Budgeting and Scheduling

I've spent the last week working on a script breakdown of The Diamond Chasers and now I'm creating and fine tuning an actual budget. I'm also gearing up to rewrite the script based on notes I'm awaiting. All of which mean, I suppose I'm in pre-production. It's a tenuous time because – ah heck, it's filmmaking -- the whole nature of the animal is tenuous. Anyway, budgeting this movie is daunting. Unlike The Last Broadcast, which I basically made out of pocket, and Ghosts of Edendale which was made with plastic and foreign promises, The Diamond Chasers is quite a bit bigger. So, of course, the much larger pile of money that will be spent is partially dependent upon the actors, who are partially dependent upon any number of things, including which way the wind blows.

The budget being bandied about is also quite modest – not really 'action movie' money. It means that I'll have to pull in the belt and think very creatively. So be it, I'm certainly one of the most qualified directors ever for that job.

Anyway, there is something mildly exciting about this point because it is forward motion to the project. For the moment, I better not detail any more lest I thoroughly jinx things. I'll just put it this way -- Outlook is hopeful. Hey, I even had new business cards made. That may not seem important except that I've never made a movie specific business card unless the movie was relatively close to rolling…

Hopefully The Diamond Chasers will follow in that tradition. It's a project that has been around in one way or another for many years. It's high time to get the thing into the air.

Anyone have a good price for a 48''x30' rubber belt conveyor? Preferably located in the Midwest?

Back in the U.S.S…A.

Yeah, that's lame… but… ah… whatever.

I'm back from my trip to Russia and Finland. Wow. Just Wow.

Experiences and overall impressions are created by a series of the smallest things. A small issue at an airport, perhaps a rude person on a street curb, or maybe a less than stellar meal – and you can HATE the place to which you went. It's not that the overall experience was bad, but it just sits funny in your throat when people ask you about it. Conversely, a good meal, a friendly or helpful person guiding you somewhere… a few positive small things, and you remember a place fondly.

When every single instance of a journey is perfect, it's rare. In fact, it's a bit unnerving. Well, I just got back from one of those perfect journeys; from St. Petersburg, Russia and Helsinki, Finland.

Wow, just wow.

Rather than immediately go into the details of the places I visited and things I saw, I will only write now that – if possible, the way to see a country is to stay with a family. If you are given the choice between a five star hotel or a small bedroom in a family's house, don't hesitate – stay with the family. You get a chance to experience the country in a way that simply isn't possible in any other way. Tours are great, but they are an insular world and not necessarily the real country one is visiting. And if one gets to stay with a really great family, then the experience is one that will be remembered and cherished forever. Such was my recent experience in Russia and Finland. Besides seeing all the incredible sights of the cultural wonderland currently called St. Petersburg, I also got to experience the people somewhat. I had a chance to go into the supermarkets, the stores, ride in the cars and walk some streets not on the obvious maps. I had a chance to talk politics with normal people. By the way – They LOVE Putin. That's not propaganda.

I will, most likely, create several web pages devoted to this trip – but for now this blog entry is strictly to say Thank you to the Ruchkin family – Sasha, Helena, Alexander and Dasha – who may or may not read this. Families like this are what reminds you what a great place the world is.

Once the dedicated pages are created (dutifully added to the list of things to do), I will direct you to them. Look forward to the hearing about the harrowing traffic, the nerve wrecking drive to the opera, impressions of St. Petersburg life and the art and the palaces – oh, the art and palaces.

Get out of Dodge

I've written a couple blog essays that I haven't published. It's just as easy to hit the 'draft' or 'delete' button as the publish button. It's something more people should do more often. I include myself in that bunch. This entry may deserve one of those buttons, but I'm putting something up to let people know I'm actually still getting in front of the computer.

Plenty has been happening in the last month, which may be one of the reasons I haven't been blogging so much. We're in the midst of AFM (The American Film Market) which has seemed quiet this year. A friend, in town with his movie, has been making some decent sales -- so I guess things are going alright in spite of the seeming lack of energy.

