To celebrate our nomination and to give a new audience an opportunity to see the film, Prescreen and Unconventional Media have joined together to present the complete feature documentary online starting September 16 at the website for 60 days only. The buzz on Prescreen is great including a write up in the Wall Street Journal and we are honored to be part of their initial launch. Check it out if you are considering online distribution.
For the September 16 premiere, the film will be available for a discounted price of only $4, so please help us spread the word and use this opportunity to catch the film if you haven’t seen it because the next day it doubles in price.
The documentary film is an inside look into the culture of oil and oil barons, exploring the history of our dependency that has led to the energy crisis. Press includes a LINK TV interview with Director/Producer Nicole Torre, plus excellent reviews from the HUFFINGTON POST and CURRENT TV . My favorite still is the British Daily Motion discussing the film.
For a complete listing of film festivals and reviews, visit the film site.
While in New York City, I will also be attending as Head of Production for Lady of the Canyon, the Independent Feature Conference as well as the New York Television Festival for the premiere at the Tribeca Cinema of a 22 minute taste of our film, Finding Hope, starring Molly Quinn, Chris Mulkey, James Morrison, Richard Riehle, Christine Elise, Kristen Dalton, Andy Mackenzie, Ray Abruzzo, Darby Stanchfield, Jon Lindstrom and a whole bunch more incredible actors. Written and directed by Diane Namm, I produced. Facebook Fan site
The film is the story of 16-year old Esmee Johnson (Molly Quinn), a child bride, forced to marry at 13, who runs away from the isolated polygamist community in which she grew up. Esmee has to navigate through a world she never knew existed, and plunges into the seedy underbelly of New York City. Pursued by her husband, Rev. Ezra Dobbins (Chris Mulkey), sought by the FBI as a government witness, and fearful of the human traffickers with whom she originally seeks refuge, Esmee runs because it’s the only way she knows to stay alive. She becomes a teen fugitive in her quest for FINDING HOPE. We’ve completed the first half of the film, but now seek completion funding. The screenings are FREE, but you have to register online.
This has been a long creative journey for both writer/director Diane Namm and myself which she acknowledges in this short video, “Why Finding Hope”
The story started with Namm’s short award winning film, The Sacrifice, starring a then unknown Molly Quinn which can be watched online at the website. There is also a behind the scenes with Diane and myself on YouTube.
If you have any interest or questions regarding these projects or the slate of projects in development, please contact me. I’d love to hook up while in New York. Thank you.
I am honored to be the featured filmmaker and to present my short film TRAVELIN TRAINS, this Friday, 8pm, June 4, 2010 as part of the RAW: Natural Born Artists event at the great Hollywood screening venue, CINESPACE. RAW Artists is a multi-faceted arts organization showcasing handpicked artistic talents in the avenues of film, fashion, music, art, DJs, models, photography and performing arts. Each month there is a party event promoting the artists and their work. It’s an invite only, cocktail affair. If you want, you can order your tickets by following this link HERE.
They posted an interview with me on their site, but I wanted to take this opportunity to expand on some of those comments and offer direct links below.
Q- Tell us about yourself.
I’m a Filmmaker that’s been based in Los Angeles since 1994. Before that I lived and worked in Atlanta for 10 years. I was born in New England. I went to Emerson College.
Q- How did you first get started in film?
I started making Super 8 films when I was 10 years old. Lots of three minute in camera editing. I loved going to movies and would emulate the stories with my friends that we saw at the theater. Recently, I’ve reconnected with some of them on Facebook and it’s been fun to share these films from our youth. When I was in college I started shooting in 16mm and video. Haven’t stopped since.
Q- Tell us about TRAVELIN’ TRAINS
TRAVELIN’ TRAINS is a short 16mm black and white film I made a few years back (well, actually more then a few) about a young man in search of his father in depression-era Georgia and the blues music that both joins and separates them. We shot it in Atlanta, grant supported. Most of the script was written in a local Atlanta blues club, “Blind Willies.” I’m excited that people are going to get to see the film on a bigger screen, because these days it is mostly watched on DVD. I think it is the best example of my work as a filmmaker because unlike other projects I’ve done that have producers, actors, clients involved, all the decisions, both good and bad, were my own. I take full responsibility.
