from high school, the two agree they need to start a new life, but each have very different ideas about how to do it. Both are full of adolescent exuberance and imagination. As they dream of the possibilities, their visions become animated on screen.

Lacking resources, the pragmatic Louise, convinces her tentative brother to rob the local bodega where he works and run away together. Finally the two settle on the plan, but it goes wrong when Louise is attacked by the stock boy, with her own knife. What follows is a filmed black and white journey into Will and Louise’s memories, and the circumstances that led them to believe that robbery was their only option for improving the quality of their lives.

Taking place all in one day, Graduation Day, “Junkyard Dogs” intermingles the past, present and future into a visual multimedia collage. The technique depicts childhood memories in black and white film, a harsh reality in digital video and their hopes and dreams in animation.

“Junkyard Dogs” uses the intimate story of kids left to their own devices without the guidance of adults to illustrate a larger premise that demonstrates the profound effect struggling for survival has on the human psyche.

The film also explores the question of nature versus nurture, and issues like: To what degree are we a product of our environment? What roles do our upbringing and personality play in our own character development? How much does chance or fate affect our personal life story? To what degree are we responsible for one another and how much of our situation is our own doing?

Though these questions may be unanswerable, the idea is to use a personal story as a thought provoking catalyst that opens up a dialogue about issues of individual conscience and our roles and responsibilities in the society we live in.

LEARN MORE & SEE THE TRAILER...
http://www.vanguardpictures.org/

SMILE

This animated short film tells the story of Smile, a lonely but caring happy face guy who befriends a happy face balloon.

Their cherished friendship and lives become threatened as a jealous pirate seeks to destroy them both. The menacing deeds of Pirate lead Smile on a daring rescue mission to save the balloon from certain peril.

Smile must find his courage if he is save the balloon from the clutches of the evil pirate. A climatic sword fight between Smile and Pirate determines the fate of the treasured friendship.

“Smile” takes advantage of the latest and greatest technological innovations of the visual effects industry. Motion capture, 3D laser scanning, and digital cinematography were all utilized to breath life into the digital characters of the film.

The process consisted of first filming the background plates, then creating the digital characters and finally compositing the characters into each shot. From start to finish, “Smile” took two years to complete.

LEARN MORE...
http://www.smilethefilm.com/

IN THE FUTURE...

IN THE FUTURE, ALMOST EVERTHING THAT GETS SHOWN IN THEATERS WILL BE INDIE MOVIES...Forbes

More and more independent films are being produced with higher profit margins than studio pictures.

An independent film is a film initially produced without financing or distribution from a major movie studio. Often, films that receive less than 50% of their budget from major studio are also considered “independent”.

According to MPAA data, January through March 2005 showed approximately 15% of US domestic box office revenue was from independent or indie studios. In the past few years, a growing segment of moviegoers has been drawn to these unconventional films.

(Learn More: CNN.com; September 22, 2006, Independent films move into spotlight)

What triggered the rise of Indie films? With the advent of the videocassette recorder and cable television, more independent movies were made during the 1980s. These technologies opened up new revenue streams, outside of risky and expensive theatrical releases, making it easier to make money on smaller films.

And as major studios increasingly concentrated on producing big-budget films, independents filled a void. By 1989, there were more than 50 million cable households. Cable viewers were accustomed to a wider variety of entertainment choices, making them more receptive to new kinds of films. Thus, the convergence of new technologies and demographic changes in the 1980s helped create the circumstances that were conducive to the growth of Indies in the 1990s and today.

All this has helped to make Indies a hot commodity in Hollywood and on Wall Street.
(Learn More: Wall Street Journal; Jan 27, 2006, The Sun Rises at Sundance; After Pricey Flops, Low-Budget Films Are Grabbing Hollywood’s Attention)

The success and profitability of indie films has attracted some of the most successful business people in the world. Fred Smith of Fedex and Norman Waitt of Gateway Computers who financed “My Big Fat Greek Wedding”, Max Levchin and David Sacks of PayPal, Marc Turtletaub from The Money Store, Roger Marino from EMC Corp, former Chicago Bulls co-owner Jim Stern, Jeff Skoll of EBay, Sidney Kimmel of Jones Apparel Group, Minnesota Twins owner Bill Pohlad, real estate developers such as Bob Yari and others all started to bankroll independent films.
(Learn More: San Francisco Chronicle; December 29, 2005, Google team sets sights on big screen)

READ MORE...
http://www.ovationfinancial.com/independentfilm.html
Copyright ©2006. Ovation Financial Group Inc. All Rights Reserved.

THE HOLLOW TREE

Little Timmy has received some terrible news! His house is no longer his home. He, along with his mother and father are moving. This is absolutely unacceptable for a ten year old - how could his parents be so foolish and self-centered?

Timmy decides to run away and he ends up running into an entirely different world. He finds Wolfincrass Literaries - owned by non other than the wizened, scruffy, slightly eccentric Wolfincrass himself.

A deal is struck. Timmy is allowed to hide from