Produce (Short) Movies

January 23, 2010

To Sundance or not to Sundance?

One of the questions I often get when asked about how to become an actor is whether or not to go to Sundance, the big film festival that happens in Utah every January.

I’ve never gone.

I get invitations to parties and to roommate with people every year, but I’ve been to Salt Lake City other times of the year and the idea of a large portion of Los Angelenos descending upon that tiny town every year makes me hyperventilate from claustrophobia.

I mean, should the opportunity come when my schedule is free, then I might check it out, but I don’t personally think it will benefit most actors and there are better ways to network.

Sundance started as a way for the indie filmmaker to get the word out about his or her film, but it has gotten so big that it has become a celebrity stomping ground, complete with schwag tents and photo-ops if you are on the A-list.

What does that mean for the beginning or intermediate actor?

It means that you could probably meet some interesting or even powerful people at the event, and see a lot of great movies premiere and attend some awesome parties, but it won’t do much for your career.

As a filmmaker, the advice I’ve gotten regarding Sundance is that you should go if you have something screening, otherwise it’s kind of a waste of resources. A fun waste, but a waste.

My advice would be to seek out smaller film festivals. If you are from LA, go anywhere in the nation that has a film festival and you will find filmmakers from Los Angeles. YAY!

If you are not from L.A., go to the festivals that are local to you. The reason is that most festivals favor local filmmaking talents and encourage them to apply. This means that you will be networking with filmmakers in your area, which means you have a good chance of being cast in their next project (or at least auditioning.)

And don’t forget to go to the galas at these smaller festivals. Sure, you may have to pay a bit of an entrance fee, but it’s like an automatic set up for you to talk with people. Tables are shared typically (awesome!) and lots of mingling ensues. Congratulate the people that win awards and follow up after the event with an email. Ideally, you got to see their project during the festival. Tell them what you liked about their work and that you would like to get involved in their next project if there is an appropriate roll.

Finally, if you do go to Sundance, go to the workshops. Great place to meet people. And also waiting on lines for standby tickets for films. But really, you’ll meet people everywhere when you go. After all, it is Sundance and a majority of the industry people go just to chat it up with other industry people.

And as always, Have Fun!

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January 2, 2010

A Few of Good Resources for Los Angeles Actors…

I was thinking about a friend who recently moved to LA to do some acting and was trying to decide what resources I would refer him to.

There are three off the top of my head that I wish I had discovered earlier.

The first is Suzanne Lyon’s Flash Forward workshops, which I have mentioned here several times.

The second is Jeffrey Gund’s InfoList, which is a regular email that gives you information on the latest events and workshops in town.

And the third is CCI, Center For Cultural Innovation.

They focus a lot on the business of art and I had the pleasure of going to one of their free artists info days which they hold approximately every 6 months.

The topics at that even ranged from legal assistance to doing your own PR to getting yourself organized (called “Getting Your S**t Together”), and while CCI tends to be more geared toward visual artists, I found it to be extremely valuable for other artists, such as actors, filmmakers, musicians, etc…

Great networking, too!

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December 29, 2009

“Ten Steps to Wrapping up 2009…and Giving Yourself the best Holiday Ever!”

It is tremendously helpful to start the new year with a clean slate and I, in some way or another, usually go through my previous year and review all that has happened, all the successes I have achieved, where it has left me at the end of the year, and, most importantly, where I am headed in the next year.

I have done many different systems that all work well, depending on the sort of mind frame I am in and the sort of experience I see myself having in the new year.

Suzanne Lyons runs a workshop in December called Launching the Future, and though the even has already passed, here is a message from Suzanne on how to get “complete” with the previous year, so that you may step into 2010 full steam ahead and with all of your energy moving toward what you want to achieve.

Suzanne with Alfred Molina "Undertaking Betty"
“Ten Steps to Wrapping up 2009…and Giving Yourself the best Holiday Ever!” by Suzanne Lyons

1) Take a thorough serious look at your year. Go through your calendar, day timer, diary, etc. See where you are out of communication, out of touch, and out of integrity with colleagues, family and friends. Make a complete list.

2) Take your list and write up what you would need to do or say to clean things up (to be complete). I am not saying that you have to take the actions. You can take the actions if you want to, but often just the act of acknowledging what is incomplete will have it disappear.

3) Go back through your year and take note of all the projects, areas and anything from your “To Do” list that is incomplete or unfinished.

4) Take this list and write out what actions you could take to be finished or be complete. It is up to you whether or not you take the actions, but once again in order to be complete with 2009 it is important to take note of the above and acknowledge what is left unfinished.

