"In your face-book!"

I received a "special offer" from CLASSMATES.COM to renew my membership that I had let run out a few years ago. They offered one year at $9.95. I thought it was worth it because I have a High School reunion coming up. I missed out on all the other reunions and wanted to make sure this time I at least heard about it. As I started the process of signing up once again my wife informed me that spending $9.95 to keep in touch was old fashioned. Since it was my wife's idea to start my blog almost a year ago I deferred to her computer savvy. She told me FACE BOOK is free and where everyone goes to keep in touch.

For free? How could I go wrong......"Let me count the ways." I signed up and completed my profile. If you complete all the details it is time consuming, however, by the time I finished my profile page, I was contacted by three people who wanted to "Friend" me. I had little to no idea who these persons were and even read their profiles hoping for a clue. Two more "Friendings." One was a person I've been avoiding all my career, so why would I want to "Friend" him? Not understanding this concept but I'm sure it will clear up as I work out the kinks. I did a search for my High School to no avail. Apparently, in Levittown, New York, Memorial High School, no longer exists. I found Division, Island Trees and MacArthur but no Memorial. We were the oldest of the four Levittown High Schools and it would make sense that the building was either torn down or made into something else but someone else from my high school has to be listed somewhere on this FACE BOOK? No? I've now been friended by five more strangers and two more people that if I wanted to stay in touch with, I would....via telephone. My account is less than two hours old. I now tried to cross reference people that went to my High School and a community college in the neighborhood which was listed. Couldn't find a soul. My wife couldn't make heads or tails of it either. She repeatedly asked "you sure you have the school name right? I only went to the school for four years, I'm pretty sure that Levittown Memorial High School was the place I was president of the drama club, DJ on the radio station, and lettered in three sports at! I started to put names into the "Friend me" list. After all, why not, I was now asked to be friends with seventeen people I couldn't remember, perhaps I can find one classmate who could tell me if we're planning a reunion anytime soon.

I then tried to link my FACE BOOK account to my BLOG. I clicked on the button that said, "click here to link." I did and nothing. I did it again and nothing. I did it a third time and gave up. I then went to my blog site to post my Face Book account and found three places for a logo to be transferred. Completely screwed the cover page of my blog account. It appears "Baby Boomers" of the 50s aren't as likely to be on FACE BOOK as they are to be on CLASSMATES. I remember having no problems finding almost my entire LMHS graduating class a couple of years ago when the site first came out. However, since high school, I've lost touch with all but one of my classmates and he was my best friend when I lived in New York. I didn't need FACE BOOK or CLASSMATES to keep in touch with him. I still talk to Johnny four times a year and I don't even have to "Friend" him. You see, we were already friends.

I cancelled my FACE BOOK account a little more than three hours after I signed up. People of this generation have way too much time on their hands to maintain such a detailed account. And who has time for that many friends? Now that I think of it, if someone from Levittown Memorial High School in New York wants me to attend a class of '70 Reunion, GOOGLE me!!!

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Avatar Stays #1

I could cry foul and say 7000 screens versus 4000 screens, no wonder they stayed #1. However, during the holiday season anything goes. I did read that 75% of all Avatar's box office came from 3-D and IMAX theaters. Sherlock Holmes ran second at $65 million with a smaller nut to crack. Speaking of NUTS, Alvin and those pesky Chipmunks came in third at $60 million. Disney's "Princess and the Frog," despite good reviews and an excellent family viewing, dropped down to seventh place not even cracking the ten million dollar mark. What gives? Could it possibly be because the princess is black? I sincerely hope not! It's probably the best well rounded Disney animated film since "Beauty and the Beast."

I heard somewhere that people are getting paid to plug certain products on their blogs. I have yet to be approached but if I start ranting how good something is nowadays you've got to figure the check is in the mail. I also heard that people are selling the names of their followers to spam sites. Fear not, I don't need money bad enough to sell out people that want to hear what I have to say but be careful out there.

We begin accepting "Early Bird" entries, January 15, 2010. Prize money stays the same for features ($500), shorts ($250) and Documentaries ($250). The best Florida project receives a plaque and a one hundred dollar check.

Hove a safe New Years!

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Four Hundred Million Dollars? Really?

I got to see AVATAR this weekend and I thought it was well done. I didn't think it was the greatest thing since the talkie but I thought it was worthy of Oscar mention. What I'd like to know is how a studio can "green light" a film at an expense of $400 million dollars? TITANIC, Cameron's first two hundred million dollar feature stayed on top for about twenty weeks and became the industry's standard as well a top box office hit of all time (I would still like to see the numbers compared to GONE WITH THE WIND if we included box office prices in 1939-1940). AVATAR was a formula movie, with brilliant special effects. Once the audience gets over being mesmerized over the transitions into the fantasy world isn't the story something we've seen before? I mean it had little bits and pieces of several cinematic classics all rolled up into one. Fine performances, excellent effects and a director's vision second to none but four hundred million dollars? Do you have any idea what the film has to gross even receiving a 60-65% cut? It's absurd. However, it should walk away with at least eight Oscar nominations and I guarantee at least four Academy Awards (Editing, Sound Effects Editing, Sound, Visual Effects). I'm not sure Screenplay, Cinematography, Costume or a supporting actress award are guaranteed.

Check out the film this holiday season before SHERLOCK HOLMES knocks it out of the #1 spot!

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Festival Porn

I've got to ask, why are porn sites following my blog and the festival twitter sites? What could they possibly get from it? I don't get it. I just received the fifteenth person saying they are following the festival site and when I go to find out who they are, it's an amateur porn site.

I looked through hundreds of photos (strictly research) to try and find a connection to the film industry to no avail. I just don't get it. I've blocked them and I hope I didn't hurt any ones feelings. Perhaps I should include a porn category at our film festival but then I would have to hold it at the Pussycat Theater instead of the classier West Orange 5.

If someone could explain it to me I would appreciate it and I would share it with my readers. In the meantime have a healthy and happy holiday season.

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Thank you! We're Planning for 2010

I want to thank the filmmakers that sent emails of heartwarming thanks and good wishes. I guess two bad apples does not a festival make. The Central Florida Film Festival will be returning over the Labor Day weekend (September 3-6) in 2010. We will even be adding another day (Monday). It appears most Florida filmmakers like what we are doing for the film community in Central Florida. I am also pleased to announce that our two main sponsors, MARSHALL ENTERTAINMENT INSURANCE and BIGSTAR.TV, will be returning.

I am also happy to announce that Caroline Lewis will be heading up our marketing and publicity department. Miss Lewis believes that Florida film students should be increased as a target market and we will make the adjustments accordingly. I am currently in negotiations to create a festival scholarship program and present this award once a year at CENFLO. The festival already has a relationship with the Ocoee High School film and television program.

The Central Florida Film Festival will be accepting EARLY BIRD ENTRIES beginning mid-January. We are planning an "early bird" entry fee of $35 for features and documentaries and $30 for dramatic and comedy shorts. If you submit via http://www.withoutabox.com/ you will receive a generous ten dollar discount in all categories. Which means you can enter your film for only $25!!! And a short longer than three minutes but shorter than thirty five can be entered for only twenty dollars ($20)!!! Talk about a stocking stuffer!

CENFLO is one of the few festivals to provide any rejected films a critique explaining why.

Category and Prizes:

Best Feature - Plaque and $500 (check)
Best Documentary - Plaque and $250 (check)
Best Short - Plaque and $250 (check)
Best Florida Project - Plaque and $100 (check)

We are NOT taking entries at this time. January 15, 2010 is the tentative date we've set up to begin accepting films. There will be additional announcements regarding the entry process via http://www.centralfloridafilmfestival.com/ and http://www.withoutabox.com/.

"Upward and Onward!"

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Festival for Sale?

I actually got accused last night by a filmmaker for NOT sending payment. When I said it was paid on September 9, 2009, (Three days after completion of the festival) there was an argument. The filmmaker went on to say other filmmakers he had spoken to, said we couldn't pay our bills and haven't received checks. I know exactly who he spoke to and the quoted person wasn't due a check. Only winners received checks. I also knew who he spoke to from the confidential information that was quoted back to us (by this time my wife Ginger took the phone).

Let it be understood that I paid most of my festival bills in advance and only the hotel, catering, and prize money were outstanding. They have ALL been paid (in full). The Central Florida Film Festival has no outstanding debts and an excess in the bank account to cover the corporate fees, accounting and start up for next year.

It's obvious to me that the check (#1043)was either misplaced by the filmmaker or lost in the mail. I had a return address on the envelope but we never received it. Upon review of the check book, the check in question is still outstanding. All other winning film checks have been received and cashed. I believe the check in question is either on his desk or in the dead letter office (if there's still such a thing). A replacement check will be sent out today and a "stop payment" (costing the festival $35) will be done on the check in question. The ironic part is that I advanced this person $60 (cash), out of my pocket because they didn't have cab fare to get to the airport (they asked and told me the reason). I even wrote a note, included with the final payment citing the advance of sixty dollars and why the check wasn't for the exact amount (in case they forgot).

