Comment on Previous Post

The person who wrote the IMDB posting yesterday seems pretty upset at my response. Like I said before, I don't want to get into a debate. Both of us have our opinions. I believe "after further review," you should come up with your own. There are exceptions to every rule. Research and gut feelings are important.

I was accused of not posting his response. In my defense the Blogging Company hasn't notified me as of this morning. I saw his response posted on IMDB and have copied all but some self serving advertisements.

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"I posted a response on Bob Cook's blog and just in case he doesn't post it, I will post it here for everyone to read and it is as follows: I'm the one that is being referenced in this blog, I posted the post on IMDB entitled Stop Working for Free. And I stand by that, all of you that say you want the credit on the resume well that in my opinion is just foolish. I don't care who you are, if you provide sweat equity then you need to be paid for your work period, and I do have to agree with Bob Cook on one point, Scam artist are Scam artist, I don't think that the word artist should be in the confines of the same sentence as scam or con, as ripping people off shouldn't be considered an art form. Bob made mention of SAG's contract well I for one do not care about SAG's contract allowing actors to work for free on a project under 40 minutes and under $50,000.00, point being I will never ask anyone to work for free period. My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period."

My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period. On my productions I will even pay the non-union extras $100.00 per day for a base of 8. When I say that there is no such thing as a no budget film that means somebody is getting paid, producer, director etc somebody is getting paid trust me, I guarantee it. The only one's not getting paid are those cast and crew members that agree to work for free, and that is something that no one should ever agree to period, if you want to provide your services for a cut rate that is fine but get paid something I'll say it again stop working for free.

MY RETORT

Again, I'm not disagreeing, I'm just stating if you do have an offer to work for free or feel the need --- make sure you think about it and/or research it first. If you can get a good paying gig without experience --- by all means, go for it. There's about ten years between MR. IMDB and myself and times are a changin' every year. We're both obviously passionate about the industry and both have our own practices and opinions. We're both published authors and producers. Experts? Probably not. But experienced players and teachers, agreed, we're both saying the same thing just a generation apart.

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IMDB Postings!

They've just raised the pricing on my IMDB-pro. An increase of twenty-five percent (25%) and they sent a notice that it's going to start being paid out of the credit card I have on file at Amazon. That's not the reason for this blog, I actually endorse IMDB-pro if you are in the business and need to reference actors and agents. It's also a good place to post pictures of your accomplishments and/or resume. One of the new perks is they allow up to one hundred pictures posted on your IMDB site. I've got to admit, I took advantage and it makes my site more impressive.

I also like to read the postings on the message boards. There's a job site posting where scam artists and wannabees hang out and bitch about the lack of work and beg for money to make a project. There was a posting today entitled "Stop working for free." He goes on to mention all the horror stories you can find when working for a copy, a meal, and a credit. I've been doing low budget a long time (26 years) and there are horror stories no matter what you're paid. On rare occasion the fee matches the headache. When I first started out in film I told a producer I would work for free. It was the only way to start to build up a resume. To his credit he did offer a nominal salary and to mine I saved him up to five times my salary during my term of employment. I eventually moved up and started receiving more per project and even a piece on the back end. Most people on IMDB frown on back end deals. I say, it all depends on the person you are making the deal with. If you can learn something or believe this person is trustworthy or you are passionate about the project do what you need to do. Scam artist are scam artists.

I've had a few people tell me they will work for free on my projects. They never have any credits or experience. I allow them a place where they believe they will gain experience. They work with someone who has experience and are not the front line person. If they are good they are offered a position or they can at least attach a distributed film to their resume. I believe this is a good practice. I've even had people that started out with my production team and when I went back to them a few years later their day rate had gone way up. Yes, you get what you pay for! But sometimes you can find a diamond in the rough. Talk to the producer or director and see if he's someone you want to work with. Find out the budget, is there money for you to at least make expenses.

