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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Academy Awards Rant & Predictions

March 7th is the date the film industry is marking down in it's calendar. The night of the Academy Awards, where Oscar parties will be everywhere with fun, games and of course predictions.

I read some time back that the Academy was going to select ten Best Picture nominees but I didn't think they'd really follow through with it. Ten should be the rating of a hot female attending a festival party, or the amount of commandments we're to follow (unless you're a producer), not the amount of films nominated for Best Picture in 2009. I thought there were mistakes and slights made when they only selected five films. How in the hell can INVICTUS be left out of the top ten? I could understand being slighted at being 6th in a five film field. But UP? Please, just shoot me now!!!

I understand the Academy not wanting to waste time selecting films to finish behind AVATAR in this category but pick four not nine. My selections for Best Picture would have been AVATAR, THE HURT LOCKER, INGLORIOUS BASTARDS, A SERIOUS MAN and UP IN THE AIR. My selection for March 7th is AVATAR, which proved it wasn't just a film but an event.

Rather than go down each category let me list the categories where AVATAR will walk away with the Oscar. They will include, BEST PICTURE, BEST DIRECTOR (Thank goodness Kathryn Bigelow won the DGA award but no shot to beat her ex for the Oscar. I should pick her on looks alone!), EDITING, ORIGINAL SCORE, SOUND MIXING, SOUND EDITING, and VISUAL EFFECTS (why only three nominees?). That's seven Oscars in the bank for AVATAR. My pick for Best Actor is Jeff Bridges, Best Actress is Sandra Bullock, Best Supporting Actor is Christopher Waltz, Best Supporting Actress is Mo'Nique. These selections are the Oscar locks!

Let's move onto the guessing game -

Best Original Screenplay - My Selection = Inglorious Bastards. The reasoning is simple the Academy always liked Tarantino's scripts if not his films. The reason I'm probably wrong, The Hurt Locker and A Serious Man could slip in they both are excellent scripts.

Best Screenplay adaptation - My Selection = District 9. The reasoning is I saw both District 9 and Up in the Air and felt the script for District 9 was better. The reason I'm probably wrong, I didn't see the other three contenders to date.

Best Cinematography - My Selection = Avatar. The reasoning is shooting a film like Avatar had to be a challenge. The reason I'm probably wrong, I'm not sure what constitutes good cinematography. I always thought it was the breathtaking visuals but I'm sure there's more to it. Francis Grumman is my DP and I'm happy when the shot is in focus (sorry, Fran but my readers like to laugh).

Best Art Direction - My Selection = Avatar. The reasoning is ride the band wagon while the film is hot! Nine could take this category but my money is on the Cameron team. Why I'm probably wrong, someone else has to win an award on March 7th, right?

Best Costume Design - My Selection = Nine. I picked the one with the prettiest women. Why I'm probably wrong - The Weinstein's distributed this film which means no one had a chance to see it!

Best Song - My Selection = Down in New Orleans. Reasoning? They will lose the Superbowl and the Academy will feel sorry for them and give them best song. Why I'm probably wrong - Randy Newman is 1 for 20! Need I say more?

Best Documentary
Best Documentary Short Subjects
Best Animated Short
Best Live Action Short

Who cares?

Plus my Mother reads this blog and we have a competition going and I can't give out all my selections.

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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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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

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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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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"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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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!

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;

COPY

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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Damn Yankees! (Part Deux)

Just following up on my latest rant about the Yankees and their ticket prices. The Steinbrenners have actually notified season ticket holders "....there will be sizeable refunds given back." Apparently, they are lowering the prices of some seats and refunds are due fans that have already paid. Perhaps now they'll start selling out. Of course, it always helps to start winning too!

At dinner last night, my wife mentioned that Baskin-Robbins was having a thirty-one cent scoop night. Thirty-one cents for a scoop of ice cream...how could I resist? A pistachio/almond butter pecan, and rocky road scoop later, I was noticing that the place was packed tighter than a large sugar cone. People were everywhere. I thought to myself, 'I guess they made us an offer we couldn't refuse'. I've got to think Baskin-Robbins didn't lose money on the deal and it had to remind people there's an ice cream store in the neighborhood.

Now, what can I do besides support all the stores that put their goodies on sale. Pricing IS everything. Americans want a bargain. They're tired of paying the rising costs and would like to pay less somewhere. Recently, I have been researching the pricing of film festivals. These 'All Access' passes are pretty expensive. Some go for as high as twelve hundred dollars for two weeks of movie going pleasure. Most were in the range of six to seven hundred for a week to ten days. I thought, "how can the average movie goer afford that?" They probably can't. Sooooooo, as Executive Director of CenFlo (www.CentralFloridaFilmFestival.com) I've come up with the "$99 Stimulus Ticket". Three days of screenings, seminars, poolside chats, a vendor lounge, and of course parties, food, and even some free beer. Everyone likes free beer, right?

Ninty-nine dollars will let the general public rub elbows with more than fifty filmmakers and other assorted industry professionals. I also came up with a movies only screening pass for $65. Good from 10am to 11pm for all Documentaries, shorts, features, mini features, and even some "Gay & Lesbian" special programming. Think of it, "The film festival movie watchers can afford! What a slogan! What an idea! Thanks Baskin-Robbins, I think I understand!

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