5) Accomplishments: Now it’s time to brag! I love this part. Go through your year again and this time make a list of all of your accomplishments…no matter how small you think some of them might be. All too often we focus on what’s wrong, what we didn’t get done or what we should have done. So now I want you to focus on everything you accomplished. Claim it! Be proud of it! Take joy and pleasure in it!

6) Acknowledgment: There are two sides to this one. Giving and receiving. Both are very important and both are missing in our culture. And it is all part of being complete. In all of 2009, what would you like to be acknowledged for. For example, “I would like to be acknowledged for sticking to my weekly exercise program.” Write out a list of all the things you want to be acknowledged for and share it with a friend. Perhaps you could have a friend or family member do the exercise so you can share your lists with each other. A friend of mine, with her family, does the accomplishment and acknowledgment lists every Christmas. Wow!

7) Acknowledging others: Who do you want to acknowledge? Make a list and include the acknowledgement in your holiday cards, calls and emails. Acknowledge not only what they did, but also who they are for you and the difference they have made in your life.

8) Expectations: A friend of mine once said that “human beings are walking expectations just waiting to be unfulfilled”. So that said, what about going into the holiday with your friends and family with absolutely no expectations at all! Just allow them to do what they do and be who they be and have no reaction. Just keep falling in love with them over and over again no matter what. Wouldn’t that be a fun adventure to take on for the holidays?

9) Appreciation and Gratitude: There is a great quote by Melody Beattie where she says that “Gratitude unlocks the fullness of life. It turns what we have into enough, and more. It turns denial into acceptance, chaos to order, confusion to clarity. Gratitude makes sense of our past, brings peace for today, and creates a vision for tomorrow.” Create a list of all the wonderful things you appreciate and are grateful for. Come up with at least 50! Look at this list everyday and keep adding to it.

10) Contribution: Since this is the season for giving, the greatest gift you can give is yourself….your time, your love, your kind words, your ongoing commitment to be an example for humanity…bringing excitement, possibility, joy, love and passion to everything you do and everyone you touch!

(BTW, I recommend you sign up for Suzanne Lyon’s newsletter by going to her website!)

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December 11, 2009

Los Angeles Networking: Six Degrees of Entertainment and Silverlake Film, Music, TV & New Media Holiday Party!

I received this invitation from my friend Ruby Lopez. She and I did several Flash Forwards (along with a number of other Suzanne Lyon’s workshops).

I will not be in Los Angeles on the 15th, so I will not be able to attend, but I figured I would pass it on to you, my readers.

I think a lot of Flash Forward alums are going to show up, and if so, this is definitely worth going to. All the people I met through FF are wonderful and very good at networking and being strategic about their careers.

If you go, have fun and post your experiences here in the comments section!

DATE: TUESDAY, DEC. 15, 2009

LOCATION: THE BUNGALOW CLUB — MELROSE
7174 Melrose Ave.
Los Angeles CA 90046

Phone: 323-964-9494

TIME: 7pm to 10pm

NO COVER CHARGE

(RSVP deadline: December 15, 2009 4:00 PM)

http://www.meetup.com/Six-Degrees-of-Entertainment/

Six Degrees is about networking with other professionals in the Film, TV, Music and New Media industries. Everything in entertainment is interrelated. You could be a director looking for an actor, agent or composer for your movie. Or a producer looking for a web marketing expert for a webisode. Or a screenwriter looking for an agent or manager. Come and join us in our monthly meetup events and meet other industry professionals in a fun, casual setting.

FYI: There’s street parking if you get there early. Otherwise, there’s valet.

Looking forward to seeing you there! Please rsvp and bring as many guests as you want.

Thank you! Happy Holidays!

FYI: I’ve extended the invitation to two additional industry related meetup groups. So, it’s sure to be a great turnout!

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November 17, 2009

TEN STEPS TO SUCCESS IN HOLLYWOOD (Or any Business)

Suzanne Lyons

Suzanne Lyons

(The following post is by Suzanne Lyons, a friend of mine and a brilliant coach, mentor and producer. Click Here if you would like to join her newsletter. I highly recommend it!)


TEN STEPS TO SUCCESS IN HOLLYWOOD
(Or any Business)

1. SET A GOAL – Do a one year goal. For example, “By December 1st, 2010 I will _________________________ _________________________________________. Then break it down into monthly milestones: January 1st, February 1st, March 1st, etc.

