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PRODUCTION CHECK LISTS...A MUST!
Article #67 Published 5/08
Many productions ago while opening the Disney Studios, Orlando. We had a shoot for the Disney Channel, with the late and very talented (nice guy) Roddy McDowall as the host. The talent (Roddy) walked down one side of the street, turned the corner and started his monologue. This 35mm shoot, laced with a dolly, Steadicam, 22 foot Jib, 180 feet of track, lighting instruments everywhere, distro-boxes, flags, two genies and some very good crew members made up the production. All audio had to be hard wired because of RF interference in the park. The dolly, track, lights, distro-boxes etc. were staged in a grassy area with a short fence around the perimeter. The steadicam in front of Roddy, tracked his walk with the audio boom operator following close. The dolly went into its move as a cover shot and we all held our breath as this long shot seemed flawless.
In a perfect world this would have been the "keeper", but one element somehow was never checked off the list or even put on the list. When setting up the shoot, personnel were given the assignment to make sure all elements for the production were double checked. The Producer was focused on the script, everyone seemed to be doing there jobs. What wasn't thought of, was a common element when shooting on grass...the sprinkler system! Yes, no one told maintenance to shut off the timers and the sprinklers blasted on! When the system came on, it was like a well orchestrated scene from the "Keystone Cops". Lights were blowing, glass shattering, people diving for cover, sparks were flying out of the distro-boxes like fireworks, the camera was soaked, what a mess to say the least.
An issue as simple as this, ended up costing an enormous amount of non-budgeted funds and the poor client assumed the liability. If a comprehensive check list was made available in the beginning this minor disaster could have been avoided. Keep in mind...whatever you do regarding a production, the "bible" MUST have a detailed check list attached. In spite of some "egos" I've met along the way, I still haven't met anyone (including myself) that can remember each detailed element of a production. The production manual (bible) becomes as important as the production (may be even more).
Oh...you're wondering what happened to the gear? Everything had to be replaced, the camera was swapped out for a new one, the wet one had to be stripped down, re-lubed and was out of rental for 3 weeks. All the lighting was trashed and the rest of the gear was wiped down. The production lost critical time, thus, having to re-scheduling another day, because we lost natural day light...just because of a little list. Of course, the other side of this story... you can have a list, but make sure you look at it!
And that's The Reel Story!
RAIN or SHINE...THE SHOW MUST GO ON
Article #66 Published 3/08
Recently, during the "Oscar's", Hollywood weather did not live up to the songs and marketing hype "...it never rains in southern California...". Truth be told, the weather sucked! Wet, cold and damp with no hint of sunshine...that was Hollywood.
This type of weather plays havoc with any event or production, talk about a non-budgeted expense! Weather, can put a real damper on any good production. A scheduled exterior day takes us away from a "controlled" shoot or studio and becomes a budgeting gamble. If you're in an area or during a season that weather can turn from great to gloom, a plan must be pre-designed as though it was another shoot. Weather, will impact almost every phase of your production, so be prepared.
I had the best training ever while working with Disney on their events and productions. It seemed inevitable, if an event was planned, so was rain. We would have pallets of umbrellas...a "soft hold" on yards of tents and Disney ponchos seemed to be everywhere. All cables and connectors had to be waterproofed, spare rain bags to cover cameras and lets not even talk about lights. Locations and "Live Sites" had back up areas, "just in case...". Costumes and characters could all fall victims to the weather.
On film shoots, if the script doesn't call for rain, winds or whatever the element, you have a few choices: 1. Switch the exterior shoot to a stage day 2. Bypass the elements and include it into the script (deal with it) 3. Or cancel and you'll be guaranteed a meeting with the "suits" to explain the loss of thousands of $$$$!
So, a good producer along with the production team plans...plans, then, budgets those plans. The comment that "production can be costly" is an under statement when you go head-to-head with the weather. No matter if the "gods" shine on you or mother nature decides to open the heavens, a production is left with little choice, because the "Show Must Go On"...and that's THE REEL STORY!
CHING CHING
Article #65 Published 1/08
When audiences go to the movies these days they expect more screen entertainment than ever and they deserve it. With the cost of a movie ticket on the raise, they need as much as the production industry can deliver without costly budgets.
An interesting article came out from this years Sundance Film Festival, it reported that the first 15 pictures screened either had the main actor getting killed, murdering someone, blown up, depressed on drugs or some obscure genre. The article went on to describe how puzzled film buyers were with such a negative line up. The old saying is that films are a "mirror of society" put a bit of fear in me or are we just in bad shape, if that's the best new filmmakers are coming up with.