If it wasn't okay to work for free, the Screen Actors Guild wouldn't have come up with the SAG contract allowing their actors to work in shorts under forty minutes with no pay if the production budget is under $50K. The actors make their own choice. If they like the role, they take it. They don't, they pass. It's the same for crew. No professional likes to work for free. It doesn't pay the bills. In most cases we've already been there and done that. Checks bounce too and most of us have had that happen in low budget films as well. Hell, I've had a producer of a major film bounce a check on me. When I think about it, I didn't really trust him and it was my fault because I wanted the credit for my resume.

The person on the IMDB posting made some comparisons to electricians, plumbers and other laborers working for a credit which was just stupid. It was like comparing a doctor handing you a bill for his fee after he saves your life when you have a heart attack in the stands at a baseball game or at a traffic accident. You either want to do it or you don't. It's your choice. Just make sure you're not exploited. Be smart, research the director, producer, production company and use an additional resource other than IMDB.

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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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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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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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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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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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A Film by any other title would still be bad cinema!

The time has come to begin reading my judges ratings & comments for "Official Selection" at the Central Florida Film Festival (September 4-6, 2009). We are one of the few (maybe the only) film festival that will send the filmmaker a critique if the entry isn't selected into our program. We're not trying to be mean. We just thought the filmmaker should be told what our panel of judges liked and disliked about his film. Our thought is to make them better not pissed off. It also lets the filmmaker know that his entry was screened and watched. As a filmmaker myself I've always wondered about that.

At first we contact the highest rated films in several categories (Feature, short, mini-feature, gay & lesbian, and documentary) and congratulate them on becoming an "Official Selection" of CENFLO (www.CentralFloridaFilmFestival.com). We then take the lowest rated films and write them a "Sorry but..." letter with a critique on what was liked (if anything) and what was disliked by a panel of five industry professionals. I have a composer, director, editor, producer, and screen writer on the panel. This allows my panel to take a close look at their expertise and at the same time dabble in other areas of the film they may have thought needed work.

I thought this idea to be unique and helpful. I've made more than a dozen films and by the time I receive my critique it's a magazine critic who usually compares my product to films with much higher budgets. I don't mind, that's the path I chose and as long as my distributor liked the film who cares what the media thinks? Critics don't pay my mortgage! I believe we make films for three reasons, to make money, win awards, or fill an ego. Can anyone out there think of another reason?

The filmmakers who get into the festival contact me and praise the decision of the judges, saying "what a wonderful thrill it is to be selected." What else are they going to say? "Thanks but no thanks?" However, in many cases the filmmaker who doesn't get into the festival takes on a Jekyll & Hyde persona. They'll kiss your ass to get screened and in some cases plead a case why they should be included. These pleads are never about the quality or content of the film but that "Friends and family live in the area," or "we used to live somewhere in Florida and want to vacation there again." They pay their fee and their screeners are sent out to the selection committee. When the results come back and their critique is sent, they pounce like wounded animals. Claims of fraud, and insults come a flying. I find thirty percent of our critiques are received in the manner they are sent. We've gotten some excellent response and even some filmmakers have entered the following year with a genuine improvement. Most (about fifty percent) don't respond one way or the other but the other twenty percent become vicious.

Here's a copy of a form letter sent to our filmmakers that do not make the cut. Understand there is also a section in the letter where comments are made directly about the film we are critiquing. We try not to generalize;

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I am sorry to inform you that your (Category) entry (TITLE) did not make the preliminary cut to qualify into the Central Florida Film Festival. A Jury of five industry professionals voted to not advance your project.

(According to comments and ratings) The judges were in agreement your production had a decent idea but the execution was well below average. Sometimes we lose sight of what we are trying to accomplish as filmmakers. What story do we want to tell and how can our cast help tell the story? A weak cast from bottom to top and a weak script were two of the main complaints from our panel. When making a feature you need to grab the audience in the first ten pages of your script. Sometimes preproduction is more important than production itself. What kind of money do I have to make this film and where can I skimp without hurting my production value? This is a question young filmmakers need to ask themselves when making a film either for the commercial market or the festival circuit. Cost to production value ratio is very important. Your weak script could have been helped by a better and more experienced cast. Plan your shot selection better. Be creative and don't just go through the motions to get the film completed.