Here’s a youtube link to the Trailer for TRAVELIN’ TRAINS
And here’s a link to “Freight Train Blues” scene from the film.
Q- Any other films you’ve produced?
I now work professionally as a producer and director after more than twenty years as an Assistant Director for film and television. Not to say I wouldn’t AD again, if the right project financially came along. I still love to AD commercials, but you do a couple of long term projects and you fall out of the loop quickly.
TALES FROM THE CATHOLIC CHURCH OF ELVIS continues its award winning film festival run recently winning Best Microbudget Feature Film at The Cannes Independent Film Festival in May. I produced this “shocking” true tale of a Catholic school girl in Las Vegas! Part “Canterbury Tales” meets “PeeWee’s Playhouse,” writer, co-director and lead actress Mercy Malick narrates, as a communal theater experience leeps off the stage and onto the streets of the City of Sin.
Q- From where do you draw inspiration for your work?
I’m drawn to music projects. Music is a huge inspiration. I can’t play so maybe that’s why I love music so much, some of my best ideas happen when I’m at concerts. I also like travel, history and true stories. For some reason, I have never been interested in love stories.
Q- From start to finish, explain your process; what does a typical film-making day look like for you?
If I’m not working for someone else or shooting a project, then the ideal day starts with emails and reading web updates on Twitter. Lots of good leads and information so I have to watch out that I don’t get sucked in and spoil the whole day riding the internet highway. So, next thing I do is take a walk for an hour, listen to music, to clear my head for some writing. It can be writing a screenplay or writing a one-sheet pitch. Sometimes instead of writing, I’m editing a project. Sometimes I’m editing stuff I shot years ago. I’m convinced that something that you put aside at one point is the focus of your interest another time. Your old films are your assets. I’ve got lots of plans for my old footage.
In the evening, I like to have a glass of wine and read the newspaper. If the news doesn’t get me too angry, I check emails again, but sometimes I get lost on the internet trying to get more information. I don’t trust just one news source anymore. I’ve got to know the WHOLE story. At night, I either catch some live music or watch a movie or show on television. I’ve got a big pile of books that I want to read by my bed, but rarely get there early enough to get in some good quality reading. If I do, then I consider that to be an exceptional day.
Q- All time favorite film?
MODERN TIMES – Charlie Chaplin
Q- Are there any filmmakers–past or present–who strongly inform and influence your work?
There are many filmmakers that have influenced my work, but I’m most attracted to the filmmakers that try different styles, take some risks with different genres, sometimes successfully, other times not as much. I think a filmmaker is limiting themselves as an artist if they keep doing the same style over and over again. Stanley Kubrick, John Huston are good examples of directors that did different kinds of films. I think Clint Eastwood is proving to be a pretty diverse filmmaker.
Q- Are there any specific reoccurring themes or subjects that you explore and deal with most in your work?
Not really. As stated above I like diversity.
Q- Any previous films/collaborations that you are most proud of?
In 1999/2000, I co-produced with director/producer David Zeiger, the 13 part documentary series for PBS,SENIOR YEAR. We are about to release it on DVD and it’s amazing how after 10 years so many of these issues are still the issues of High School kids. It feels very contemporary. I wish more people had seen it and I hope with the DVD release they will. It was a pretty amazing series. We introduced a lot of cinema verite techniques, like diary cams, time lapse, that you see on most reality series now.
David is also talking about releasing on DVD the documentary we both produced and directed in 1995, DISPLACED IN THE NEW SOUTH. The film explores the cultural collision between Asian and Hispanic immigrants and the suburban communities near Atlanta where they settled. It was the inspiration for the Indigo Girls song, “Shame on You.” You can see clips from our film in the music video. The interesting thing is the documentary covered issues still being debated in Arizona and the rest of the country.
That’s what I mean when I talk about filmmakers keeping their assets, their films. You never know when an interest will come again, look at TRAVELIN’ TRAINS.