From behind the scenes, its less costly to produce a picture when the creator has some limited street scenes, a lot of the shots from one location and stays within the same interior. Other factors play a role, with the level of equipment or tools used and formats. Sure, it helps the wallet, but what about the audiences? The days of Felinni are in the history books. If you scroll the titles on your pay channels you'll find more death, depression, tragedies than wholesome family, comedies and good healthy movies you can come away with a smile or warm and fuzzy feelings.
Audiences complain, but trust me, Hollywood doesn't listen and does what it wants...not what you pay for. I believe in giving the audiences something for their money. Creating moods, thinking like the person sitting in that theater seat. Did you come in to be entertained...to forget reality...to go on a "mine" journey, or for a good story line? I think all of the above.
As I get ready to shoot our first big film independently, I continually read over the script and try to see my audience, from their seats. What is the reaction of my audience, do I need to bring them up and let them down slowly, make them laugh, sing or maybe shed a tear.
I guess the teaching of "old school" has stuck with me in these modern times. So, when we finally appear on the big screen, I intend to have my vision make that ticket worth every dime, because I know without wonderful audiences, good stories and a touch of my magic, its just another filler at the cinema. And that's...the REEL STORY!
MPC 2008 PLANS
Article #64 Published 12/07
On midnight December 31st, most people toast the end of an old year and the beginning of a new journey. As our company implements new plans and directions, 2008 not only looks interesting, but a very profitable year overall.
We'll start the year with finishing touches on the "TAKE MY HAND" theatrical feature film project. As we get ready to [finally] shoot the first frames of an exciting and challenging motion picture, our daily schedule is packed with hours of final preparation. We've built relationships with new thinking progressive investment groups that understand our goals and have designed an aggressive financial support mechanism enabling to grow with our master plan.
In January, I'll be attending CES and NATPE, focusing on production tools while completing our obligations with TV programming. The new year will implement a phasing out of Television Distribution and sales. Negotiations with distribution companies to represent our products are ongoing which makes good business and increase our bottom line. MPC and our divisions will be focusing on what the company is known for "Quality Productions".
February and March gets us to the sound stage, where we plan a 3 month production on a 12 year project. March, April and May are dedicated to the production and completion of principal photography on "TAKE MY HAND". Once TMH is in editing, we begin the production of "LEROY'S CHRISTMAS" the story inspired by a little boys wish to Santa. The creative team will be working on completing the development of three other projects. Our staff will grow as will the projects we're developing.
MPC continues to move forward with a 100 million dollar potential worth of quality family entertainment projects. The road to success will present some bumps, but the companies 23 years of experience and exceptional creative team is ready to handle any challenge that presents itself.
So, as we raise a glass welcoming the new year, our goals are clear to make 2008 a year of creative reality and that's THE REEL STORY. HAPPY NEW YEAR!
Hollywood Talks Green...Does Anything Change?
Article #63 Published 10/07
During the last few months we've heard the buzzword "GREEN" over TV, in print and of course those politicians that go with whatever the "thing" is for the moment. For those living underground or in Hollywood, that means environmentally safe!
I'm not professing to be a scientist, expert on the ecology or all knowledgeable on facts, but this scares "evil" right out of me. In fact, I stopped watching Discovery HD because it nearly depressed me on what could happen to our children's, children! The information presented to the masses recently has been pretty scary when you think of our earth and what changes are taking place. I don't think its all from humans...although, lets face it we sure have contributed. What really gets under my skin is what people say and do, as the American Indians said in those '50's westerns; "white man speak with fork tongue" and sadly that's true in Hollywood.
They're major production studios and producers just not grasping the bigger picture. One of the issues is high def replacing film. I started out in film and truly believe the pictures are great...hands down on 65 mm. The look can be romantic, warm and marketable. But, the reality sinks in after a movie is shot. When a film goes to processing, the chemicals used to bring each frame to life are harsh on our water systems. There isn't a town in the United States that would issue a new permit to a processing house. The older companies are grand-fathered in, until the format goes away completely or they figure out some other way to process a print without the harsh chemicals and disposing of it, we need to support HD and the new Digital Cinema.
Another issue plaguing our industry for 80 plus years, is with equipment used on a set. Lead is continually used to counter balance jib and crane arms. For anyone who's been around the sets grips handle lead all day long and I always said..."you can't make a grip wear gloves". The lead in weights absorbs into their body and stays, the navy found that out in WWII. I hate to tell you the truth about those old truck cranes everyone loves to roll on a set with its 900-1200 pounds of liquid mercury. Well, I will anyway.