Elsewhere in town the Red flags are waving again, which is frightening. They indicate high winds – hot winds – dangerous winds. The danger of fire is still present even though more humidity is in the air and the temps have dropped. For the most part, the signs of the devastating fires of the past weeks are over where I live. The plainest sign of them was the air – skies that would turn Orange and Gray, and a haze over everything. Though There was only one day that was really bad, I have had a small cough for days and my throat feels similar to the 'day after a party'. Since there hasn't been a party most evenings before, I attribute it to the smoke that was once forests and homes.

The biggie now for many people in this town is the impending Writer's strike. It's going to come to pass and the feeling is that it's going to last a long time, that it will wipe a lot of people out – and ultimately, that writers will lose. It's a shame and the deregulation of the 80's, which has continued to run rampant to this day, is one of the big reasons it will be so difficult for writers to win. Huge multi-faceted corporations are hard to beat. Sony, et all, don't need to make movies to survive. It's a hell of a beast that's being fought, made worse by the fact that all the unions haven't banded together to fight at the same time. Over and over, people in the film business prove themselves as being their own worst enemies.

If one believes in residuals for artists, (which is a well established part of the pay equation) the fight is justified. It would be nice if the AMPTP weren't so greedy. But they are. And so – the strike will happen.

Seems a good time to get out of town for a bit, and coincidentally, that's just what I'm doing. In two days, I will be in Helsinki, Finland and then off to St. Petersburg, Russia. No computers, no internet, no cell phone, no nothing. It will be the first time since I had my first 2400 baud modem that I will be away from it all so completely. Wish me luck on that, and expect to see full postings of the journey when I return.

Best of luck to all that live and work in Los Angeles.

 

Writers with a ‘Sense of Foreboding’

Tell me about it. Tell any writer about it. If this is what you do for a living:

1. You are to be pitied.
   
2. You know damn well a sense of foreboding is hanging over your head every moment of the day.
   
   1. Will I have another good idea?
      
   2. Will I get paid?
      
   3. Will I eat?
      
   4. Will I get read?
      
   5. Will I get produced?
      
   6. Will my words get edited into a strange approximation of what I actually wrote?
      
   7. Will the critics rip me up?
      

Unfortunately, this sense of foreboding is about the WGA/AMPTP negotiations. A couple months ago my money was on 'no strike'. Now, I don't know. I think we're in for some lousy times. Heck, we're already there because most people are assuming that there will, in fact, be a strike; and the town has been in that mode for some time now.

The smart money in this town is betting on a strike-- Damn it! Because it doesn't matter if you're in the union or not, this is shutting down the town for the most part. It messes with the mindset of everyone, large or small.

Basically, I'm anti-union. Yes, the idea of a union is a good one but it's been so abused and I have seen unions screw things up so much, that I have a knee jerk response to them. Maybe it's because I am also a producer. In the case of the WGA, I am also not overly impressed by their abilities; not as a bargaining entity, and certainly not as an ethical business. That goes for all the guilds by the way, not just the WGA.

That disclaimer made: I hate to say it, but this strike, if that's what happens… has to happen. While the AMPTP did take their initial 'rollback' -- "oh, and *uck you" off the table (that was the one where they wanted to end residuals as they now exist), they are standing fast with the main issue, which is residuals for internet downloads etc. Yes there are other things thrown in for confusion, but that's the one this is all about.

And writers need to not bend on it. Everyone talks about how this is the future. Well scribes, I have news for you -- It's already here. My last movie made almost as much money with VOD as with DVD. It's a big secret that is being kept quiet by the Producers at this point. I know—I'm privy to all the business side of my movies. DVD's and other physical media are going the way of the DODO bird. Writers, jump on download residuals now or lose.

So this is why, with a heavy heart and very mixed feelings -- even though I hate unions and even though this is really screwing my projects up, I believe -- The Writers Guild has to stay firm.

Now, with that said, I'll get angry again. Why, why, why, can't these stupid guilds band together? You want to fight the man? Get together! Today, in the same story that mentioned the "sense of forboding", SAG (actors guild for those who don't know) said they wouldn't walk out with the Writers. Yes, they have their own negotiations coming up as do the directors – but why does everyone have to protect their precious hide so much?

Band together, you bastards, and do it right. Remember – United we stand?