Q- Why showcase with RAW?
Any opportunity to show some of your work on a big screen to a new audience is exciting. I’m honored to be a part of a show at a great venue with a group of artists I didn’t know before.
Q- Any current rising stars within the genre that you would recommend we look out for?
So many of the projects I’ve been involved with as a Producer lately have had limited funds. I wouldn’t make the commitment to help the Directors if I didn’t believe they were rising stars. I’m honored to have been able to help facilitate the directing visions of Mercy Malick, Diane Namm, David Zeiger, Nicole Torre, Stefan Rhys, Joseph Hodges, BrandU
But I should add, I still consider myself a rising star. I’d still like to direct a feature film. I’ve been trying to find financing for my narrative film, PRESS>PLAY and a couple of times we’ve almost had the money in place. In 2006, I was supposed to direct another feature. We had a cast and location and everything, but at the last minute, the money went dry. I’ve been developing a documentary film on Arborglyphs since 1992 with visual artist/musician Sandy Corley, entitled WITNESS TREES. Now that 3D programming for television is becoming a reality, there is renewed interest. So you never know where it’s going to come from. Just keep working on the projects that inspire you. I guess that’s the “artist” part of me. Thanks for having me.
I am honored and excited to announce that the feature documentary that I produced with director Nicole Torre, “Houston We Have a Problem” has been invited to the Documentary Fortnight at the Museum of Modern Art in New York City. This is a high profile event, so we hope to have a good crowd for both the 1pm and 3pm showings on February 20th, 2010.
For those of you that don’t know, “Houston We Have a Problem” is a feature film, shot on HD, about the history and future of US domestic energy policies beginning with the Wildcatter’s discovery of oil in the late 1800’s. The film premiered at AFI-DALLAS in March 2009 and has gone on to play at over a dozen festivals to critical acclaim, nationally and internationally, including the International Documentary Festival in Amsterdam.
That following day, February 21st, the feature comedy that I produced, “Tales from the Catholic Church of Elvis” will be in competition at the Big Muddy Film Festival in Southern Illinois. I’m glad to have the film playing there since this is the very same film festival that I won my very first film award 22 years ago for “Travelin’ Trains” (Best Narrative Film) That film can now be viewed on IMDB.
I’m also excited to announce the world premiere in March of another comedy I produced, directed by Diane Namm, “Telemafia” at the Dingle Film Festival in Ireland.
In regard to upcoming projects, I am reviewing a few proposals, but like for most of us, funding is tight. I’m still trying to get my documentary feature “Witness Trees” and narrative feature “Press>Play” financed, but am also producing/line producing and Assistant Directing for other production companies again. I have also partnered with Jeff Seckendorf for commerical productions at Snaproll Films. Check out the body of work at the website.
I also continue mentoring new filmmakers with the OneOnOne Film Training program and have been scheduled to teach another one of my week long workshops on Line Producing/PM/AD work in Rockport, Maine at the Maine Media Workshops in late June.
Looking forward to a productive 2010. As always, you can get updates at my website, EricMofford.com
As a follow up to my previous blog on mentoring, I had the privilege yesterday of attending a director’s retreat sponsored by the DGA. The subject was the best tools for directing actors in feature films and television. It was a wealth of information that I’ll only be able to touch on here.
I came into the retreat with more experience then some from my theater directing background (I’m still a directing member with Theatre Neo) and having read Judith Weston‘s wonderful book “Directing Actors” and Sidney Lumet’s important book, “Making Movies.” Both books were mentioned more then once. I’ve never taken any of Weston’s workshops but have worked with director’s that have gone through her course and met her a few times at the International Film and Video Workshops (now Maine Media Workshops). I can’t recommend it enough.