This is why I am asking my attorney after the holiday, how to either sell or dissolve my organization. Our film festival is a "not for profit, charitable, organization created to advance Independent film in the Central Florida area." We've given it four years and this is the thanks we get. We're a turn key operation, we can qualify for the Academy of Arts & Science assistance program in our sixth year, and we have a following and excellent track record with our vendors. Any interested buyers out there? I'm serious! I will do more for Independent film by returning behind the camera.

In the meantime have a healthy and Happy Thanksgiving.

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And of course a retort!

Only two cents? It read like two dollars worth!

The article I referred to was about the BRAD PITTS of the industry. "A-List" actors are actors that are supposed to drive the film to success. It was in the papers and on CNN again yesterday. They had a dollar for salary compared to dollar for box office return. Not good for many major stars (or as the industry calls it "A-List").

I would like to find out which studios you are quoting when you say "on average studios make money?" We've got quite a few film makers out there that follow my blog. Anyone have a success story? Something to share? I believe, there isn't a studio head in his right mind that will say you're film is in profit (unless of course it's a lightening strike). Creative accounting is something every "major" studio has and even a few 2nd Tier Distributors. Every studio banks on a lightening strike. TITANIC (the first $200 million dollar film) in it's own way was a lightening strike. No film had ever grossed over a billion dollars and no man in his right mind would put that in a business plan or corporate projection. HONEY I SHRUNK THE KIDS was a studio film made for about the studio minimum that translated into "a lightening strike." The return on the film was way over expectations. You're right when you say there's no
"Magic Formula." but there is an industry formula and most films attempt to follow that path or they are scooted out the door (lightening strikes excepted).

I agree with most of your statement. However, lightening strikes and the search there of are part of our industry as well. Show me a major studio and I can tell you his most recent buyer or take-over. The films you quote (I guess your favorites, as I quoted mine) were nothing more than lightening strikes too. Kevin Smith's CLERKS was his lightening strike. Funny to you and high grossing to the studio but an Independent film maker just the same. Billy Bob was nothing but a two bit actor before SLING BLADE and like ROCKY for Stallone (one of his lightening strikes) wrote a script to showcase a character they were passionate about.

A good business savvy producer definitely helps but luck and passion should be included in the formula because without a chance of lightening you're just another film! And to think I'm based in Florida, the lightening capital of the world! If there are any other responses or comments, please feel free.

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Great Response!

From: Alan Whitney - a producer/director in the Central Florida area.

Here is my two cents worth. I do not think there is a magic formula that can be followed. I think that making a movie is an art, but making money on a movie is a business. Writers, Actors, Directors, Set Designers, Costume Designers, DPs, etc. are artists, but need to be aware of the business side of things. Producers need to be astute business people. There are good artists and bad artists and there are good business persons and bad business persons. It seems that most independent filmmakers want to be an artists and most people involved with the film making process do need to be artists. But without a business savvy production, a project is destined to be part of the 80% that do not make any money.
There seem to be many ways to have a successful film – lightning strikes that are unique ideas or unique marketing campaigns (ref: Blair Witch, District 9, Paranormal Activity), big money studio marketing campaigns, big money star power, big money productions, etc. Other than lightning strikes, most of these ways require lots of money. Not all big money films make money, but on average studios make money so there must be something to throwing cash at enough films to get a return. One common element is that for the most part (again, other than lightning strikes), the films that make the money are quality projects - quality writing, quality acting and quality production.
Independent filmmakers have to rely on something else than big money. So the budgetary constraints leave lighting strikes or quality productions of quality ideas. Lightning strikes are like lottery tickets, so the best odds are to make quality projects - with one caveat that if you think you have the winning lottery numbers (i.e. a sure fire marketing idea or a sure fire gimmick), you should go for it.
Quality writing can come from strange places (ref: Juno) and quality acting can be from newcomers (ref: any early Kevin Smith, Richard Linklater or John Hughes film), but a recognizable face will help since they are most likely recognizable because they are quality. A recognizable face to me does not mean that you need Brad Pitt, etc., just someone that people know (ref: Richard Jenkins in The Visitor) Like quality acting and quality writing, quality production requires true artists. The business side of it is finding artists within your budget - after all, Ben Affleck and Jason Lee only got a few dollars for doing Mall Rats and Chasing Amy. It seems that cream has a way of rising to the top.
Crocodile Dundee was a lightning strike that captured the imagination and made a household name out of Paul Hogan - for a short time. Little Miss Sunshine, Juno, Fargo and Sling Blade are great stories that had name actors (even Billy Bob Thornton had done a dozen or more films before Sling Blade, though he was not a big money star yet). Saw was an original idea that was timely (as was Hostel), Friday the 13th created great quality scares using suspense, shock and gore (one of the first to do this to near perfection as was Halloween and Nightmare on Elm Street), and Night of the Living Dead was a trailblazing idea (the many versions that followed did not gain the cult status as the original). Although it is common belief that horror films are the most marketable, for the most part it is the truly original ideas and quality productions that make the bigger money.
Anyway, that is my opinion for what it is worth....

Alan Whitney

I told you so!!!

There's an article in the Hollywood Reporter entitled, "Hollywood rethinks use of A-List actors." You can also find it on IMDB-pro. The article explains, "studios have decided to think twice about splurging on A-list movie stars and costly productions in reaction to the poor economy." It went on to quote box office figures from such films as THE HANGOVER ($459 Million), DISTRICT 9 ($200 Million) and even the new low budget thriller PARANORMAL ACTIVITY ($100 Million) of examples of films made for less money with no major stars that have obtained a large return on their investment.

I've been saying this in my business plan for over twenty years. Constantly both Major and second tier distributors would listen to my pitch or watch my completed film and state "we like it but you need a name to drive the picture into profit." Filmmakers go out, find a star who likes the script, but now your budget has doubled or even tripled because you had to add the additional expense of "Star Power." Now, it takes longer to get to profit. However, when it comes right down to it, the film is either entertaining or it isn't. It doesn't matter who's in it. Was the comedy funny and was the thriller, thrilling?

I went to the movies this weekend and even in this economy the West Orange 5 theater in Ocoee was packed. I spoke with the owner of the theater (Patrick) and he mentioned that "2012" will do quite well and that "DISNEY'S SCROOGE" not so much. "2012" is an effects driven film with John Cusack as the main star and SCROOGE is animated with Jim Carrey. SCROOGE has done in two weeks what "2012" has done in three days and PARANORMAL ACTIVITY has grossed more than the two films combined and I don't even remember the star of that film. It shouldn't take a marketing genius to know to get a film to profit you've got to keep costs down and production value up. If the studios listened to the independent filmmaker decades ago there wouldn't be a slow economy for studios.

My point is --- people are still going to the movies in droves! The good films do good and the bad films tank! The studios have been putting out more bad films with major stars creating enormous budgets and loss. then they toss good money after bad by buying advertising and trying to shove the film down our throats. Studios used to place 35-40 films on a production slate. There is an enormous amount of red tape to get a film "Green Lit" for production. Years ago, independent film makers earned what was called a "Negative Pick up." The studio would purchase the film because they knew it would make money and add it to their distribution slate. "CROCODILE DUNDEE' was made by Paul Hogan for a modest eight million or so Australian dollars. Paramount purchased the distribution rights for $10 million and invested a few million more in prints and advertising and it grossed $178 Million at the box office. No one knew who Paul Hogan was but a year later he was a household name and the studios raked in the bucks for two sequels as well. BLAIR WITCH was purchased for a couple of million and there was another large investment in retouching the film and for prints and advertising. The film was the highest grossing film in quite sometime and still ARTISAN managed to go broke in a couple of years making or distributing high priced films like REPLICANT. Hell, they made a remake of BLAIR WITCH (without the original filmmakers) for fifteen million and lost money! The original grossed over $250 Million worldwide and was made for under forty thousand. Artisan is now part of Lion's Gate, who has created a knack for picking up low budget horror films and turning a profit.

Remember Cannon International with the cousins Golan-Globus at the helm? They made and purchased low end product in the 80s and made a fortune. Once they got the studio mentality and started hiring big box office stars and shifting their business plan they were doomed for failure. Remember PIRATES (1986/Walter Matthau) made for an estimated $40 million and had a box office gross of $1.7 million? How about RUNAWAY TRAIN (1985/Jon Voight and Eric Roberts) made for and estimated $35 million and had a box office gross of just under $8 million? Cannon for years made more money on their low end product line than they did with their high priced, star driven films. Remember SLING BLADE? Who was Billy Bob Thornton until SLING BLADE was released? FARGO, LITTLE MISS SUNSHINE, JUNO, and don't force me to go down the list of horror films like CABIN FEVER, SAW (original), FRIDAY THE 13TH (original) and George Romero's classic NIGHT OF THE LIVING DEAD.

What I'm really surprised at it that it took the studios this long to make the announcement of something independent filmmakers have know for decades. If you're looking to invest in a film, seek out an independent filmmaker. Take a look at his business plan and roll the dice. You might be surprised at the outcome. People still go to the movies. They rent them online, watch them on the web and even still view them on cable TV.

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The Circle of Life!