It was brought to my attention while driving in Burbank the other day, traffic was stopped because of an old Apollo truck crane was blocking the street. The amount of liquid mercury and lead in that unit would make any tree huger hang themselves. But, because the family who rents he units are an institution in this town and has a untold reputation of bullying productions to use their gear, Hollywood still rents the "death machines". At one time the technology was the only thing known. But as the world got smarter the company did nothing to change the system, however, they did attempt to sue others that engineered a better "mousetrap".
Now you ask...how do I know that...well, proudly, MPC tried to go "green" in 1995. We paid out over $300,000.00 of our own money developing a mobile motion picture camera crane that met environment specifications and eliminated the use of liquid mercury and the handling of exposed lead. It kept grips safe and protected the environment. Of course, the "family" attempted to stop us with a $125,000.00 frivolous law suit which went away as fast as it was presented. The bottom line goes farther than Hollywood. When I approached Washington, some listened politely, others laugh as though it was no threat. By the way, his was during Al Gores watch.
Well folks, it is a major threat to our soil and to our body. I brought our environmentally safe crane back from the east coast to LA where the only company that would support the system was MPC. The system is better than anything out there in its class, its the road bumps don't seem to vanish.
Long story short. We're bringing the crane back and we're going to use HD for our film projects, not because I'm in love with HD (although, its getting real good) but I want to do a small part for the ground that has supported me all these years. Make sure you're doing something for our "Mother Earth" and thus, for mankind. If we don't the Discovery channel will tell us how bad it really is going to get...and that's the REEL STORY!
Summers Sizzling Hot...Or Not?
Article #63 Published 06/07
As summer moves in and we begin thinking of vacation time, higher electric bills and our weekends by the pool with our preferred drinks, the film and television business jumps into action. As ad agencies complete recommendations on what fall programming to lay their money on and the film industry finalize summer media tours for forth quarter theatrical releases, its obvious things start to heat up.
This year the tone of things are a little different. Although, all the above mentioned will happen, also will union leaders representing scribes meet at the table to talk about money (what else would they be discussing) at the end of July. Yes, our industry could see remnants and the ghosts of 1988 rearing its ugly head. If the writers guild feel a strike is emanate, the entire industry will loose. Now, you may be thinking...Cummings you've spent too much time in Hollywood and your drama is getting the best of you. Well, not true!
I lived the enormous impact the strike of '88 dealt. Since, I have no unions representing me or even caring if I survive as a small business, the last major writers strike put many of my colleagues out of business. Fortunately for MPC, we had Disney as a great and wonderful client that also felt the impact, but did care enough to help their vendors through the crisis. Looking back, I was stock full of gear, based in Orlando (thank god) where it is a right-to-work state and unions, although respected, couldn't hold a "hammer over your head" while producing a project. If we couldn't get union talent or workers, we hired non-union...say what you want, but that save our company.
MPC went 16 weeks without one rental of equipment. As the primary supplier for Chapman cranes and dollies, as well as Fisher and other gear in the southeast region of the world...we could have lost everything. Jim Fisher gave us a break with the leased gear during the strike, Chapman 'shoved us to the wall' and made us pay every dime with no concerns of what was going on, while our other vendors did whatever they could to soften the blow. As Hollywood studios were dying a slow death, we were forced to switched our daily routine and began to produce programming. I contacted every industrial client we had ever had to see if they needed production. It was devastating!
In the body of all our contracts, there's a clause that reads "for all mediums known and unknown". The writers are concerned about the internet, which in 1988 was an unknown. Well, no one knows the future of the internet, everyday we discover new applications and because it sounds right it isn't always true. Major companies are jamming concepts down our throats...but will the public buy into them...that's yet to be seen.
As a word of caution to the new kids on the block or those who have recently entered this wonderful world of Show Biz...as the studios step up production this summer in fear of a strike...if our scribes decide the studios are being greedy...prepare yourself, October could be the start of a very poor forth quarter as the ghosts of 1988 rear their ugly heads before halloween...and that's THE REEL STORY.
They Giveth...They Taketh Away...Film Tax Incentive Goes Away in '08
Article #62 Published 2/07
Washington DC was buzzing with representatives of the film industry this February. The impressive "Independent Film Small Business Job Creation Act" was the agenda item, which is do to sunset in '08. The IRS tax incentive was created to keep filming and production in our country, America. Reports estimate more than 10 billion dollars is loss annually to other countries.
Speaking for MPC, we need those incentives. There's many advocates on the other side that say, "why should we help fund the movie business?". These days, hi-tech companies have the eye of every investor. What are the hi-tech companies looking to do in the coming years to make billions...downstream movie! What do we do...make movies! So, it only goes to say if they don't want a smaller amount of movies produced, we need some help. Each of the studios only make 5-11 movies per year.