Director John Badham (Saturday Night Fever, War Games), opened with a keynote address promoting his new book, “I’ll be in My Trailer.” Badham, now directing episodic television, has been in the business for over 35 years. He outlined five common mistakes director’s make that the other director’s (Neil LaBute, Kimberly Pierce, Jamie Babbit, David O. Russell, Jeremy Kagan, and Gordon and Helen Hunt) reiterated in the panel discussions. First mistake, especially common in television is the “anonymous” director. They all discussed the importance of introducing yourself to the actors, especially the nervous Day players. Many directors get caught up in the technical and get flustered when the actors appear on the set with their own ideas. Rehearsal is the most important thing and time with the actors must be scheduled into a production. Television is harder because of time, but even a read through will help the director and actor’s relationship. Come in early and go to the trailers while the actor is getting make up, introduce yourself, address their concerns before you go to the set at call time.
All the directors found it better for the production if they had enough rehearsal time. Neil LaBute discussed respecting the actor’s process, no matter how crazy it seems. Casting is so important especially with short rehearsal times, but if an actor is forced on you because of financing, you’ve got to research what that actor is capable of doing, rethink how you’ll approach the project. At least, get a lunch meeting before you meet on the set. Some actors know the camera, understand lenses. They can deliver their performance in a few takes, others only really deliver after many takes. The more you know about the actors personalities and previous work, the better you can plan your schedule, shooting the coverage of the actors based on their strongest ability to deliver.
The second mistake is hiding behind video monitors and yelling out direction or saying “nothing,” which is even worse. Now, I’ve worked on a few feature films with directors like this and it never fails that the end product suffers. If nothing else, say “great” after “cut.” “More energy” is not good direction. Action verbs that mean the same thing but at different degrees works much better then “Make it bigger” or “Make it smaller.” Directors need to be by the actors. Kimberly Pierce wears a small video monitor around her neck, so that she can do both. Helen Hunt felt a little distance is good for sex scenes, certainly a limited crew around the actors. All the directors hate the “village of idiots” that gather around a video monitor.
Both David O. Russell and Neil LaBute are doing their next film on digital so that they can just keep rolling, let their actors play, but Helen Hunt has been on a couple of digital features and finds them “too loose, not enough focus.” Kimberly Pierce likes the ability to do more takes by changing the film lens and asking for the actor to give a different performance. She sees no use in having the same take over and over again. All agreed that having a second camera (B camera) will save you in the editing room.
Another big mistake is the director wanting to be the nice guy and never creating his or her authority. Discipline actors that haven’t done their homework or learned their lines. Failure is OK, but not reading the script is not. It’s also useless to explain the scene to the actor, they can read that in the script. They need to understand what their character wants in the scene and why? But don’t give them the answer, they need to own the reason, then they can bring it to their performance. Notes are important to the actor, but give it to them privately, a secret note, not a public shout out.
What if the actor doesn’t do what you want them to do, for the blocking of the scene or the line reading you expect. It’s a big mistake to just tell the actor where to go, you need to help them find it out on their own. Another big reason for the rehearsal process. Gordon Hunt, Helen Hunt’s father and a long time television and theater director, including numerous episodes of “Mad about You,” suggests using the term, “how about” when prompting actors to try a blocking idea. If the actor states that his character wouldn’t do that, then ask what his character would do, most of the time it isn’t the action, but a word that bothers the actor. Hunt also revealed his secret to getting a line reading. On the next take, if you are the director, you yell out to begin the next take at the particular line you want corrected and you give the exact line reading you desire. It’s worked for him almost every time for close to fifty years.
The fifth mistake is saying “No.” You need to help the actor get out of their personal polite space. If an actor has an idea, let them discover it doesn’t work on their own. I certainly have discovered this technique in many of my theater productions. Actors have come in with some strange concept or prop and usually discover if it isn’t working. On the other hand, they sometimes added a richness to the character that I didn’t think about before. Be open. “We will do it” is better then “you will do it”. Also, realize that if an actor has a problem with his or her wardrobe, don’t ignore it because usually it has nothing to do with wardrobe and everything to do with the character they are portraying. That’s an issue that needs to be resolved immediately.