To read the full LA TIMES story, click here.

 

Also, if you're a writer and you're not already aware of this Craig Mazin's blog, shame on you… and get over there now.

 

But is it art?

Some friends of mine returned from far-away lands. We hadn't seen them for a long time and just had a wonderful evening with them. Unexpected gifts from these far-away lands were an additional delight.

I must explain that these friends have impeccable tastes. But they also have a sense of humor which will sometimes manifest itself as a "comment" about 'taste' and "what is good". They can find charm and meaning in something with no artistic merits whatsoever; absolutely BAD can in itself, be art. Or they can trash what others would consider High-art. They may laud the taco wagon under the overpass or trash the five-star French Restaurant. The same goes for music, art exhibitions, etc. They themselves are serious artists – in many mediums - including culinary.

This may seem strange and excessive introduction, but is a necessary stage-set for the following.

One of the gifts they gave us was this…

At home, Marianne and I studied it, not entirely sure of what it was. Marianne thought it was perhaps a plaque to be hung somewhere - somehow.

I thought it was to be eaten. After all, it would be a horrible piece of 'art' to be hung anywhere. But if it was food, she wondered, why was it glued to the wood? And if it was food, why would it be on a plaque of wood, a piece of a log in fact, in the first place? I argued that the wood was presentation – that could be used as wished afterwards: A tiny cheese cutting block, or kindling on a cold winter night… the possibilities were quite varied. I didn't have an explanation for the glue.

The 'what is it?' was shrink-wrapped and labeled in the language of the far-away land from whence it was brought. Incidentally, I can read, write and speak this far-away language – thereby complicating the matter.

I read the label on the back, which was a list of ingredients. I could make out some of the ingredients: flour, sugar, food dye. Others, I couldn't translate quickly. All of these things were potentially food – or paste for an arts and crafts project. What I could also easily translate was a warning at the end of the ingredients: Not for children under 14. Hmm… dangerous?

The 'what is it?' sat on the kitchen counter for the day.
Later, while Marianne was running errands, I wandered into the kitchen, esoteric discussions of past floating about in my head. Is it art? What is art? Define Art? Cripes that's awful art. My friends have good taste – but they are witty and occasionally troublemakers. It could be a 'comment' about the whole nature of gift giving and trinkets from far away lands. I was in a quandary. Damn.

I pressed on the "pretzel" and the "sausage". They were malleable. The "Mustard" was hard as rock. All were solidly affixed to the scrap of log. This mystery was not revealing itself easily.

After mulling it over for several minutes, turning it this way and that, pressing gently, rereading the labels – wondering if I should hang it up in the kitchen above the spices, I did what any true art critic or meta-art critic or artist or any derivation of the whole tortured business would do.

I ate it.

When Marianne came home I mentioned to her what I had done. She looked at the cross section of the pretzel (and the sausage – I ate a piece of that too).

"I guess we're not hanging it up", she noted. She asked me what it tasted like. I wasn't sure. I had tasted it before, but I couldn't recall if it was when eating dessert at a high-end restaurant or when eating Play-Dough in first grade. Food group or Kitsch Art, there was less of it in either case. So Marianne did what any art critic, meta-critic, or any derivation of the whole tortured business would do.
She cut off a piece and ate it.

You can say this about us: We may not know art when we see it, but we know it when we eat it.

The plaque of pretzels, sausages and mustard was marzipan, of course. Thanks B, E&A. We love it!

Currently there is an exhibition of Cosima Von Bonin artwork at the Museum of Contemporary Art, a multimedia artist; he doesn't hang everything on the walls either. The museum is merely minutes away. We're thinking about going there for lunch.

It does look lovely between the spice racks.

WGA – Will they, won’t they? And where’s my damn money?

Fall – the weather is beautiful as is to be expected in Southern California. For the moment, I'm listening to Bach, sitting under the pergola with the laptop. A picture perfect moment.

While that sounds like a nice respite, it is in fact, incredibly inconvenient; a moment created because the internet is not working. I'm on a silly deadline to write something (a favor for a friend) that is due within a few days and has not yet been started. I'm expecting to do a few interviews for which information may or may not be awaiting; won't know till the internet comes back. Can't make a phone call on my landline cause it's voip. It's frightening how much I've come to rely on that umbilical cord. I suppose I could go to a local coffee shop with my cell phone and computer -- but that's simply uncivilized.