(again form)
Don't take this critique personal. Film is art and art is subjective. Everyone is entitled to their opinion and as filmmakers we need to grow a thick skin. I edit and write what the judges have passed down to me and where possible hope it will help you become a better filmmaker. I am sorry the news couldn't have been better.

(In some cases - I write)
I've viewed your film as well and I have a distributor that may be interested. (Big Star TV) Contact Erik (Erik@Bigstartv.com) and tell him Bob Cook from the Central Florida Film Festival told you to contact him. He may be able to help and give you better advice. I wish you well and hope to see you at the festival where you can pick our brains and find out more about film making.

Regards,
Bob Cook
Executive Director

I don't see where I am attacking anyone. I give examples from their film and cite why it didn't make the cut. I wish every festival did this! Sorry, no I don't, because we are unique and want to make filmmakers better. I had one filmmaker who's feature didn't make the cut, and actually attacked my own films. "I know why you rejected our feature, I've seen the quality of your films and it explains a lot." Not that I need to defend myself but if you saw my films it means you paid to watch them. I make movies to make money! Twice I made a movie to win awards (1990 "Goin' to Chicago" and 2000 - "MovieVoyeur.com") and lost money in the process both times. But I've got those plaques on my wall. I often think to myself, do I like fun things or plaques? You know I like things better. I've made films for as little as twenty thousand dollars and for as much as a million dollars. The production budget doesn't mean a thing. It's how you spend your money putting it on the screen. Cost to production value is very important.

It's also whether or not the viewing audience is entertained. I've seen excellent festival pieces that I wouldn't pay ten dollars to see in a movie theater. However, they're terrific films and that's why festivals screen them and distributors don't. It comes down to dollars and cents or in the case of some filmmakers Dollars & Sense!

Just as I'm ready to consider taking out the critique portion of our program I receive two wonderful emails from filmmakers in Chicago and New Jersey (of all places) thanking me for taking the time to critique their films. They were able to take a step back and look at what we were trying to do and took it in the manner it was intended. I believe they will become better filmmakers. Because even when a media critic trashes my film, I take a step back and try to understand what he was trying to say. Filmmakers make many choices. The cast, crew and even the film itself lives or dies by those choices. That's why the director gets the biggest credit. Many of those choices are forced by restraints placed upon us by either the elements, locations, or production budget. How we overcome these restraints are what makes us better filmmakers.

I will continue to critique films that don't get into our festival. I believe even if we help only one or two filmmakers each year become better, then we're doing a good thing for our industry.

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Blah, Blah, Blog.....

It's been a tough couple of weeks and I have neglected keeping my blog current. Between my dad's cat (Felice) of sixteen years passing on, the air conditioner breaking down on the hottest day of the year here in Florida and Mother's Day, my time has been sparse.

However, I did find time to see the new STAR TREK movie and enjoyed every minute of it. We are hitting stride at the Central Florida Film Festival too. We've received confirmations from actor/comedian Jason Stuart, Producer/writer Chase Chenowith and (producer/director/writer Reuben Leder as special guests. Jason, who has appeared on such shows as "Will and Grace," "George Lopez." and "Fat Actess," is bringing a copy of his new comedy COFFEE DATE, which also stars academy award nominee Sally Kirkland. The movie is hillarious and Jason will perform a Q & A immediately following the screening. Reuben (Leder) and Chase (Chenowith) will join local writer/director Art Delasandro on a panel discussion about writing for film. Reuben is best known for his work on MAGNUM PI and Chase is an award winning producer of such films as "Undertaking Betty," "Beautiful Dreamer" and "One of Our Own."

I am currently working with industry vendors. My plan is to have as many vendors represented at the festival for filmmakers to strike film deals creating more work for Floridians. I should have a partial list at the end of the month. Currently, the festival has selected twenty films from five countries. Last year we selected fifty films representing nine countries and seventeen states. This year with the West Orange 5 Theaters on board we expect more than seventy films.

Remember to support independent films and exhibitors. They need our help!

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Lights, Camera, Stimulus (Part 2)

I reprinted this from an editorial that I wrote for In Focus Magazine. I know it's cheating but I want to make sure my point gets across. It's been a busy two weeks and I will write something a bit more industry related within the next few hours. I'm just over it and welcome any other comments or questions.