It's been over a month since my last blog and I have much catching up to do. I guess I've got a lot of homework to do as well. It appears as if a group of filmmakers made a movie for fifteen thousand dollars and have almost reached the $100 million mark in domestic sales. I had the same budget for a film festival and lost five grand! How does that happen?

I'm well aware of lightening striking, lottery tickets, even "being in the right place at the right time" and other film miracles but how? In this economy are people going to the movies to see a supernatural film made for $15K? I need answers and I hope one of you out there has one or two. When lightening struck years ago with BLAIR WITCH, I understood. They had a gimmick...the Internet. A marketing tool that wasn't developed and they used to their advantage. The Haxen team from Orlando worked hard to create the story and work the audience at Sundance. They also opened many a door for other independent film makers as they demonstrated that horror still sells worldwide. Sequels aside, BLAIR WITCH should be an inspiration to young film makers everywhere to go and make your film. I've been doing so for years but was inspired by NIGHT OF THE LIVING DEAD. That was George Romero's classic made for thousands that returned millions back in 1968.

Every few years there's a film made that a studio takes a chance on for what it is--Entertainment. I guess the idea is to make movies as a hobby until one is bought, you make millions and then go on to make a living at it. In the 80's things were different. VHS was just rounding into form and Mom and Pop video stores were springing up everywhere. ALL studios and distributors (large and small) would fight for new product. You couldn't make a film that didn't get distribution and a decent advance. Careers were started, scream Queens were crowned and the movie industry boomed. We prospered until BLOCKBUSTER put mom and pop out of business and their relationships with the "major" studios put the Indy film maker scampering to foreign territories to earn a living. Now online distribution (NetFlix) has done the same to Blockbuster. Stores all over the country are liquidating and being boarded up. Talk about Karma! But is Internet distribution really worth a film investor's money? How can we look our investors in the eye and ask for $500K and even attempt to explain how the money will be returned via a business plan?

It's time for me and other independent veteran filmmakers to figure it out and get working. Just when I thought "if I can't make movies, I can always go and work at Blockbuster!" Horror still sells. Obviously people still go to the movies to watch it. Apparently, the studios are wrong and horror doesn't need to be star driven. The films just need to have an original idea and scare the bejesus out of us. Can't talk any more today, I've got to get writing a new comedy. Perhaps I can add a killer ending!

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Prison Hy gene Films

Hey, at least it's film! Every few years I get the urge to make another feature. The film festival gives me a fix but sometimes it makes me long to return behind the camera. I'm close to returning a profit on "Storm of the Dead," (available on Netflix) a film I made in 2006 and I'm ready to try again. I've applied to every project in need of a director. I was thinking how bad could Prison Hy gene Films be? Film is film, right?

The IMDB postings are a joke. I've applied to anybody seeking a director but they are looking to attach a front line director in order to raise funds. I actually had one producer/writer ask me to rewrite the script for the screen and present it to my investors. I don't know what they're teaching these people in film school but "chain of command" isn't one of them. The producer hires the director and by hire I mean pay the director for work to be done on a project. I constantly see on IMDB the same people rewording their posts in an attempt to get something for nothing. Whatever happened to the good old days when people actually made money making movies. It seems in this computer age where everyone and his brother has a HD camera everyone is making a movie but very few have the ability to hire someone.

It's frustrating but as a product of the film industry boom of the 1980's there is a formula to follow. I just have to be patient and weed through the scam artists. In the 80's you could always find a video distributor that would put up a few hundred thousand to make a film with a recognizable name or two. Now, very few want to pay advances. They would rather you make the film and they bid on the project after the fact. I know an "A-List" director who made a film for twenty-five million and it went direct to video. How the hell am I supposed to compete with that? You use the SAG-indie contracts and they make you place the SAG logo according to budget. You're using a $200K and under it's in one spot but you use a $625K and under budget is found in another spot. You think the distributors don't know that? How can you tell someone you made a film for $500K when your SAG logo is placed where the $200K budget requires it? Simple, you can't. Now you've got to out smart them. Make the film for $100K and place the logo in the $200K spot. At least they'll think you spent $200K. Better yet, make the film for $400K and place the $625K logo and perhaps you can make $225K.

I'd rather pay the actors regular scale, place the SAG logo where ever I choose and let the buyers argue over how much I made the film for..... They don't teach that in film school either! Film makers are fighting, pushing, shoving for the right to receive tax incentives from different states. That's all well and good if you have a high enough budget to make tax incentives worthwhile. If you have the 'cash' you have the ability to create your own incentives by making better deals. I'd rather save $2500/day on location fees than receive fifteen percent of my tax expenditures back. Work it out on paper and then decide what's best for the project. In the meantime, if you're in need of a veteran director that can give you a production value to cost ratio of over 7 x 1 and has a track record with distributors, give me a call. I'm looking for a funded project!

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5th Annual Central Florida Film Festival

The time for rest and relaxation is over. It's time to begin preparation for the 5th Annual Central Florida Film Festival. We will be accepting early bird entries sometime in January. Look for our postings on both http://www.withoutabox.com/ and our official festival site http://www.centralfloridafilmfestival.com/.

We are fortunate to be able to announce that we will return to Ocoee, Florida and the West Orange 5 Theater. It's a good thing for a community when Ocoee, Mayor Scott, the Chamber of Commerce, Ocoee High School and several business all were happy with the announcement. It has been our tradition to hold the festival over the Labor Day weekend. Our 2010 dates are; September 3-6, 2010. We plan on making a few changes including the retention of our two major sponsors, dropping and adding some sponsors, deleting at least two categories and consolidating venues where possible.

Two categories going away are "Best Gay Themed Film" and the "Mini Feature." We had hoped for support from the Gay community with our celebration of Gay Film program which featured lunch, VIP guests, music, and a six hour long block of Gay Themed Films. The program cost almost forty percent of our budget and we received more hate mail than we did patrons. The amount of submissions was equal to what we generally receive but wasn't enough to cover the additional prize money. It's apparent there isn't enough local support to continue the program. In the past, Gay themed films have done well in competition with our mainstream projects and we will continue to evaluate each entry on production value, commercial value, and artistic value, regardless of content. We also received a disappointing amount of mini feature entries. Also, not enough to cover the cost of the new category. I had hoped to provide a haven for film makers who made films too long to be considered a short or too short to be considered a feature but apparently there aren't enough of these films to warrant it's own category. We will accept mini features as shorts and they will be judged on a project to project basis.

There will also be a shake up in our production staff and with our board of directors as well. Watch our website: http://www.centralfloridafilmfestival.com/ for announcements. I am determined to bring additional jobs to the Florida production community. Hopefully, the Film Commission and various state organizations will see the value in what we are planning and help where possible. One program we are proud to come up with is a program that would include Florida High School (age) film makers. Donna Wagner who runs the TV & Film Department at Ocoee, High School will be instrumental in the creation of a program that could win a student a scholarship. I'm working out the incidentals and hope it's completed in time for our 2010 program.

I will continue to keep this blog as a sounding board for film production information as well as updates for our film festival. I hope your summer was a productive one and now it's on to the fall season and our Holiday Blockbusters!

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CENFLO 2008 - 2009 - 2010

In 2008 at the Osceola Center for the Arts (Kissimmee) we sold 497 tickets. This included all access passes, seminars and daily movie tickets. This year at the West Orange 5 theater and Ocoee Hotel venues we had 889 patrons. Quite a record! However, I was hoping for one thousand but it gives us something to shoot for next year. We saw advertising and sponsorship revenues drop by almost seven thousand dollars. Companies like FINAL DRAFT, MINI MOVIE CHANNEL, MEDIA DISTRIBUTORS, and PUBLIX cited economic problems and pulled their support. Hopefully, they will rebound and support us next year. We also increased spending this year with the hope of creating awareness of the festival and it's economic impact on the community. Speaking with Ocoee, Mayor Scott, who attended all three days, I believe we succeeded in that accomplishment.

However, like most businesses, there will be some economic changes to CENFLO in 2010. We are dropping at least two categories from our lineup. I believe each category should be able to support itself with entry fees and local ticket sales. Both our Mini Feature and Gay & Lesbian categories failed to meet the required amount of entries and local interest and will be dropped. The "Celebration of Gay film," party and block of Gay themed movies placed a heavy economic burden on the other film categories. In short, we're going back to the basics.

Shorts, Documentaries, Features, and even the Best Florida Project will all return. We are currently working on a program for High School student filmmakers and hope to have it in place for 2010. Our "Breakfast with the Screenwriters" panel was a huge success and we will renew the program and add a "Breakfast with the Producers" and a third breakfast to be announced for our lineup in 2010. We will also cut back spending on hotel rooms and parties. Unless there is a sponsor willing to pick up the entire cost there is no sense. Filmmakers are always willing to meet somewhere and pay a cash bar to unwind. Tambora's Restaurant was an excellent example of a local business helping out. They offered a 20% on all food and offered "Happy Hour" drink prices. We will look into expansion where the community benefits and the festival doesn't get stuck with the tab.

We will also be adding a few things including celebrity guests. Right now, I'm heading to Lake Tahoe, Nevada, to meet my hard working wife (she's working the Bonanza 50th Anniversary Convention). The festival and the convention will be over and we can spend a few days unwinding and making plans for next year. Fear not! The economy will work itself out. The world needs film and we're here to makes sure we do our part to protect the industry here in Central Florida.