2. DESIGN YOUR PITCH – Do a FANTASTIC logline for your project or yourself depending on whether or not you are selling your script or yourself. Then prepare a two minute pitch to expand on the logline. If you are pitching yourself be sure to design your pitch drawing from highlights from your career and your personal life. I usually make a list of 5 to 10 highlights from my career and personal life and then I choose the ones I want to use in my pitch. As producers you should always have a great pitch ready that is about you because you will constantly be enrolling people in YOU, whether they be financiers, agents, directors, etc.

3. CREATE A DISPLAY OF WHO YOU KNOW (MAP OF RELATIONSHIPS) – Categorize the names of everyone you know in the industry, ie. producers, writers, casting directors, directors, entertainment attorneys, etc. Call everyone on your Map and tell them what you’re up to.

4. NETWORK – Continue to expand your Map. Network, Network, Network. Get out there and meet people. Sometimes to push myself a little I will set a goal like “I will meet 10 new people this month”. See my October Newsletter for some great tips on Networking and creating Relationships.

5. MAKE REQUESTS AND OFFERS – Make requests (not favors) of people on your Map. For example, “I’m really committed to meeting 3 new directors for my film project. Do you know any directors you could introduce or refer me to.” Also, end every call and conversation with “Is there anything I can do for you”. We all to often forget to do this and it means a lot to the person on the other end of the phone.

6. CREATE A HITLIST – Target who you need to talk to or meet with. RESEARCH. Read the trades. Make a list of 10 to 20 names and start calling. This could be one of the requests that you make to people on your Map. For example, “I am looking to set up a meeting with John Doe, Casting Director. He is on my Hitlist as someone I really want to meet. I know you have worked with him before and was wondering if I could use you name when I called him.”

7. BRAINSTORMING – Get ideas outside of what you alone can come up with. So often we try to do it alone and it’s crazy. In the Flash Forward workshops over the years we had a built in one-hour exercise called “Brainstorming” where we divided into teams of six or eight people and then divide up the time equally. Then one person would state what they needed and then they would be quiet and just listen and take notes as everyone threw ideas at them. They were not allowed to comment on the ideas at all. They just wrote everything down and then took from the ideas what they wanted. It was extremely successful.

8. KEEP STATS – I know this doesn’t sound like fun and we all get a bit squeamish when we think about statistics. However, it is such a great wake up call to what actions you are really taking as opposed to what you are just talking about. Make a list of 3 to 5 categories you want to track and then add up the actions you have taken on a weekly basic. In the workshops I have led I always include this as part of the program. People are always shocked at how few calls they have made compared to what they thought they had. Categories could include: Number of production companies contacted about my project; number of meetings set; number of auditions; number of scripts sent out; number of new relationship made, etc.

9. GET A MENTOR – No matter what level you are at. Make it easy for them. Request only a little of their time over a very specific period of time. For example, three ten-minute conversations over the next four weeks, or a half-hour coffee meeting, or a lunch together. Also, please be prepared with your questions ready and it is important that you generate the conversation. It is not your mentor’s job to generate it. Remember it is a business relationship so always acknowledge them for their time.

10. CREATE A SUPPORT STRUCTURE FOR YOURSELF – It is extremely important to be held accountable for your promises! We’re only human after all and sometimes when the going gets tough the tough get going. Don’t let that happen. Be held accountable for your word and your actions. Every Tuesday morning a group of 6 of us get together to talk about our goals and what actions we are going to take that week. On Friday we email in what we have done so far, and what is still left to do before we meet the next Tuesday. It really helps keep us focused and on target, and the coaching and brainstorming we do with each other is priceless.

A BONUS TIP: HAVE FUN AND ACKNOWLEDGE YOURSELF DAILY! We are here to have fun (no matter what business you’re in) so keep that in mind at all times. The more you take on having every action, every milestone and every goal as FUN, the more people will want to play with you and the more you will attract into your life everything you want. Also, don’t wait for others to acknowledge you. Acknowledge yourself. In the Launching the Future workshop I lead I include a page where people list what they want to be acknowledged for, just to get them in the habit of acknowledgment.

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October 26, 2009

Movie Directing and Reels

This is more of a survey than a post…

I have been going through a number of director reels right now and I have a sample of three reels that I would like your feedback on…

The first belongs Jake Barsha of Right Hook Films. I have worked with Jake and I really love his reel… especially the visual quality of it… It’s sexy and has great visual quality (reminds me of a music video). The thing is that we never hear the actors interacting (except for the very end), which is a big part of directing.

The second reel belongs to my friend Jeremy Feig. His reel mostly contains clips with dialogue. I like this because you get a sense of the story and the transactions between the actors.