"Lights, Camera Stimulus"

Banks are being bailed out, the automotive industry is being bailed out, even delinquent home owners are being assisted by the Federal financial assistance. But how about the film industry? The other day I was depressed at everything I watched or read about in the news. So, what does one do to get out of a funk? Of course, I went to a movie. You know what? The movie was crowded too. Apparently, I'm not the only one that looks to the entertainment industry for relief and escape from reality. This is why I am concerned. While other industries are being bailed out or coddled, the film industry, especially here in Florida, is being overlooked. To start with, the state has cut film incentives by a whopping eighty percent. That's not a misprint. Eighty percent! How is that supposed to help the job situation? Yeah, yeah, yeah, I know, schools and other programs are being cut too. However, the film industry brings in millions to the economy and at the same time creates an escape from our problems. A much needed trip into the world of horror, action and comedy where you don't have to worry about a damn thing for about two hours.

Is there really an out of control economic problem or am I seeing the makings of a conspiracy movie on the horizon? Are corporate and Governmental bodies just using some middle class hard times as an excuse to make more cuts to create more profits? Less jobs but higher profits...hmmmm...it sure does feel like it.

I run a small film festival in Ocoee, Florida (http://www.centralfloridafilmfestival.com/). We're a nonprofit, charitable organization whose mission statement is to help the film industry in Central Florida. We survive on donations, sponsorships, advertisers and entry fees. This past year alone we lost three large corporate sponsors. They all cited the economy and cutbacks as the reason for eliminating their support. The only problem was what they were giving in the first place. The Coca-Cola Company was providing us with twenty assorted cases of Coke Zero, Diet Coke, and Coke Classic. If I used a coupon in Sunday's paper this amounts to a total retail cost of $128. In turn, I had the festival provide the Coca-Cola Company with an advertising and sponsorship package worth $1500. Final Draft scriptwriting software was the exclusive sponsor of our screenwriting seminar. They provided four copies of their product in exchange for another $1500 advertising package. Finally, the Mini Movie Channel pulled out their sponsorship. However, of the three, they probably are in financial trouble but they were the only ones that had paid cash for their sponsorship!

Even filmmakers are using the economy in an attempt to get out of paying entry fees. "Because of the economy we have no more money and request a waiver," is a statement I receive once a day. However, I've been receiving them for more than four years now - when the economy was good! I never met an independent filmmaker that had any money. They usually beg for money for post and beg again for marketing and promotional funds. It certainly makes me question if they are even teaching these students how to budget their films.

So, how can the Florida filmmaking industry survive without an enticing incentive program or without the help of corporate America? There is no financial crunch. Cash flow problems, maybe. I believe some people have overextended and made bad investments on the bad advice of bad financial institutions. As sure as you're reading this, for every foreclosure there are twenty people lining up to buy the foreclosed property at a discounted price to turn a profit. This is old news. People have overextended ever since that ‘Jones guy’ moved in next door.

Michigan created a 40% incentive program that has producers from all over the United States flocking to their state at such a successful rate they don't have enough production personnel to keep up. Developers have built sound stages and schools are teaching laid-off autoworkers how to become gaffers, best boys, grips, and even production assistants. They are taking action and strengthening their economy. It's time for Florida’s Governments to wake up and take a long look at the positive economic impact the film industry makes on this state.

But for now, the only way the film industry is going to survive in Florida is by helping each other. Network, get out there and campaign. Create something, edit something, screen something and watch and learn. If you're a vendor, create packages that make sense and produce projects which generate jobs. If you're an investor, learn about funding films. Is film finance really a higher risk than the stock market? Actors need to work together by making themselves better. A better talent pool is an enticement to producers and makes for a better project. Learn the SAG contracts and how they can hurt or help your financial situation here in a 'right to work' state. Learn the difference between an Independent film and a studio film, as well as, an independent exhibitor versus a corporate exhibitor.

It all starts with us the filmmaker and film watcher. Show your support by checking out the latest movies, supporting local film festivals and producing the best film projects you can. You'll find the effort and results well worth it.