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Post Festival Rant

On Monday, September 7th, we wrapped our 4th annual Central Florida Film Festival. My thanks to Ocoee Mayor Scott, the Chamber of Commerce and Donna Wagner and her television and film student volunteers from Ocoee, High School for their support.

Now that the numbers have been tallied we showed an increase in ticket sales (up 200+) but the overall cost of the festival has us losing almost five thousand dollars. How is this possible? Last year in Kissimmee, Florida, the local hotel (the Clarion) saw value in having a film festival in their community. They give us five complimentary rooms for our VIPs and workers and a 20% discount at the restaurant for festival ticket holders. In return we made sure everyone attending knew about the discounts and the Clarion because the "Official" hotel of the festival. The advertising alone for a hotel is worth thousands of dollars. The Labor Day weekend in Florida is a slow weekend and many rooms are vacant. The exchange is advertising for rooms and last year twenty-two filmmakers stayed at the Clarion. We ate in their restaurant and drank in their lounge and everyone was happy. There were no guarantees but everyone left happy.

The move to Ocoee, Florida was based primarily for business purposes. There is a grant in Orange County where matching advertising dollars are given based on the amount of people you bring to Florida and stay in local hotels. It takes a year to qualify. In the world of "we're going to get your business anyway, approach," the three hotels closest to our festival venue are owned by the same people. The Red Roof Inn, The Best Western (turnpike) and the Courtyard Marriott are all within walking distance of the West Orange 5 Theater. The representatives of these hotels do not understand the value of advertising. They said they would adjust our bill accordingly based on the amount of people staying during our four day event. However, their count was about as accurate as their pricing. I signed a contract for what I thought would be their cheapest rate only to find festival attendees complaining they were able to get it cheaper either using, Internet Discounts, AAA, AARP or any way other than saying they were with the festival. I believe we were only getting credit if the filmmaker paid the higher Festival Rate. I don't believe this is fair. I saw few if any non festival tourists staying at these hotels. We supplied the bulk of their business and were still hit with not only the three rooms I purchased to get a cheaper rate myself than the negotiated price but at least two other rooms. Granted I believe I did receive two complimentary rooms but that remains to be seen when the Discover Card invoice arrives. According to Discover Card (online) I may have been billed twice for one room at the Best Western. We spent close to $1200-$1500 in room rentals for our volunteers and guests. Compared to zero last year.

On a positive note, Michael Palmierri (Catering Manager) handled his share of the workload in a professional and caring manner. In addition to all the room rentals, we also held two parties and a breakfast at a cost of close to four thousand dollars. The cost was much higher but Michael dropped a few charges when I went into convulsions reading the bill. I'm not in the hotel or catering business and that's exactly what I told everyone at the hotels when I approached them to sponsor our film festival. In exchange for advertising and promoting the hotel to our filmmakers we wanted four or five rooms. THAT'S IT!!!!! They came back with a sliding scale for rooms which I agreed to but the scale never slid. They know I'm PO'd but the negotiator went on vacation and hasn't been heard from.

What's in advertising? Placing their logo on our website means revenue to the hotel. Not the festival but the hotel. We are placing our nod for filmmakers from all over the world to stay at their hotel. We also placed their logo on all paid advertising including posters, postcards, and press releases. Again, worth thousands of dollars in good faith. Did I forget to mention we are a charitable, non-profit, organization? We gave Ocoee High School a complete stock footage and sound effects library for their television and film program for cryin' out loud! What did the hotels provide the community?

I know Mayor Scott understands the economic impact of our festival to Ocoee, and I know the businesses surrounding our festival understand as well. Something has to be worked out or we will have to place the hotel logo of a competitor on our website for next year. Yes, I know they own the Holiday Inn Express down the block too. Monopolies never bothered me before. There has to be another hotel in Winter Garden, Windermere or Clermont, who can find value in what we offer. After all the filmmakers are all from out of town or even out of country, they'll stay where I ask them to stay. It remains to be seen where they'll be staying next year.

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And the winner is!!!

The 4th Annual Central Florida Film Festival has come to a close at the West Orange 5 Theaters in Ocoee. The evening audience was buzzing Sunday as Jason Kushner's AMERICAN COLONIES: THE COLLAPSE OF THE BEE won Best Documentary. The award was presented by veteran filmmaker Gary Toll, who won the category in 2008 with a tribute to his talented sister, Judy, entitled, JUDY TOLL: THE FUNNIEST WOMAN YOU'VE NEVER HEARD OF.

The other 2009 winners were;

BEST GAY THEMED project - "Choosing Absalon"
BEST MINI FEATURE - "The Mandala Maker"
BEST SHORT FEATURE - "Ana's Playground"
BEST FEATURE FILM - "Deadland"
BEST FLORIDA PROJECT - "Scare Zone"

"Deadland" also took home a plaque for "The Media Choice Award."

Final Festival Notes -

Advance Tickets for the Central Florida Film Festival will end at Midnight (September 2-3). Starting September 3rd, tickets can be purchased at the West orange 5 movie theater(http://www.westorange5.com/).

$20.00 (Daily pass) -
Watch films from 9:45 am until 11:30 pm. You may come and go as you please. We will have two screens available (Theater #1 & #2). If there's something you don't like in theater #1, hop over to theater #2. You can either eat at the movie theater or visit Toojays, Perkins or Tamboras and receive a festival discount.

$50.00 (Three Day pass/Movies Only) -
Come and go as you please and watch movies all weekend long.

Screenings begin Friday morning at 10:00 am.

For those of you that can not afford $20. We have a "$7.00 special" starting on Sunday night.

7:00 pm. PRINCE OF BROADWAY (Drama/Rated R 105m)
9:00 pm PRETTY UGLY PEOPLE (Comedy/Rated PG-13 90m)
10:15 pm SCARE ZONE (Horror/Rated R 90m)

Tickets can only be purchase at the West Orange 5 (http://www.westorange5.com/). either online or at the door.

Don't forget the SCREEN WRITER'S BREAKFAST, or the ACTING IN FILM SEMINAR. If you're really serious about your craft these are a must attend. There's still much to do. I'll talk to everyone after the festival until then I'll see you at the movies....

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Time does fly!

The 4th Annual Central Florida Film Festival is almost here (September 4-6, 2009) with 64 "Official Selections," seminars, special guests, and parties galore. For as little as $20.00 a person can arrive at the theater at 10:00 am and enjoy films (in two screens) until 11:30 pm.

You can also leave the theater to grab a bite to eat. Use your ticket stub to receive discounts at several local restaurants and return to the theater or you can order food at the theater and eat while watching. The West Orange 5 Theater (in Ocoee) is the festival venue for films. Some festivals charge as much as $13.00 for one film. For seven dollars more you can stay all day and watch a dozen (or more). There are 15 features, 11 documentaries and over 40 shorts representing filmmakers from eleven countries and fifteen states.

Don't get locked out! Purchase tickets in advance! http://www.centralfloridafilmfestival.com/

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Hug your local Stuntman....

Today is a sad day for me and my second family at the Indiana Jones Stunt Show here in Orlando. One of our stuntmen was killed last night in a freak accident performing a simple (at least they make it seem so simple) stunt. It's a stunt that has been performed literally hundreds of thousands of times over the twenty years of the show. And contrary to the stupid remarks I have read on the Internet, I want those that follow my blog to know that the show hires the best possible people to, not only perform the stunts, but to rehearse these stunts over and over again. Remember, this show has been open for twenty years with high falls, explosions, fire, and any other possible stunt you can think of to excite an audience. After all these years, we are still listed as the most popular stunt show according to a theme park trade magazine.

Don't undermine what a stunt person does or how they are trained. You can say, 'it's in their blood', or 'it's a gift', but the talent, training and sacrifice can't be compared. Unless you've witnessed it first hand, you just don't understand. They are trained professionals that put their body (and their life) on the line during every performance. I wouldn't trade a moment I have spent with the cast of this show. We've worked together on stage for twelve years and more than a handful have worked performing stunts on my films as well as SAG and equity productions. My thoughts and prayers go out to each and every member of our cast and to the family of our fallen soldier.

If you know a stunt performer, coordinator, or stand-in, give him or her a hug today. Let them know they're appreciated for making us "oooo and ahhhh" on television, on stage and in the movies.

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I'm FIRED!!!!

According to IMDB today, I was replaced as COO of 20th Television by Greg Meidel. Not kidding, go to my IMDB (Bob Cook #1) and the news article has been added to my page. I've been confused before with who I'll call the other Bob Cook and even tried to get it straight. Falling on deaf ears. I can only hope I find work soon.

But I'm on IMDB!!!

Internet Movie Data Base or IMDB.com, as it's called is a resource for movie fans and industry professionals. IMDB is free and the site is paid for with banner ads galore. There is also an IMDB-pro, which most industry professionals subscribe to in order to research actors, producers, directors, and scam artists.