I know first hand, MPC is one of the last "ma & pa" companies that are not owned or funded by any of the big 5 studios. At this point, we would rather skip the bureaucracy of the corporate process and do what independent studios have done for years...make a movie that audiences embrace while the box office gets their dollars and we the owners, reap a decent profit. I'd be the last to debate whether we need investors, because we do. Our manufacturing process, called "filmmaking" is very costly. A typical production crew averages a minimum of 35 to 60 people. Some are paid well, others barely get cost of living. If some are non-union their in a "catch 22". So we need all the incentives possible to be a proactive "good citizen" and profitable corporation. We don't make the 100 million movies (most are flops anyway), we make movies ranging from 7 -15 million, sales worthy and marketable.
We fit perfectly into the spirit of the tax incentive. We have family movies, no sex, language is carefully monitored and our scripts are about good people doing great things. Even our Sic-Fi scripts have a positive message. Oh, did I mention I can sleep at night! We want to have the best people scheduled, working on our productions and we're not afraid to bring in newer talent on our teams and keep our production in the United States. So, we do exactly what the tax incentive was design to do. Now, congress wants it to go away...at least for the moment. No one has mentioned we've been in financially stressed times. Government funds are being sucked up by the over budgeted production going on in the middle east, while we try to convince investors to release funds so we can grow and make our product.
If congress only wants big corporations to control everything, then get rid of the incentives. As most small business knows, you're the "bad guys"...unstable, cash strapped and are aways looking for that big deal. I guess when you look at it, big corporations aren't much different they look for the same things, in addition, they have Wall Street on their side, of course they also have the SEC breathing down their accounts necks and CEO's are responsible for the companies actions. But, they have money on their side, an element to all success.
Wake up congress! Support smaller companies that you claim are the backbone of the economic ladder. We can use all the help offered. If the little guys go away, this land has a seriously problem on its hands. We can put people to work, we can build a solid work force while keeping great records for the IRS. The Congress and States need to keep incentives for our business, we're a environmentally clean business (with a few exceptions), people make good money our sets, that money is pumped back into communities helping everyone. Tax payers have had their hard earned tax dollars subjected to ridiculous programs. At least this one is something everyone would enjoy and each community could realize a positive impact...and That's the REEL STORY!
Closed Caption A New Budget Line
Article #61 Published 11/06
When the FCC passed a mandate for Broadcasters to include Closed Captioning (CC), mandatory 100% per program, they helped captioning companies finally get some real business and emerge as a viable business. In late 1970, the National Captioning Institute first began, funded as a governmental agency. NCI was pushing captioning of shows for PBS and special interest broadcasters. NCI also sold decoder units that interfaced with cable boxes or directly into a television. Line 21 became the designated signal area which allowed the hearing impaired to finally understand and enjoy programming.
NCI is now on it's own with plenty of competition from new companies popping up as small independent to fairly large groups like Broadcast Captioning Service, Caption Max and Closed Captioning Inc. to name a few. The fact that some 22 million hearing impaired can now watch TV without reading lips and truly understanding a program is a good thing. While I support captioning not from just a broadcasting aspect, but I understand it first hand with family members living in a soundless world. When they visit, I have the opportunity to really watch captioning on my home TV. Captioning is a mess! Most show or scripted programming are behind and slower than usual about 7 seconds. Would the hearing world stand for that? Spelling has gotten better in the last few years. Placement of words over faces, bugs, names continue to be an annoyance. WGBH Closed Captioning division seems to be one of the worst and needs a good training program. Networks trying to save a buck (CBS and Fox) use WGBH plenty and it shows.
It seems that the FCC created a requirement, listened to lobbyist, but never went any farther. Now that content providers and production companies must include one more element to a program, you would think they'd take the time to make sure it's better. This added expense doesn't help the mass, only a few. The CPM is very costly when you break it down. However, it is a good thing, we (networks included) need to do it better.
When it comes to "News" CBS is the worst, ABC and NBC rank pretty good, while local stations (in LA) do well on the "fly". Once again, it seems the FCC did what was "politically correct" and didn't look past their nose spelling out the guidelines. The other area I don't get, is why isn't mandatory for advertisers to add CC? Most of the smarter advertisers do add captioning, but there are a lot that don't. "What is good for the goose should be good for the gander". What was the FCC thinking on that one?