Helen Hunt added much to the day because of her experiences from both in front and behind the camera. In her view, all directors should take acting classes to understand the actor’s point of reference. I agree and certainly find myself falling back on those Emerson College acting courses to guide my directing work. Neil LaBute started as a student actor and many of his best films have been done working with actors like Aaron Eckhart that he has known since those days. One of my favorite times directing was when I made the web series, “Unconventional,” because I pulled about fifteen actors that I had worked with in the theater, here in Los Angeles, and we created these characters based on my notes and the actors ideas. There was no script, it was just me, a camera and the actors. It was exhilarating and fun. It’s the reason I got into this business in the first place. It was nice to be reminded. To quote director Martha Coolidge, “the most important role of a director is to work with actors.”
It’s a lot of time and energy to keep up your profile on Facebook, MySpace, Twitter, Linkedin, Ning sites and dozens of other social networking sites. However, if you’re trying to make a living in the creative arts, be it an independent filmmaker, musician, artist, then you’ve got to look at it as part of the job.
Here’s just one recent example with my short film “Travelin’ Trains.” A few weeks back I notice Greg Sarni has become a Facebook friend with my sister Lindsay Mofford. Now I remember Greg, not well, but I remember drinking beer and hanging out with him at Emerson College. We reconnect, become online friends. On his Facebook site are photographs and notes about his days running the Boston Blues Festival. I mention “Travelin’ Trains,” my short blues film about a boy in search of his father in the Depression-era South. It’s full of traditional, acoustic blues. He wants to see it, especially because one of the stars is Chicago Bob Nelson. A few years back, Bob collected the Blues Trust Lifetime Achievement Award. Greg is a fan of his music and makes mention of the prize and film in his online newsletter, Blues Trust. He also adds the Cacchi link where you can see my film for free. The film gets a jump in views including a recommendation on Twitter by the famous Ash Grove bar in Los Angeles. I see the text and Twitter back that we need to do a documentary on the history of one of the most important folk clubs in the country. Discussions and developments begin. Thanks Greg.
Do you see where I’m going with all this? At Unconventional South in Nashville, we are constantly talking to an incredible roster of talented musicians who know that the old ways of creating an audience no longer apply. Brian Adams knows this and is developing the network television series “Stone Cold Sober in Music City” with an online home base. You can read more about that venture in a previous blog. We’ve also been exploring that with Billy Falcon, his daughter Rose Falcon and The Sowing Circle on Ustream. A wonderful write up at indiemusictech.com covers what a musician has to do these days to get their music heard. It was also a big issue of discussion at the SXSW music conference as referenced in Wired magazine.
Mashable.com is a wealth of information of guidelines, with success and failure stories of what works for artists and entrepreneurs. The write up about Ning job networks and entrepreneur networks are two of my favorite resources. How do I know when there is a new article? I follow them on Twitter. When a new story is online, they’ll put a link on Twitter. I can access it if I’m interested. This process is exactly the same for all us artists. You release a new song, photograph, film, art show and let people know it is there. The fans decide if they want to access it or not. They hear or see it and your network spreads the word. If they’re not spreading the word then something isn’t grabbing their attention.
Now everyone has their own set of rules of what and how they want to communicate via the web. I use MySpace mostly for listening to new bands and keeping track of gigs via bulletins. I reserve Facebook for my actual friends, mainly because I’ve got some friends on there that I’ve known since Junior High School. I’d rather not share those old stories with someone I just met at a networking event. In those cases, I stay linked to the business contacts, new and old, via LinkedIn. And for me, Twitter is all about the RSS feed. I’m following you because either I like what you have to say, play, write or communicate. If you’ve got a suggestion, I want the link. I hope those that follow me feel the same way about my “tweets.”
Now I know there are dozens of other social networks including “Ning” sites like my Brother-in-Laws site, All Hands on Board, which can be very specialized. I just don’t feel like I need to be on all of them. It might look like some sort of desperate need to be noticed. You see, there is a fine line and only you can decide what is needed to get the word out and what is too much. We each make our own rules and that, my online friend, has got to be one of the greatest things about social networks.
It was reported last week in the trades that Michel Gondry had been hired by Sony Pictures to direct the feature “Green Hornet” starring Seth Rogen. Between Rogen and Gondry, I’ve got a feeling this won’t be your usual Superhero comic book movie. I’m interested in what Michel Gondry does with the material, I’ll tell you why.