Have you ever tried to fix or add a credit on IMDB? The red tape is frustrating. Our festival had it's own IMDB page but some how got confused with another older festival that died in 1994. I've tried to fix the problem hours at a time but there is no direct contact. No problem solvers. I've had people add names to my films for credits never earned and I've tried to correct them but it falls on deaf ears. This had me searching the IMDB files on almost every title, actor, producer, director and just about every category you can think of looking at their credits.

How does "Uncredited" help an actor's resume? Seriously, you were insignificant enough NOT to receive a credit, why should anyone other than your parents care? Some people just want IMDB credit and they will do anything to get it. I saw a writer/actress with two credits. One was an "Uncredited" role in a film that hadn't received distribution and the other was for a screenplay she optioned to be developed into a feature. However, upon further review, she also wrote the screenplay, which makes everything bogus.

Take a look at the Job Postings and openings on IMDB. Ninety-nine point nine percent of them are "no pay!" What happened to the PRO in IMDB-PRO. Everyone is looking for something for nothing. I had a script sent to me for my consideration as a director. I kind of liked the script. It was a thriller with promise. It needed some work but don't they all. There was no funding in place but she wanted my name on a LOI and for me to recruit any crew or name acting friends, and then write a business plan. When I told her I needed an agreement with a retainer and additional promises for when the film received funding, she said that's not the way it's done. She's twenty-five, I'm fifty-seven and done it twenty times. When did the industry change? Needless to say, that's another film that won't get made. Kids are coming out of film school every semester and they are hungry to work for free. The problem is they don't have the experience or contacts it takes to get a movie made. I'm not talking credit card budgeted films but movies that an audience will be able to say they watched, enjoyed and perhaps even purchased for their library. Festival filmmakers should be commended. They go out, raise money, make their film and hope for the best. The good ones move up an increase their budget next time and the bad ones get to complain how unfair the world is and either try it again or go home and take a job at the local video store or movie theater.

Have you ever "Googled" yourself to see what people are finding out about you? Try it, it's fun. And remember, if I wanted to work for free, I would have started a film festival! Oh, crap, did I say that!

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Festival "Mud Slinging"

I read the "not so Gala" preview of the Orlando Film Festival, in Roger Moore's online column. I also read the many comments after the article. People pretty much trashed the new downtown Orlando theater, it's service and even the parking. They also didn't like the "Mud Slinging," and "trash talking" about how the Orlando Festival is free and the other larger festivals charge for the same films. I personally don't care, and as long as they don't attack the Central Florida Film Festival. I have little to no opinion about other festivals. Upon investigation, I found only three duplicate screenings between their festival and ours and who cares -- ours is first and we have more than enough premiers.

I like to investigate other festivals but the Orlando Film Festival is in direct competition with AFI's Film Festival and AFM (American Film Market). AFM is where most working filmmakers need to attend. It's in Santa Monica, California and a thousand buyers from all over the world come to watch films presented by over seven hundred distributors. I've been seventeen times to observe my distributor showcase my film and take orders, hoping that in one fell swoop I can receive a return to my investors. Seventeen times since 1985, I've been listening to distributors complain about a slow economy hurting sales. It's only natural, now that it's fashionable to complain about the economy, every distributor will be crying even louder. It's funny, I never hear the buyers crying, except to whine there aren't any good films to purchase. Perhaps if the distributors attended more Indy Festivals around the country, they'd find better product for their buyers.

However, that's for feature films. I guess documentaries and shorts need a place to gather during that time as well....It might as well be Orlando. We've selected almost sixty shorts, a dozen documentaries and another fifteen excellent features (that will make their way to AFM), at the Central Florida Film Festival. Daily tickets are $20 (for an entire day of film watching!), $50.00, for three days or $99.00 for unlimited screenings, seminars and parties/mixers. AFM costs filmmakers $750.00 for a week long pass and the parking, seminars and parties are extra. CENFLO is reasonably priced for movie makers and movie watchers. Take advantage as tickets are on sale as www.CentralFloridaFilmFestival.com. I promise---"You'll get what you pay for!"

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Panhandlers are doing fine!

With a million things on my plate, I took a ride around Orlando to deliver some festival materials and make a few purchases. At one of the off ramps to I-4, I saw a Panhandler begging for money. I thought to myself. "in this economy it's got to be really tough." I pulled over and went to my wallet and asked him "is the economy hurting?" "Are people stiffing you and saying they're broke?" His answer was "It's about the same, man, the cheap ones are always the cheap ones, but I make about the same." I gave him a dollar (hey, didn't want to be considered a 'cheap one') and decided to perform a survey. Four out of five Panhandlers said, 'things were about the same as they've been.' The one that said things were worse, was a little less approachable than the others. I believe bad smelling and ugly looking panhandlers make less than the clean but downtrodden ones.

I did ask two of the panhandlers if they were interested in financing my next movie but they only laughed. Apparently, they've heard about back end deals. Armed with my own survey that the economy isn't as bad as everyone is making it, I continued with my errands. I went to Kinko's (My office away from my office) in Orlando. I went in to purchase two signs. They are called 'Sandwich boards' and are placed outside as an advertising tool. We need two for the film festival. Now remember, I'm not going in to look, or to beg for a handout. I went in to buy two at a quoted price of $40.00. I had stopped in the other day and received the quote from the assistant manager. I said "I would be back" because I had to get the expense approved. I now came back and the manager was off. I was now left with the only person working this side of the Kinko's Sign Shop and he had no idea what the price was and looked for a catalogue. I pointed to the sign in the lobby, which was the same sign the assistant manager showed me last week ($40). He quoted the price from the book as $52.00. I told him what the manager quoted and he left me to go in the back for something (perhaps another book). When he returns, a few minutes later (I figured with the signs), he told me those were bigger. "The more expensive ones?" ....I asked. "No, the smaller ones," was his reply. This made no sense at all. The lack of confidence in his voice gave me the impression he really didn't know the product he was hired to sell. He told me the assistant manager would be back tomorrow at 10:00 am and I should come back. There were no other customers in the store and he let me walk out without purchasing anything!!!! There are two other sign shops on the same street!!!! It's not the economy at all. It's corporate American hiring people for less money that know less, instead of keeping the experienced people that would NEVER let me walk out without buying something I came in to buy.

I went back to the first Panhandlers I spoke with and told him there may be an opening at Kinko's. At least he took the money as he answered my questions! God! If he only could raise money for a film!

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Just find the money!!!!

I'm pretty much over the whining about everyone being broke, budgets being cut, programs being slashed and how corporate America is taking a hit.

Our film festival (http://www.centralfloridafilmfestival.com/), if anything, is feeling the "trickle down effect." We wouldn't have any problems if everyone else didn't overextend and cry about it. Seriously, if I had to look at the value of my house or stock portfolio every day I'm sure I'd have a heart attack. But I don't have to look every day. I hopefully can ride out the storm and keep the festival and my other production business moving in an upward motion instead of the fashionable downward spiral.

I've been told by the Coca Cola Company that money is too tight to provide our festival with what amounts to $178.00 worth of soda. That's retail!!!! I can take a coupon out of the newspaper and go to the store and buy it off the counter for $178.00. And we're not just taking the soda and running away to drink it. We were promoting Coke as 'the official soft drink of the Central Florida Film Festival' and gave them ads in the program, sponsor loop promos, banners, announcements....a two thousand dollar advertising package! Needless to say, Pepsi had no problem becoming our new sponsor and you can bet I will make sure they receive as much exposure as humanly possible.

The same thing happened with Final Draft. They had been sponsoring our screenwriting seminar for the past three years. Product, that's all they gave us and all we ever asked for. We, in turn, passed it on to our winning short and feature film makers and the third copy we gave to a needy writer via a drawing. Photos, announcements, ads, all promoting Final Draft is what they received in return. They now have their own publication and apparently (they say 'no') if you don't advertise in their publication they won't support your festival. Movie Magic - "here we come!"

Even the Orlando and Florida film commissions are hurting. I guess they've cut programs down to just salaries with limited incentives or assistance to film festivals. Our festival has been cut out and our primary function is to promote film making in the state. One would think the Governor would want to help the rebel sect that's trying to create jobs by bringing film production to the area. I'm in the process of working out an agreement that will hopefully bring an Australian Production company to Florida. I hope to make an announcement at my festival and my fingers are crossed.....

.....As I'm writing this I was just asked if we could add three additional speakers for our festival's pool party on opening night at a cost of $380.00. "Do we need it?" I asked. "It would definitely help," was the reply. "Then go ahead and order them," I said..."I'll find the money." Now there's an expression that's died out over the years. "I'll find the money," sounds refreshing, doesn't it?. Imagine going to your producer with a problem and him saying "Don't worry about it, I'll find the money." Those were the days. I'll find the money.....perhaps someone could use it as a campaign slogan. Harry Truman's "The buck stops here" and "a chicken in every pot," went a long way in my parents day.

Support a local business in your community. They are still the backbone of your community. Sure it's the large corporately owned store that anchors the mall but it's the independent businesses that pay the bills to keep that mall afloat. It's the same practice in film producing. Find the independent workers and make a better deal. The overhead is less and they'd rather rent equipment for what you have in your budget than have it sitting on the shelf this weekend. I've fed my entire crew for five dollars a head at a privately owned restaurant but bring in a studio Honey Wagon and caterer and the price is more than double. When you're an Independent Filmmaker think Independent business deals. Printers, restaurants, equipment, even port-a-potties, find the money and make the deal!