Third, is my reel. It’s been a “rough cut” for the last year, but now that I have a bit more access to better editing programs (and have become a better editor myself) I’m feeling compelled to redo this…

I would love feedback on how to make my director reel better… (and I’m sure my readers would like that, too!)

Do I add more music? Keep it with dialogue only? Make it more flashy? Playful?

I’ve been tempted to “front” the reel myself… shoot a “hello” intro… What do you think of that idea?

A lot of actor reels do this, and I like it because it puts a face to the material (something that most director reels don’t have).

But is that unnecessary?

Dunno.

I also didn’t add the “Grey Street” music video. I feel it is actually one of my best productions, but it is also a bit violent and I don’t want to repel anyone (Jake’s video is awesome but it’s also a bit violent for me at the end).

Additionally, do I jump genres too much? I know I go from commercial to comedy to drama. I’m really most interested in comedy, so I don’t want to give the impression that I’m aiming for horror or drama (not that I can’t do that, but I have a luke warm feeling toward drama and horror down-right repels me now. I won’t take jobs that are for horror movies.)

Soooo………..that’s why I’m asking you for feedback.

I encourage you to leave comments below. And please add links to YOUR film website, blog and especially to your own director or acting reel.

If I get one or several cool reels, I will maybe do an entire post to highlight them.

Thanks!

Leslie

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October 18, 2009

Marketing & Distributing Your Movie on the Internet

I was surfing the net the other day and I discovered this program about Marketing and Distributing Your Film on the Internet.

I was fascinated and thought it would be a good post to add after the three-part series from the South Park guys, Trey Parker and Matt Stone (with Lloyd Kaufman interviewing).

Link to Part 1: Trey, Matt & Lloyd
Link to Part 2: Trey & Lloyd
Link to Part 3: Matt & Lloyd

In part 3, Matt mentions that he actually saw more of a back end with Cannibal! The Musical than he did with any of the movies he and Trey made with the big studios.

It makes me feel very drawn to this program (Internet Marketing for Filmmakers) because not only do you get to keep creative control of your film (something that most filmmakers – even big time filmmakers working with the giant studios – don’t often get), you also are given a technique to market your movie and make money from your hard work.

This program will get you thinking of the selling of your movie many stages before you get to the distribution stage.

I like that because while it is important to follow your passion and your heart with your subject matter, it is also important to balance that with an audience that will want to watch what you have created.

I just found Internet Marketing for Filmmakers, so I have yet to try it out. I will probably try it in the next few months, but right now I’m back in school and I’m not really thinking about producing any major film projects for at least 6-12 months.

But I thought it would be cool to pass on, since this seems to be a major question that filmmakers have when they set out to practice their art.

This would also help those asking how to become an actor, because often it is not the most technically skilled actor that has the superstar career… it is the one that can create the most heat and the most buzz on a consistent basis. It looks like this program will help you do that with the films that you create.

If you do try it out, please let me know how you like it. Leave comments below!

Thanks!

Leslie

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October 8, 2009

Movie Directing with Quentin Tarantino, Sam Raimi and Others

Just a quick vid of a few directors from ComicCon talking about movie directing:

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October 6, 2009

Directing Movies: Cut Aways and Inserts

When you are directing movies, you should have your shot list planned out ahead of time.

This is especially important if you are on a tight budget and don’t really have a lot of leeway in terms of schedule.

You need to be able to get your shots as economically as possible in terms of time and financial expense.

Meanwhile, you also have to keep you mind on the final cut of the film and how you will put it together so that it looks good.

Last time, I wrote about three shots that you MUST get, especially when you are starting out as a director.

In this post, I am going to write about an additional set of shots that would be wise for you to get, too.

I had one mentor who didn’t like the term “insert” because he said that the entire movie is one insert after another, referring to the clips with the actors talking as also being inserts.

But for our purposes, we will call them “inserts” (sometimes also referred to as “cut aways” or “cut away shots”) and we will define them in the following manner: shots that you put in the movie that you “insert” between the shots of the actors conversing.

If you don’t get them, its not a big deal… but it helps the final look of your film and can make editing easier.

Here are two reasons to get inserts:

1. Esthetically pleasing and interesting to the audience… tells the story visually rather than verbally (helps you avoid talking heads in your movies)
2. It is easier to editing if you have the option of using inserts and if there were mistakes or lack of continuity between shots while shooting, you can hide them with inserts

The first use of inserts is to tell the story visually.

When James Stewart takes a step up on the stepladder, Hitchcock shows a shot of the stepladder (22 seconds into the YouTube video). Not a necessary shot, but it makes it much more interesting to the audience.