Many, many years ago, I worked as the 1st AD for Gondry on a Sheryl Crow music video, “A Change Would Do You Good.” At the time I was doing a lot of big budget music videos, usually for the production company, Propaganda Films. This was my first with Gondry, although he already had a great reputation for making interesting, artistic videos, especially for Bjork.
The concept for “Change” was that Sheryl Crow was a “Bewitch”-like character, shaking up the lives of people, give them a chance to step into someone else’s shoes before returning to reflect on their own life. Big concept for a three minute song, especially when you start including an all star cast. Of course, at they time, most of them, other then Ellen Degeneres, were hardly known. Heather Matarazzo had just been discovered in “Welcome to the Dollhouse.” Molly Shannon had only a few seasons of Saturday Night Live under her belt. Jeff Garlin had not yet co-starred with Larry David in “Curb Your Enthusiasm.” Years later I had the opportunity to work with Mary Lynn Rajskub as Chloe O’Brian on a few seasons of “24” and with Andy Dick on a whole series of comedy shorts for the MTV Movie Awards, but at this time, they were basically “unknowns.” BTW, most of those short films are up on YouTube.
It was a difficult shoot, coordinating everyone’s schedules around the various stage sets and their other gigs. Michel, who is originally from Versailles, France (and was still struggling with English), was having a hard time communicating his vision or I was having a hard time understanding, which slowed things down. I think, for me, the highlight was when Sheryl came to the set and for whatever reason felt I had adjusted the schedule to accommodate her, so she gave me a big, wet kiss, which I’ll never forget. I liked her instantly!
Now before I get lost in sentimental memories, the reason I’m writing is because of Michel and his desire to direct a feature film. This was way before “Human Nature” and “Eternal Sunshine of the Spotless Mind.” He wanted to direct a feature film and at the time, the one he wanted to direct was “Green Hornet.” It was a different script, but based on the same comic book. Any time he wasn’t working on prep for the music video, he was meeting with his assistant, breaking down ideas and storyboarding his vision of the “Green Hornet.” I wonder how many of those ideas from over ten years ago will find their way to the upcoming production? I guess things really do come around if you want them bad enough.
I think about these things and relate them to my own life, my own projects. I believe everyone has their own projects that at different times get put on the back burner. I have my directing projects like “Press>Play” that I’ve tried to launch for almost as long, or in the case of “Witness Trees” even longer. I get frustrated when it isn’t moving forward, but just like Michel Gondry, I’ve taken other great projects offered to me to keep the creative juices productive and to bring in some finances. It’s nice to know that sometimes the pet projects return, even bigger and better then you ever dreamed, even if they now star Seth Rogen. Either way, a change has done me good, looks like some great stuff is brewing for Unconventional Media, even though it’s not originally mine. At least I’ll always have Sheryl’s kiss.
The music/reality television pilot “Stone Cold Sober…In Music City” is picking up steam and it looks like we’re headed into production later this Spring. I’m excited because this is a project I’ve really wanted see get off the ground ever since Michael Catalano introduced me to Brian Adams and Jared Blake over six months ago. In fact, it was my trip to Nashville to meet these guys and the band, The Levees, last summer that I decided to open Unconventional South. I’ve always loved the music energy of Nashville, ever since I was working there doing music videos with Think Pictures (Martin Kahan and Venetia Mayhew) in the late ’80s and early ’90s. I’m glad to be back.
Check out the Stone Cold Sober Music website and you’ll hear what an amazing roster of musicians creator Brian Adams has gathered for this series. Anyone that has seen my film “Travelin’ Trains” knows my love of Americana roots music and with this show, we plan on delivering not only the music, but the stories of the struggles to get the music heard. When talking about “Stone Cold,” I keep referring to documentarian James Szalapski’s late 70’s film, “Heartworn Highways,” which followed artists like Guy Clark, Townes Van Zandt, Rodney Crowell, Steve Young and Steve Earle before any of these guys were household names. They’re all so young, sitting around the living rooms and small studios, smoking cigarettes and drinking, playing music and espousing the importance of the back-to-basics movement in Country. This is intercut with performances by the Charlie Daniels Band and David Allan Coe in sparkly outfits. I think of “Stone Cold Sober…In Music City” as a retelling, but now it’s thirty years later. The show will touch on all the dramatic aspects of a musician’s life— including the secrets, challenges, competitiveness, successes and failures. The struggle to get your music heard has not changed, only the musicians.