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And then there was one!

The selection process continues and believe it or not we have just one film waiting for either selection or critique. I hope the selection committee likes it. After one hundred or so critiques I'm pretty worn out. Now there's another way to get into a festival.....because the film was sooooo bad, the director didn't feel like writing a critique (lol).

Sorry, I digressed. We've also selected our opening night (September 4th) features. DEADLAND (8:00 pm) and SCARE ZONE (9:00 pm) have received the honors. Both are Florida premiers and pending approval from another festival SCARE ZONE could be a World Premier. DEADLAND is an 'end of the world,' piece about a man in search of his wife, in the ruins of America, after World War III. Los Angeles film maker, Gary Weeks does an excellent job as the husband but most of us will recognize William Katt from "Greatest American Hero."

SCARE ZONE is a fun film made by Orlando filmmakers (Jon Binkowsky/Writer-Director and Ben Kupfer/Producer). It was shot over on the Universal Studios, Florida lot, utilizing the Halloween Horror Nights set and employed a cast and crew of local talent. SCARE ZONE is about a Halloween Haunted Mansion gone array. As a maker of horror product, I thought the production value on SCARE ZONE was above average and even the moderate of horror fans will be impressed with the film.

In honor of the two films the Central Florida Film Festival (September 4-6, 2009) is throwing a "Monster Bash" party, with food, drink and music from 5:30 pm until 8:30 pm, before the screening. Festival tickets are on sale NOW at http://www.centralfloridafilmfestival.com/. A daily film pass is twenty dollars ($20) and is good for all festival films all day. There is a limited supply and tickets are offered on a first come first served basis.


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Festival Update (July 20, 2009)

Another day, another filmmaker sends in exactly the opposite of what we requested. It's not like we sent out an "Official Selection" notice and said, "you know, I'm not exactly sure what we need to move things along." Quite the contrary. We give detailed instructions and it's like no one reads past "Congratulations!"

I believe if you're thinking about the film industry as a career, perhaps you should learn to adhere to industry standards. Hell, if you would like to do it as a hobby and get a favorable response for your film, you should adhere to industry standards. That's why they're called standards. Everyone's supposed to do it! Perhaps marketing your film isn't covered in film school but you must have seen other Independent features or looked at a poster while waiting in the lobby. We're not the only festival who requests trailers, posters, one sheets and even some stills to help promote your film. Hard copies! No festival wants to download a video file and go through the process to place a trailer in a movie theater. The movie theater demands quality. It's a reflection of their product. Plus, Festivals are too busy creating their own posters, advertising campaigns and itineraries to take time creating what you're supposed to do. The festival promotes the festival and the filmmakers promote the film.

POVERTY? RECESSION? BAD TIMES? Come on, please, in twenty-five years, I've never met a filmmaker with enough money. When you budget you should set aside funds for your entry fees and your delivery items. Think about where and what film festival you'd like to enter and then do some research to see if the festival is a good fit for your film. What films have won in the past? How much is the prize money (if any) and will "Official Entry" to this festival look good on my poster? These are just a few questions you need to ask yourself when selecting a festival. Begging for a waiver doesn't help either but I've covered that in a previous blog. Find out how many days the festival runs? The Central Florida Film Festival runs over the Labor Day weekend (September 4-6, 2009), a total of three days. However, there are other festivals that run ten days to two weeks. If your film has excellent production value, a good script, some creative camera moves, good sound quality, an editor who knows when to delete or shorten a scene, some music, and you used SAG actors and not Grandma or your sweetie as you main star, and you don't run credits using your name over, and, over and, over, and over again, you probably have a good shot any any second tier festival. A two week festival will need more films for programing than a three day.

Sundance and the other 'top notch' festivals receive thousand of entries and it's a numbers game. I read Sundance receives almost five thousand entries for eighty-five slots. Remember, Sundance isn't the only game in town. Smaller festivals want good product and energetic and talented filmmakers who take their craft seriously. Help them to help you! Promoting your film is your responsibility and promoting the festival is theirs. Festivals that have been around for a few years are hungry for good films. It's our fourth annual event and we've increased in size every year. This year we've selected fifteen features, twelve documentaries, and almost seventy shorts and we're still looking at LATE ENTRIES. We're already thinking about plans to increase for next year's 5th annual event.

When you become a 'real live' filmmaker and your film is hopefully sought for distribution, the distribution company is going to ask you for delivery items. These items can include; Transparencies of your credits, posters (artwork), one sheets (a smaller poster), production stills and perhaps a press or media kit with reviews or coverage worth mentioning. If you don't have them, the distributor will gladly get them for you and charge you 'Top Dollar." It's called a "Charge Back." If you can deliver your own there will be less "Charge Backs" to your account and you film can get to profit sooner (creative accounting is for another blog). Be an educated filmmaker. Everyone and his brother has written a book about film making, distribution and business plans, buy one and read it. I've recently read a book, written by a person who was on the selection committee at Sundance. I wanted to make sure I wasn't out of line when I requested certain tools from the filmmakers. She mentioned they don't even want to see credits unless there's a name star they should know about. Why make them sit through your credits to only see you produced, executive produced, directed, wrote, edited, worked the camera, and served coffee on the set. They are only interested in the film. Is it good? or is it bad? Is it in? or is it out?

Film Festivals are a marketing tool in themselves. Those Laurels you can place on your poster, mean something when it comes time for distribution. Learn to be a better filmmaker. We're NEVER done learning. There are many things NOT covered in film school. Attend seminars, workshops and panel discussions. Pick every one's brain. Watch other films and discuss with the other filmmakers how and why certain choices were made. There may come a time when it will work for you too.

If you haven't checked out our website (www.CentralFloridaFilmFestival.com) tickets are on sale NOW! Save on an "All Access" pass and there's also a movie watchers pass too. Our itinerary and screening schedule will be posted by August 2, 2009. Email us with questions and we'll be glad to respond. We want to make you better filmmakers!

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Filmmakers should be seen and not heard!

After almost two hundred entries it's time to select the chosen few. When programing a three day event with two theater screens, time is of the essence. Five judges, ten categories, and a program director who looks for entertaining films and informative documentaries in order to make up the program for the Central Florida Film Festival (September 4-6, 2009). Shorts are broken up into two hour blocks, which is why shorts that really aren't short are hard to place.

To accommodate the filmmakers, who scored high in film school in their creative skills but low in their editing prowess, we came up with the Mini Feature category. this is my fourth Central Florida Film Festival. We moved from Kissimmee, Florida to Ocoee, because we wanted to be closer to the movie crowd and further away from the rodeo crowd. We also moved from a beautiful auditorium (that few know about) to a "real live" movie theater (West Orange 5). One has to figure that the smell of popcorn alone will provide a flavor of film festiveness.

Selection has it's highs and lows. Twenty-five percent of the films entered are 'no brainers' they belong and we're lucky to have them. There's also another twenty-five percent that are still learning how to become film makers. We offer them a critique in hopes of making them better in the future. It has been written that a short film made for under a grand really doesn't have a place in a film festival. They usually have a punchline and not a plot and are better suited for You Tube or My Space than a movie screen. Then there's the other fifty percent. Based on their scores, they sit on the bubble of selection until the selection committee agrees their film has scored high enough to receive an "Official Selection." Production value is very important in the process and filmmakers that have shot on film may have an advantage for the "big look" a film needs. However, HD looks damn good too and has started to make the Mini DV and Digital format look cheap and amateurish. It seems like every kid out of film school is given an HD camera and editing system these days and call themselves filmmakers. I remember when you got a car and a "kick out the door" when you graduated. Film schools weren't as plentiful as they are now and if you shot a film, it was on film.

Emails and phone calls from bubble filmmakers never help their cause. I hate to say "We really don't care..." but we really don't! If your friends and family have made other plans and can't attend your film if it's not prime time, this would be your problem. Your film has been placed into a time slot we feel best for the festival. We don't want to place all the high scoring films in the same time slots any more than we want to place all the "Fence Films" in the same block either. We don't want a "Mass Suicide" in the theater, which is why we look for comedy to off set the many depressing topics filmmakers choose. Incest, child abuse, rape, murder, molestation, war issues, and psychological issues, seem to be the topics high on the list of new filmmakers. Many of the filmmakers tell these stories with a creative flair but after watching these themes over and over, even a Hyena would get depressed. This is why a short comedy film with less quality will slip into the festival. It's not that their film scored high in production value but it did score high in entertainment value and these film are just as important to the selection process.

The rule of thumb is to keep your short under fifteen minutes. The shorter it is the better chance the selection committee will try to slip the film into a slot. Of course the production value has to be there and it would help to get to the point of your film quickly and not at the end of a seven minute piece.