Additionally, the shot at 36 seconds shows what he sees when he looks down from the top step of the ladder. We see his reaction first, but the story is told well visually because we get to see the height to which he is he is reacting.

The second reason is for editing purposes…

I’m going to use another Jimmy Stewart film:

Let’s say at the shot at 1 minute 40 seconds, Jimmy Stewart did that line a few times when he was by the sign of Bedford Falls (1 minute 35 seconds) but the director Frank Capra decided he didn’t like Stewart’s expression in any of the takes or the sound was bad on all the takes.

He could have gotten him frolicking in the snow (the shot at 1 minute 40 seconds) “for safety” and then ADR’d (recording the audio of Stewart to put over the visuals) the audio of Stewart later on.

But he still got the shot of him frolicking in the snow (with the tree in the foreground).

(As a side note, when getting these shots where you just need some action or a close up on something, don’t be afraid as a director to coach from off camera. As long as the actor isn’t saying lines, you can pull your coaching out of the final cut. This is also helpful when you are trying to get a reaction shot from an actor when the actor does not have dialogue. You can say things like, “can you blink a few times and look up and to the right?” and then get rid of your own voice when editing.)

Please give feedback on this post. I feel like I’ve explained it simply enough, but I might need more visuals to make my point.

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September 8, 2009

Make Short Movies: Quantity vs. Quality

Filed under: General Filmmaking, LA Acting, how to become an actor — Leslie @ 11:41 pm

One of my favorite books is The Artist’s Way by Julia Cameron.
I have read it over a dozen times and it continues to benefit me in the moments when I feel unsure of myself as an artist.

I won’t go into the details of today, which were exhilarating. I experienced the whole range of emotion from joyful exuberance to utter heartbreak in relation to creating…

It was something I had never tried to create before, and so had to remind myself that I am a beginner.

Julia Cameron’s book talks of creation being a co-creation with God (source, higher self, universe, etc… whatever you call that big IT that is both outside of you and within you) and one of the things she states repeatedly is to keep telling yourself, “I will take care of the quantity, God will take care of the quality.”

This is important for artists to remember.

Here are two specific situations in which focusing on quantity is of the highest importance for artists:

Let’s say are a beginner at what you are doing. Why is this an important affirmation? Because often fledgling artists have expectations that their fledgling creation is going to be just like the creations of their heros and experts in their desired field.  But the truth is that if they looked at the fledgling work of their heros and experts, it would be comparable to their own initial creations.

The point is that everyone is a beginner at some point.  And when art doesn’t come out the way you see it in your head, it sometimes doesn’t feel good. But that’s what art is.  If it were exact, it would be science (not that those two fields don’t often cross.)

Additionally, for someone like me, who can sometimes be pretty self impressed (fast learner, website with 100+ pages about filmmaking on it, doing this over 10 years…), to have to start at the beginning again with something that is related but different than the vast experience that I already have can be a bit frustrating.  I just assume I will be awesome on the very first day, and I forget that that’s not always how it works.

Thank goodness Julia Cameraon reminds me.

“Gee wiz, I’m human and fallible.”

I forgive myself.

And the upside is that my related experience does speed up the learning curve a bit.

The second situation is the case where an artist is holding him or herself from doing what s/he wants to do artistically because s/he doesn’t have access to the quality of equipment, personnel, materials, etc that are necessary to make the artist’s vision a reality.

Often, these materials would be nice, but aren’t really necessary.

For example, say you want the $10,000 camera, but you’ve only got the $300 camera.  Are you going to wait until you have the $10,000 camera before ever shooting anything?

I have, and trust me, it’s not fun. Creators need to create, and if they hold that back, it can be very uncomfortable.

Additionally, as you build your experience on the $300 camera, you might see in retrospect that perhaps it was better that you practiced on the $300 and got your chops working with a simpler camera, less doo-dats, less complication, and less expense.

And something weird sometimes happens when you keep creating (taking care of the quantity) despite the resources you may have.  I have found that the universe tends to open up and bring you what you need at the right time, therefore, taking care of the quality.

My overriding philosophy is that if the tools I desire are not in my world right now, I should use what I’ve got until they come to me, and that they will come faster if I create a greater need for them by continuing to create with what is currently around me.

So the next time you are in the beginning, middle or end of creating something and you’re not feeling super-great about it, know that the important thing is that you are doing it.  You are taking care of the quantity. That is your job as an artist.

You are showing up and doing it and that’s what’s most important.

(By the way… Here’s the link to the book.  It’s awesome.  I had Julia Cameron sign my copy and she was in awe of how tattered it was from me carrying around for what would amount to several years if you added it up.)

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