Brian Adams has been the catalyst in keeping the momentum of this project moving forward. Unlike so many good ideas that fall away without a champion, Brian has lead the charge and continues to ignite interest in the possibilities of the show. Adams comes from a financial background and has always specialized in managing projects from the development stages, but I’ve worked with many that call themselves “producers” and I truly believe Brian has found his calling.
Brian recently brought on Jennifer Rachidi, Owner and Brand Developer for TRUST, to provide promotion and branding. The plan now is to line up shows throughout the Southeastern United States for Spring 2009. The reality tour series targets a wide range of venues, sponsors, and fans. As Brian said in the Press Release, “I felt drawn to expose the public and fans to the secrets and developments of a singer/songwriter on their way to a star career. It’s the untold and unseen sides of a performer that will be exposed.” Audiences will be able to watch clips and interviews via online streaming, adding comments and ideas, during this phase of the production. Public involvement at this stage will be the key to the success of the completed show. Check out the MySpace site to hear the music and become a Friend. It’s going to be a wild ride.
The Sundance Film Festival of 2009 wraps up this weekend. I almost went this year. I even purchased a festival pass, but after watching the Inauguration Tuesday on television, I don’t think Park City, Utah was the place to be this week! Of course, I didn’t know that last month when I changed my plans to attend the festival. Family and work commitments forced me to pay out the 20% cancellation fee.
I will admit, I was also a little disappointed that none of the three films I produced were accepted this year into the festival. Yes, I did fantasize about walking the slope of Main Street with three Sundance Premieres. I suspected the quirky, very funny, but very low budget, DVD indie feature “Tales from the Catholic Church of Elvis” written, co-directed and starring Mercy Malick was not really the kind of film the Festival schedules anymore, especially when it’s still a work in progress. And we did receive a wonderfully supportive letter for the uncompleted documentary, “Houston, We Have a Problem” that I’m producing with Producer/Director Nicole Torre. The film is about the oil crisis from the independent oilman’s perspective and their exploration into alternative sources of energy. Sundance’s loss, the issue is too important for us to wait a full year to resubmit. The big surprise for me was that the terrific short film “The Sacrifice,” written and directed by Diane Namm and starring Chris Mulkey, Darby Stanchfield, Jon Lindstrom and Molly Quinn, didn’t get in. It’s “Big Love” gone bad. Maybe the issues of incest and polygamy were too close to home.
Of course, I’ve never really had great luck with Sundance, even back when it was the USA Film Festival in the mid-80’s. It was one of the few festival’s that rejected “Travelin’ Trains.” I’ve entered my script “Press>Play” a few times, both for the Screenplay lab and the Producing lab, never being accepted. We’ve had a little more positive feedback for the project “Witness Trees,” but mostly because of the involvement of American Indian visual artist/musician Sandy Corley.
I know this reads like I’m very jaded about Sundance, but I’ve always believed in their mentoring philosophy. What I find the most exciting these last few years is how they’ve embraced new media to communicate and educate. You really no longer have to go to Sundance to enjoy the festival. The homepage has videos and audio podcasts each day from Park City. They’ve now added on Itunes short festival films and podcasts of panel discussions. It’s a great resource for anyone that is considering making an independent film, in fact these days, (since hardly anyone is buying films any more), it might be the best part of Sundance.