Did you know that most festivals only give the film's director a free pass to the festival? It's true. There are a small few that will offer travel accommodations but they're the festivals with large corporate sponsorships. The average festival survives on public admissions. The average multiplex screen holds two hundred patrons. If the festival gives away too many free passes to sponsors, media, and filmmakers there would be no room for the general public. Our festival caters not only to film makers but film watchers. A filmmaker should value an audience response. We've all gotten audience responses from a cast and crew screening but they are tainted. Many rejected selections after receiving our critique argued the point that their film was well received at their last screening. Of course "after further review" it was a cast and crew screening and well, if you can't be well received from the people that we involved you might as well cut up the print now and recoup your money by selling guitar picks (assuming you've shot on film, of course).

So, now you have it. The selection process that takes months and a programing process that takes weeks can't be fixed to accommodate you. Film festivals are an excellent marketing tool. A distributor is more likely to view your film if it's "an official selection," "Best Short," "Best Feature," or "Best Documentary" of a film festival. The festival laurels should be placed on your poster or one sheet for all to see. Unless you're in that top twenty-five percent it could be the only festival you are selected to...make it count. Also attend the festival. Share techniques, horror stories and attend other screenings (not just yours), seminars and of course the Award Show (if you're lucky enough to have one) and get the full experience of attending a film festival either as a film maker or a film watcher.

The 4th Annual Central Florida Film Festival (http://www.centralfloridafilmfestival.com/) is held over the Labor Day weekend (September 4-6, 2009) with screenings at the West Orange 5, and parties, seminars and vendor room are at the Best Western Turnpike. Both are in Ocoee, Florida and walking distance from each other. TICKETS ARE ON SALE NOW!!!

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The Selection Process Begins

Even though the judging process is still in progress, the Central Florida Film Festival (September 4-6, 2009) has begun sending out "Official Selection" notices to films that fared well in the first round of judging. Seventy films are anticipated to be competing for two thousand dollars in prize money over the Labor Day weekend.

In our short category, "Words Unspoken," has become a high profile "Official Selection" from California Writer, Director, and actress, Renee O'Connor. For those who remember, Renee portrayed Gabrielle on the hit series "Xena: Warrior Princess. On "Xena" she was able to direct a few episodes and "Words Unspoken" is her first attempt at producing, directing and writing a short and has ambitions of moving into features. According to the preliminary scores, "Words Unspoken" should contend for the top prize in the featured short category.

CENFLO received more than eighty shorts and the top third are excellent and any of them have a chance to win at our Award's Show on Sunday, September 6th (8:45 pm). "Words Unspoken" as well all our contending shorts will screen twice during the festival. For more information or to purchase tickets go to our website at http://www.centralfloridafilmfestival.com/.

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"To err' is human but the director's problem!"

We've received a record number of submissions for this year's Central Florida Film Festival (http://www.centralfloridafilmfestival.com/) and with that will come a record number of "Official Selections," for our Labor Day weekend event (September 4-6, 2009).

It's getting to be a common explanation that independent filmmakers would have made a better film "if they had more money." I've been working in film since 1984 and never met a film maker that had enough money...no matter how much they had!!! Successful filmmakers go about their business with the money they have and create according to their vision. Of course the good ones are able to adjust their vision according to budget restraints.

An audience doesn't care whether you spent two hundred dollars or two hundred million to make your piece. Once you roll the camera you are obligated to entertain, enlighten or inform the people that fill the seats. It's tough to raise money for a film project. You can blame the economy if you want, but it's always been tough to raise money. A film investment is "high risk." Yeah, yeah, yeah, I'm aware it's high return too, but the SEC doesn't force us to put a disclaimer into a film business plan saying an investor will make too much money (see: Blue Sky Law). They only ask us to make sure we remind the investor "there's a good chance YOU WILL LOSE YOUR ENTIRE INVESTMENT!!!"

When I bought my house and started investing in a stock portfolio I looked for disclaimers and warnings such as "This stock may lose value or the owners of this company may take the money and run" or the value of this house may crash and be worth less than you purchased it for, "to no avail". Why is that? Does someone out there have an explanation? At least when investing in film you can watch your investment daily. You've already seen the business plan where the producer, director, cast, crew, and even distribution projections have been exhibited and verified. In some cases, a filmmaker has a track record with films that have already made money or won awards. It doesn't mean this film will make money or win awards but it does mean the filmmaker at least knows how to do it and that's an important factor.

As an Independent filmmaker you've got to decide how much is enough money. I've seen many and I mean loads of "low budget" films. I've even made a dozen or so myself and understand the process. I also understand the bottom line is making money or winning awards. Of course you can pay the bills better if the films you make are earning a profit. The choices we make as directors are the most important in the production process. When a director says "action!" there's already been a number of decisions that have decided the fate of the film. How much have we raised? Who can we afford? And most important, how can we overcome our budget restraints and create a production value to cost ratio that will impress even the most conservative of distributors? Can't afford a dolly? It wouldn't be the first time someone used a wheelchair or shopping cart to move the camera. However, I've seen filmmakers place the camera on a tripod shoot a master two shot with over the shoulder close up coverage that would put an insomniac to sleep and then bitch they didn't have enough money for a dolly. Be creative. Can't afford a crane? Climb a damn tree!

In this day and age where films are being edited on a laptop during a plane ride the competition is too great to become lazy. Even the Screen Actors Guild has created contracts to stop indies from casting their film's with girlfriends, neighbors, and grandma. Remember, in the end someone is going to watch your film. Keep it creative and let those you surround yourself with as a director have some artistic say as well. If you're the producer, director, writer, editor, grip, gaffer, bestboy, and PA, you're probably going to make a film that only you like. You can't do it all even if the software says you can. As a director we are only as good as those we surround ourselves with and they are looking to our leadership and vision to move to the next level as well. When a film is good "The team did a great job." When a film is bad they are all quick to point to the guy in the director's chair. To understand this will make you a better film maker. Now go out, find some money, and do the best you can!

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David vs Goliath

David versus Goliath, now that's a pay-per-view worth watching. David could represent the independent business owner, while Goliath could represent (who else) corporate America!!!!

I promised not to rant about the 'good ol' days' but every time I get out I'm constantly reminded. Okay, I get it, there's no more service at gas stations, unless you consider a finance window service. What about restaurants? I mean basically aren't all these fast food restaurants, diners, after hour wing spots all competing for the same dollar? And after the first beer don't all wings pretty much taste the same? So, how do we choose with so many out there?

Me, I like service. I like my beer cold, my water glass and coffee cup filled without sending out a search party for my waiter/waitress. Price is important but not so much. If they offer say a discount for industry professionals, I will seek them out....not because the ten or fifteen percent is that important, but I just want to show support for people who show support for us working class party animals. I understand there shouldn't be discounts on drinks (albeit Happy Hour does sound enticing tonight) but a discount on food makes sense. Even at my film festival (http://www.centralfloridafilmfestival.com/) I have certain restaurants offering a twenty percent discount for patrons of the festival who eat at their establishment.

The creative members of my film festival met at THE ORLANDO ALE HOUSE a few nights ago. We've been holding meetings their since my production company moved to Orlando in 1991. It is also located just off Disney property (or on it, I'm not exactly sure) where over sixty thousand industry related people work. Last night we were breaking in yet another waitress. We asked for our bill and mentioned our (industry) discount and she told us, we weren't eligible. When I said, "We were here just a few days ago, had the same order and it was fine. "Is this something that just started?" The waitress became frustrated because let's face it most waitresses are actresses without lines and without written lines they're at a loss. She explains that because we bought fifty wings all at once, we didn't qualify. However, if we had to ordered twenty, twenty and ten, we would have qualified (see what I mean). The others in my party started to point out about the obvious and I'm pretty sure she knew it added up to fifty. That was my problem. If she said sorry we don't give a crap about your business, I would have accepted this as an excuse. My wife decided we should speak with the manager. She does the books and as it turns out we spend almost two thousand dollars at this establishment during the fiscal year and that's just what's deductible!

The manager arrived and tried to explain to me that "THEY (when we asked, we were told 'they' are corporate) set the rules and even though he's the local manager, his hands were tied. Oh, by the way, we're talking about a total of $2.40!!! It appears that the ALE HOUSE has a rule that discounts can only be given on items their employees can get discounts. Which explains why the ten and twenty portions of wings are eligible but the fifty wing order isn't. I would assume that any waitress, bartender or busboy who could eat fifty wings in one sitting should receive something else besides a discount. Perhaps a plaque with his name up with that guy that eats all the hot dogs at Nathans on July 4Th. I tried to explain to the manager, who I can only assume gets rated by the amount of business his restaurant does, that by bringing more people into his establishment to drink non-discounted beverage is generating more revenue than an employee who is eating lunch or dinner and therefore should be valued differently.

Corporate will be proud, he didn't budge! Apparently, THE ORLANDO ALE HOUSE needs the $2.40 more than me. I paid it and didn't take it out on the waitress either, although she should pray she gets cast in something soon, as her waitress days are numbered (however, there is the discount on food). What did I expect? For starters, I would expect the manager to have some kind of power in his own establishment. If it was my place, I would have said; here's the policy set by those bastards at corporate but don't worry about it this time, I'll fix the check to show you ordered the wings in the corporately regimented series, smiled, and said, "We good?" and thanked him for his business and bid him "good night." Of course that was the way I did it as a waiter when I was an actor in New York. A person has to make a living and a person has to service the account or someone else will. That's why it's called the "service industry." My next meeting will be at either THE DOCKSIDE INN or KITTY'S. Both are PRIVATELY owned (no corporate bastards to deal with) and when I mention discounts to industry professionals perhaps they'll want our business a little bit more than THE ORLANDO ALE HOUSE.