Onto Real issues that might actually interest someone:

The WGA has just re-elected the same board as before. A couple changes, but not many. I don't really have much thought on that, so I'll keep quiet. However, shortly after the elections, the WGA put a vote to its members – a permission to strike vote. That takes this town one step closer to the mess that always arises from strikes. The arguments for and against the vote are all with merit. Those that want a "YES" say that giving the board the power to initiate a strike will give them leverage; that a NO would show weakness in the face of negotiations with the thugs that are the AMPTP (studios). Those in favor of "NO" argue that the board is a bunch of trigger happy non-writers, not overly concerned with general rank and file. Both sides are right. And in this era of stupid wars wrought by stupid presidents, we don't have to look far to see the consequences of giving people power to wage battle.

At this point in time, everybody – the studios, the Guild – are making crazy demands of each other. Where it ends is anyone's guess at this point. My gut tells me there will not be a strike. How much more than that, I don't know. My feeling is that, given the success of the last strike (not very) and the way television has moved toward 'unscripted' shows, a strike would be a real tough nut for the writers. It's not made any easier by the fact that the studios are entities within multi-conglomerates. A strike against Sony or Warner or the like is not going to kill them. Sony makes computers and a bazillion other things. Warner basically owns the world (my non-working internet is via Time-Warner). Unfortunately, I fear that these days, the studios can weather a strike much more ably than the writers. If it were up to me, I'd try to convince writers, directors and actors to give the finger to the studios and start their own damn studios. Okay, so I'm still a bit of a dreamer.

In other Guild-related news … I got another foreign levies check from the DGA. This surprised me greatly as I expected the first one to be a one-off. It's not as if they are still playing my first feature on German television… are they? More interesting is the fact that that thus far, the WGA has not come close to equaling the amount the DGA has written. The amount apportioned both guilds is supposedly the same – so somewhere, someone isn't doing their job properly. Doing the job properly of course is assuming that one agrees that it is their job in the first place.

Which really, it's not. They just 'volunteered' for the job.

And along the lines of that thought – a director friend of mine, alerted by yours truly to the whole concept of foreign levies, discovered that he is owed "under fifty dollars" in foreign levies by the DGA. However, he was told that they are holding on to this levies money because it's their policy not to write checks to people for amounts of less than fifty bucks.
How very nice.

I love it when someone says "it's our policy…" This guild is holding on to money that doesn't belong to them because they have "a policy?" I wonder how many 'less than fifty dollar amounts' they are holding onto? Actually, I don't wonder – I know. MILLIONS… by their very admisson!
Earning interest.
Which they keep.

Keep in mind, the guild was never authorized by my friend to collect his money. The guild is not responsible for having 'created' his money. It's money that was collected by overseas entities. The guild just took, I mean, collected it. Now they have a policy not to give it to him? What if (and this is more likely than not) his movie never makes another dime? Do they keep the fifty indefinitely?

Hmmm. I could have a policy to beat up people that happen to pass by my house. Doesn't make it legal.

That's show biz, folks.

Oh, and with that, my internet seems to have come back.

I'll try to get a few more blog entries written before I go to Russia. Oh yeah – I'm going to Russia!

Rendering…

The Pre-viz is finished!

Well, it still has a few more things to be done. I'm going to replace a voice and trim two shots, but basically it's finished; Finished enough that I'm able to start thinking about other things.

Though this is an industry tool – I'm putting it online for your viewing pleasure. I don't know how long it will remain online, but I see no harm in doing so now.

Currently the file is rendering. My laptop is running at a toasty 75 degrees Celsius and the processor is at full bore – almost literally cooking through the file.

This project has been fun but it's also been a lot of work. It took about two months of ten-to-fourteen hour days to do the ten minutes that you can see – which included learning, improving, and honing my skills with the software itself. The details are what really take the time in these projects. Anyone who has done 3D work will know what I mean. A basic move or virtual world might not take too long to build, provided you know what you're doing -- but getting things to go juuust right… That's the time suck.