The Sundance Festival website now has a section entitled, “Storytime,” for people to write memories of past festivals. Fascinating, to see how things have changed through the years. I’ve got my own memories, some very good. My first time at the festival was in 1989 for just one day to see the screening of “Daughters of the Dust” directed by Julie Dash. We had all worked very hard, for little money, on that film and really wanted to see how audiences would react. I was the Location Manager and was extremely proud that the film won Best Cinematography that year. In January 1993, I bought a pass to the festival for the first half, but stayed for the full 10 days. I had been involved in the very early stages of prep for Victor Nunez‘s film “Ruby in Paradise,” produced by my friend and “Travelin’ Train” producer Keith Crofford. When the buzz started to build for the film and I had the opportunity to escort a beautiful, young actress named Ashley Judd to screenings, I decided to stay. A wonderful week of films capped by “Ruby” winning the Grand Jury Dramatic award. I had such a great time that I went the following year with unpleasant results. I had no pass, was just another filmmaker looking for attention, couldn’t get into any parties and froze my ass off.
I avoided the festival for over 10 years, partly because I moved to Los Angeles and didn’t see why I needed to go to Park City to make contacts. In 2005, I had some cash and decided to go just for fun. Things certainly had changed. More venues, more people, more advertising and more traffic. I shared a condo with DP Marty Ollstein, caught dozens of movies, sometimes 5 in one day, (I’ve since decided 4 is my limit). Heard a great debate between Werner Herzog and Frederick Wiseman on the definition of “Cinema Verite”. Saw people I kept promising to meet up with in Los Angeles, saw some old New York friends and made many new ones. Saw an amazing concert by Yo La Tango. I even went snowboarding. My one and only time. Even on the Park City powder, I feel that throwing myself up and landing directly on my back, on concrete, would be more pleasant.
This year, I’m there virtually, checking out the resources available online, catching some short films and staying warm. For Unconventional Media, maybe that makes more sense.
Can computer animation really compete with the big screen? Yes. Gaming giant Electronic Arts (EA) and Unconventional Media have combined to pull cinema into the gaming fast lane via EA’s successful street-racing franchise, Need for Speed.
“I believe it’s the next level in game play,” states Eric Mofford, producer and founder of Unconventional Media, a Southern California cross-over film and new media company. “Gamers will have a real cinema-like experience with the upcoming release of EA’s Need for Speed: Undercover.”
Mofford, a film and TV professional, was initially approached by “24” colleague, director and production designer Joseph Hodges, to produce the cinematic portions for the game. “I was quite pleased to get the call. EA was looking for that same sort of visual style and immersive narrative that we bring to “24,” but the bigger creative challenge for us would be to develop something that was seamless with the game’s look, and keep it fresh,” explains Hodges. Mofford adds, “We focused on getting the most filmic look we could from digital cinema. What we ended up with were real sets, a huge lighting package, and the RED ONE.”
“I think the most important job for a Producer is to assemble the best team possible for the production,” says Mofford “especially with a first time cross-media endeavor.” Mofford brought on board long-time colleague, Director of Photography Jeffrey Seckendorf, who was enthusiastic about the prospects of shooting with the RED. “We knew EA needed a digital delivery and they wanted high definition. And shooting raw with the RED ONE, we were able to deliver 4k dpx files along with color corrected masters, allowing EA to work at a much higher resolution level than in its previous games,” explains Seckendorf. The result is a hot look for Need for Speed: Undercover that is virtually indistinguishable from a large-budget feature film.
“We’re excited about exploring this creative melding of gaming and the Hollywood experience. No one knows yet how far cinema in gaming can go!” Mofford concludes. Wherever that road takes Unconventional Media, you can bet the end-product will be anything but conventional.
Earlier this year I started my own production company Unconventional Media, LLC. I was very lucky that Director/Production Designer Joseph Hodges from “24” ask me to produce the Electronic Arts (EA) video game, “Need for Speed:Undercover“. I produced all the Live Action segments, the car racing stuff is all animation. The first trailers for “Need for Speed:Undercover” are out. Be forewarned you’ll need the most recent version of Flash.
Anyway, I’m discovering this to be a rapidly growing business. I’m excited to take all my years of filmmaking and production and use it for this new media. Returned from the Virtual World Expo last week with even more information about the future of media. So I thought I’d start this blog to pass along the things I’ve discovered and the they relate to the skills and production things I already know. Hey, it may even prove to be helpful to someone. Who knows?
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