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What's a Best Friend?

I got called on the carpet by my wife yesterday for referring to a person as her "Best Friend." It appears that although the Male Species has one best friend, the Female Species has more than one. I've never been one to toss around the "F-word" and consider friends as people you don't mind sharing time with outside of the work element and the rest as either co-workers, neighbors, or acquaintances. My "Best Friend" is someone I can rely on or talk to without question or embarrassment.

I've been told that my wife has at least two "Best Friends" who serve different purposes in her everyday life. One as a professional advisor and one who communicates daily and guides and advises from the heart. She's lucky in having two people to count on and listen to her frustrations and share her victories. I stand corrected and apologize for any misunderstanding as to who is my wife's best friend. Especially, when she follows my blog. Luv ya, Gus!

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To Scam or Not to Scam! What kind of question is that?

I got accused of scamming some film maker today. He enter our film festival and his film didn't get accepted. Our entry fees for featured shorts is forty dollars. Thirty dollars if you enter via http://www.withoutabox.com/ and we furnish a detailed critique giving reasons why any film is rejected. I became a scam when he didn't agree with our critique. "You're just like all the rest of them," he wrote, "You take our money and don't care about the film maker." This kid (and I'm assuming because of his demeanor) couldn't be further from the truth.

As a film maker myself, I've entered many a film festival and received generic form letters that say pretty much "Thanks but no thanks." I've often wondered how a film could enter a top twenty five festival and go on to win best picture but be rejected by several other film festivals? I've been lucky enough on a couple of occasions to win something or better yet just be accepted to attend film festivals. I have no understanding what other festivals look for in accepting a film. So I started my own film festival (http://www.centralfloridafilmfestival.com/). Not so that I'd have something to enter for myself but to give other film makers a place to showcase their work. I have a selection committee with different tastes. A writer, a director, an editor, a composer and a producer should give a fairly diversified review of each film. I personally want production value, some commercial value (would be nice), good acting, a strong script and some signs of creativity and not you're just going through the motions as a film maker.

From there the films are ranked on a scale of 1-10 in ten categories or 100 points being perfect and no points being Ed Wood caliber (although some of Ed's work would have scored in the 50's). we're a three day event with approximately eighty hours of screening time. We receive about one hundred and fifty films for consideration. Obviously I can't accept forty, two hour features, it would use up all the screening time. So, we are forced to place limits to how many shorts, features, documentaries, mini features and even 'Gay & Lesbian" films to accept and have a good representation in our program.

If a were scamming, I'd take the money, not give a critique, not show the submitted films to anyone and place a listing of accepted films on a website and never respond to complaints. The best way to avoid scams is to educate yourself. Do some research. Who are these people involved? Why do I care about their opinion? How will it help me or my film if I am accepted. Just because some hick town in Iowa is holding a film festival and loves your film, it doesn't mean that a major market should. All film festivals fight for their share of good films and we all wind up with our share of clunkers too. Did you know Sundance received five THOUSAND entries in their short program for only eighty-five spots? That's 4915 rejects! However, many of those rejects are excellent films in their own right. Those film makers have to find a festival willing to showcase their project. Fight the battles you can win and understand if you can't stand rejection you've selected the wrong industry and profession.

See you at the movies!

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"Straight" to the nut house!

This year the Central Florida Film Festival has added two categories. One "Mini Feature" was created for filmmakers that haven't quite learned how to edit down a piece to a watchable time frame or add enough footage to be considered a feature. Our other new category is "Gay and Lesbian" films. My Creative Director (yes, gay) mentioned that in the past few years our festival has received it's share of Gay themed films and although they may be excellent in their production value and content they've gotten lost in the shuffle of the other films. I agreed and give these filmmakers their own category.

I've just received my first "hate mail." It was sent from I guy I'll just call 'Mike' (because that's all he called himself). Now that I think about it didn't Liberace have only one name too? Anyway, Mike told me I was causing damage to the film industry by showcasing gay films and I'd be ruining the image of my festival if I proceeded to have 'them' at the festival. He went on to say that I would be 'sorry' for taking valuable time from REAL film makers.

I've got to admit I am pretty upset. I don't judge filmmakers by their race, color, creed, or sexual persuasion. I judge them by their work. I should be so lucky to get the next BROKEBACK MOUNTAIN or MILK to premier at my festival. Mike must have the above mentioned films confused with the 'gay porn' he must have sneaked a peek at every now and then to educate himself enough to express his opinion the way he did. You don't have to be a genius to know if you take the Gay people out of the film industry there won't be many films or television shows to watch.

On Saturday, September 5, 2009, the Central Florida Film Festival (aka CENFLO) from one until five, will offer food, beverage, and music, poolside at the Courtyard Marriott in Ocoee for a celebration of "Gays in Film." I hear Gays like to eat and drink too and watch movies. At five sharp a block of several 'gay and lesbian' themed films will be featured at one of our festival screens, including, such features as COFFEE DATE, and A LOWER POWER and a few shorts. Actor/Comedian, Jason Stuart (Will & Grace") will be on hand to greet guests at the party and to perform a "Q & A" after the film COFFEE DATE. He will also show clips from his new DVD "Making it to the Middle." The world will not end, there probably won't even be a stir, just applause from a night of good film making. Gay or straight I hope to see you there. Tickets go on sale July 1, 2009 (http://www.centralfloridafilmfestival.com/).

Mike, if you'd like I'll show one of your films and let you perform a "Q & A" immediately following our regularly scheduled programing. Let me know!

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Sharing the Wealth

My wife (Ginger) just returned from a talent convention in Chicago. She's an accomplished camera woman and editor and along with her best friend Amy (who's also an accomplished camera woman and editor) provided video for this convention. My wife was depressed as she was just able to break even over the run of the event. But what does 'break even' mean?

I explained to Ginger, she was able to purchase and rent equipment (cameras, video monitors, sound equipment, etc.), she rented a car, she put gas in the car, she stayed in a hotel and ate in restaurants. She also provided a commission to the talent show and paid salaries to Amy and herself. "You have to look at the greater plan," I said. Her gig, as small as the profit margin may have been, provided a boost to the economy. A cash flow was created and several businesses benefited. I believe this is how small businesses and especially production companies need to look at the overall picture in order to stay around. Kind of "a circle of life" in our own right. One business helps the others.

When a production company has a budget, no matter how big or small, they are in a position to help the economy. If your money goes 'on the screen' or into the project (an not in your pocket) you are still making an impact on our business. Budget carefully because what helps your bottom line also helps others.

I applaud my wife for a job well done. Breaking even is nothing to frown at, especially if you helped others to break even. I'm proud of you.

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Festival Update

I've reprinted this from a notice sent out from withoutabox.com a festival source.

REPRINT: June 2, 2009 (withoutabox Festival Highlight)

CENTRAL FLORIDA FILM FESTIVAL - Orlando, Florida - USA September 4 to 6, 2009
The 4th Annual CENTRAL FLORIDA FILM FESTIVAL (CENFLO) was established to showcase and support independent films, as well as to foster a national awareness of the plethora of production resources available around Central Florida. To this end, the Orland-based CENFLO is a valuable networking and learning event for both movie lovers and moviemakers.The Festival's programming has been picking up steam recently: Neil Mandt's LAST STOP FOR PAUL, winner of CENFLO's Best Feature Award, was picked up by Showtime after enjoying a limited theatrical release; 2006 CENFLO Best Feature BEAUTIFUL DREAMER went on to win many festival awards, with producer Chase Chenowith's next feature UNDERTAKING BETTY receiving worldwide theatrical distribution.CENFLO is a hands-on festival with an easy and casual accessibility to all of its directors and VIP guests. Organizers also take pride helping filmmakers; all films not accepted to the festival receive a detailed critique stating why, in the hopes of helping filmmakers improve their form and technique. There is no additional cost for this service, and many filmmakers have received useful, constructive feedback.

UPCOMING DEADLINE June 14, 2009 - Late Deadline
MISSION AND OBJECTIVE CENFLO provides exposure as well as an outlet for filmmakers from around the world to showcase their work to the general public. At the same time, CENFLO attempts to put together an entertaining and thought provoking slate of films for the Central Florida community.

MORE ABOUT THE FESTIVAL - CENFLO offers seminars, panel discussions, guest speakers, screenings, and competitions featuring cash prizes for the best Documentary, Short, Mini Features, Feature length films, and a new Gay & Lesbian section. The Festival also presents awards honoring the best Florida film and best promotional trailer. Screenings will be held at the Festival's new venue, the West Orange 5 Theater. Filmmakers are eligible to win a range of awards, including plaques, a variety of goods and services, and cash prizes ranging from $250 - $500 USD. Winning filmmakers are honored at a glitzy Awards night ceremony, concluding the Festival. See for yourself why the Orlando Sentinel calls the Festival the "fastest growing film festival in Florida." Submit to Central Florida Film Festival today!