Every camera move, every person, every virtual inch of the set – the world – is created. If you re-direct an 'actor' to go somewhere a little more quickly, it means that every camera following his/her/its action has to also be adjusted. And so on with every aspect of the world.

23 minutes left of render time…

I could go on describing the difficulties, but that's not the point.

So what is the intention of this pre-viz? The screenplay for Diamond Chasers is getting very good reviews. That's great, but that's certainly no end game. It's just a start. As it "goes out" into the world, I'm giving it an extra push with these ten minutes. There will be other elements to demo it in addition to what you'll see.

This ten minutes of this pre-vis represent pages 20-30 of the screenplay: The ACT 1 break.

Here are the actual pages from the script. You might have fun comparing them to the actual pre-viz.

The pre-viz not only visualizes the pages, but also visualizes them in the way I would do it; so it's also a demo of my directing style… this is pretty much the way I see these pages (as live action, of course) If you like it, it not only means you'd like the movie as a screenplay, it means my native directing style would be to your liking.

12 minutes left of render time…

When working in the 3D world, it's very easy to do camera moves that would be absolutely impossible to do in real life. The WOW factor might be very high but that's not really the point. It's not supposed to remind you of a video game, it's supposed to be like a live action movie. It was "directed" as a live action piece. This means that I didn't really use the conventions that an animated piece might use to accentuate character emotion. Take this into account when you watch the characters faces – these will eventually be live people, grimacing, gaping, wondering, screaming…

The HOW of it all

Except for two shots – the shots of fuel gauges, this pre-viz was done with ANTICS 3D. The fuel gauge shots were done in After Effects. Any custom set stuff was either done in Photoshop (when 2d) or exported from 3D MAX (which I don't know how to use past making extremely simple models based on unaltered primitives)

4 minutes left of render time… Done… 9 minutes to upload…

And now – here it is…

Diamond Chasers

After viewing, hit the Back button on your browser to return to this blog.

Still grinding the stone with my nose

Just a quick note to let people know I'm actually alive. I'm still in full 3D mode on the pre-viz, but the light at the end of the tunnel has gotten pretty bright. I'm (I believe) about a day away from being done with the visuals; and then I can move on to sound, blessed sound. My friend, mathboy pointed out that this would represent ten percent of the movie. Quite a bit of screen time for such a relatively short period of work. It's also - in terms of animation - some of the more difficult stuff - though the bar room brawl, and the final aerial hand-to-hand battle would be pretty tough too.

In the meantime, I've put a new little do-dad on the right column of the blog. It's an IM of sorts. Good for if you wanna send me a quick note that's not specific to a blog post.

All work and no play, but Johnny is happy

The Me7erg Ergohuman office chair by Raynor is quite a great piece of engineering.

Before you think I've sold out and am shilling for the company, I'm not. It's just that I've been spending twelve and thirteen hours glued to my chair, in front of the computer and – no pain. Wow, wonderful! Since plenty of people peruse this blog because a google search for a good office chair has led them here, I thought I'd mention it once again. It deserves it.

I'm in the midst of building the pre-vis for The Diamond Chasers and yesterday, I goofed around with adding some sound. Something I say every time I post a movie or show of some sort is how important sound will be. I've said this to countless past clients as well as many a test audience, however, I never cease to be amazed by just how effective music is. Every time I add sound (music and/or effects) to a project, I am as amazed and thrilled as the first time I did it. Doing this pre-vis has given me a chance to experience the drug-like rush without having spent the millions (which it would be in this case) of actual production. As I'm watching some of the roughs, with sound, I firmly believe that if I can't fast track the movie based on these, I should go into carpet sales. Or maybe masonry. I've always fancied that.

Anyway, short story – I am deeply immersed, not exercising or eating and slowly going insane as I maneuver little people on, over and into virtual biplanes.

But man, am I having a good time and my back isn't aching.

Tomorrow I start recording voices for the pre-vis. First up is a friend of mine who, in addition to TV and film acting, does quite a bit of game VO (voiceover). I'm looking forward to hearing him do some accents and eccentricities.

Soon my masterpiece vill be complete!

Hollywood Executives Call for End to Residual Payments

From the July 11^th NY TIMES:

'In an unusually blunt session here today, several of Hollywood's highest-ranking executives called for the end of the entertainment industry's decades-old system of paying what are called residuals to writers, actors and directors for the re-use of movie and television programs after their initial showings.'

Now, this should instantly be filed under the "Dude, it's not April fools Day" or "Dude, give me some of that crack you're smoking" or any other number of derisive thoughts. And it will be. But for now, I have the feeling that every industry blog is writing about this as quickly as can be. I'm sure there will be similar thoughts to mine, much better worded. Think of these as quick, undisciplined musings, subject to editing.

'The executives stopped short of saying they would demand an immediate end to residual payments in the upcoming, probably difficult negotiations with writers, actors and directors. But they were emphatic in calling for the dismantling of a system under which specific payments are made when movies and shows are released on DVD, shown abroad or otherwise resold. Instead, they want to pool such revenue and recover their costs before sharing any of the profit with the talent.

"There are no ancillary markets any more; it's all one market," said Barry Meyer, chief executive of Warner Brothers. "This is the time to do it." '

Wow, from the mouth of the head of the Cosa Nostra himself. One must never forget that Warner Brothers invented the Gangster picture. There's a reason for that. Never forget that. I say this not from second hand information. I have a deal with Warners. I know. I get the statements.

The idea of pooling revenue and "sharing profit with the talent" – they should never have said that because that's the giveaway that it's gotta be a joke of some sort. Movie 'profits' and accounting are the worst, most notorious that exist. There are always expenses eating away at the profits – to the point where most movies lose money on the books.

So, this will never fly.

The thing is, I do have mixed feelings about residuals payments. Why should we (the artist) get residuals? We didn't take the risk in producing (funding) the movie, did we? We already were paid to do the work once. It's the same as if a car mechanic wanted a piece of the action when you sold your car down the line.

The studios will likely point to super stars like Tom Cruise who reportedly has made 400 million dollars on the Mission Impossible series with residuals and cry - "oh, we can't afford this." So get rid of him. Oh, yeah... you did. So the fact is that you don't have to pay it if you don't wanna.

The flipside of the argument is that movies become more valuable as the creators of them become more famous – so they should be able to share in the profits. It's also not really the same as fixing a car. It's a creative business. The talents and the faces of the of the people are the thing.

Additionally, most residuals are for actors and writers who aren't making that much money. This is life blood; a one day gig which is dependent upon their face, or words might initially pay a few thousand bucks. If it generates millions of dollars, isn't it fair to give a piece to the face or wordsmith?

Frankly, I believe, while these statements obviously have a lot to do with the upcoming negotiations of the Writers Guild (the big part of the negotiations is INCREASING residuals in future mediums), they also have something to do with the can of worms I helped open a couple months ago – about foreign levies and the perverted definition of Authorship.

See, studios buy the work that the writers, directors and actors do. They own it. Legally speaking, a "studio" could accept the Oscar for "best screenplay by" because according to copyright law with film, screenplays are "works for hire" thus – it's the studio who can take all the credit (why not go for all the money too?).

This is going to be contended; something I think will wind up at the Supreme Court level with the studios fighting tooth and nail, every step of the way. This crazy statement is an early punch in that fight. If they (AMPTP, ET AL) lose that "work for hire" definition, they will have to license the screenplays, etc. from the creators. That will solidify residuals payments in a way that doesn't exist now.

Barry Meyers, along with the other Studio/TV heads are pulling a Cheney/Bush trick: be outrageous in your statements – go WAYYY out into right field, do it righteously and with a straight face. Then, when people ask for something realistic – you're still WAYY out there. Be Audacious.

The one thing that these finite, forgettable people (Barry and co, you will be a forgotten piles of dead dust while people still talk about and remember Billy Wilder, Robert Towne, etc.) must realize… if they push on this in the slightest, every guild AND non-guild member will stop working. NO ONE is going to go for this. It's a war they can't win.

I will elaborate, perhaps edit this entry. For now, I put it up and hope to hear some comments.

Here is the link to the entire article. You may need to login or create an account – which is free and doesn't take long.