I have always been very sensitive to helping those with disabilities, captioning is just something we have always pushed for. Now that everyone must do it, they must also pay attention to what their vendors are providing. One day voice recognition will be common and captioning will be automatic. But for now, take a moment and activate captioning on your TV, you be the judge, let me know what you think...and that's THE REEL STORY©
RF The Silent Killer
Article #60 Published 10/06
Radio Frequency or better know as "RF" has been around since the Brits aired their first broadcast in the mid-1800's. I'm sure science would correct me and say RF has been around since the beginning of mankind. Over the years, RF has played a big roll in many of my productions. When I began producing projects on Disney property, wireless microphones were an absolute No, No! The RF could bleed into the control systems and virtually stop a parade float down Main Street at the Magic Kingdom.
We've all learned that RF from computers and mobile phones could play havoc with controls on an aircraft. Many don't believe their little device could do such a thing...but it can! Test after test have documented the slightest RF bleed over can create an air crafts gauges to show a misread. Of course, newer aircraft will be able to handle the invisible killer with newer shielding methods around cables and gauges.
Many years ago, MPC supplied all the camera gear for the movie "Parenthood". Director, Ron Howard wanted to do a move that could only be achieved by an arm and remote head. In those dark ages, the British remote head "Hot Head" was the only system proven but hard to get. In Burbank, Bob Netman was working on a new system when Mathews bought his company, which allowed him to add some better "bells and whistles" to what would become the "Mathews Cam Remote". When Ron asked if I could get a remote head for the shot, I called Bob to see if his system was ready for the field. He told me he'll send it out and to call him if I had any problems. Since no one in the US made any arms (except for Eddie Barber and his Barber Baby Boom or cabled scissor trap) I called on my friend in England, Dennis Fraser at the Grip House. Dennis sent me an arm made of all magnesium, and told me not to get it near an open flame. That sounded interesting!
After receiving all the goods, we tested everything, which worked great. Ron was ready to shoot the school auditorium scene which needed the arm and remote head. Once set up it was very impressive, however, when "Stand By" was called the lens jumped off mark. We repo'd and once again the lens jumped. Now that we've burned an hour (plus) on that issue, we were ready to make the happen..."Stand By"...the lens jumped again. The Producer, Joe C. turned to me and let me know that if it happened again I can pack the *&%&ing, #*&@ up and get it out. I asked for one more test. I was standing behind the unit with Ron and Joe, Ron said to roll film...as he said that, the PA next to me "keyed" her microphone on the radio...and the lens jumped once more. I told my team to go to the 7-11 and buy all the aluminum foil on the shelf. We wrapped the cable with the foil and shielded the system. Wha-La the system worked perfectly. Of course I called Bob, letting him know the problem.
RF can be very annoying if not properly controlled. What worries me, is the RF emitting from all the new Blue Tooth devices. In Hollywood and most of the country, people walk around looking like Spock or a Star Trek character with the wireless device hanging from their ears, with a blinking red or blue light. Although, we're told the range is only 10 - 20 feet, if they're allowed on a set, what damage and loss of production time could be created. They're convenient during drive time, but recently on the set of REAL TALK, RF showed its ugly head and was captured on the audio with a "tick tick tick" noise. That has costly effects and an unexpected amount dedicated to audio clean up or sweetening. With the advancement of technology, those of us responsible for budgets need to be award of any deadly killer...could Blue Tooth RF be our next problem...trust me it is? We'll be watching it very closely on all our sets...and that's the REEL STORY!
Hollywood Better Start Playing to Audiences ...Not Stockholders
Article #58 Published 4/06
In recent weeks, several articles have surfaced with overtones of how "out of touch" the big 6 Hollywood Studios have become. The box office is flat and DVD sales aren't much better. Hollywood seems to be turning its head the other way, blaming the public and new mediums for the problem. I believe, the big 6 are "buying into" their own PR. In a report published by Standard & Poors on April 7, 2006, it clearly cautions investors about the major issues facing the studios. With disappointing box office declines of 6% and other problems facing our industry. Its time for someone to throw cold water on these studio big guys.
Average to poor movies being released could contribute to the problem (wouldn't you say..?). Hands down, the industry has become so complex these decision makers need to step back and look at the real picture...not the pictures they create. From my own experience, the studios don't look for good storylines, they look at trend setting issues as a vehicle for making "great" films. Obviously, that concept isn't working very well!
When MPC submits a script, it costs a considerable amount of money. We have to make tons of copies of the script, put the investment proposal together, document everything, pay everyone involved, find some "warm blood" that's willing to look at the project, contact the attorney to present the formal submittal, then hope we have a friend in high places that can understand what the concept is all about. Its like creating a new business every time we submit a new story. That's just the process to submit, we haven't even gotten close to a deal. The deal process is a whole other story. Then if we get a deal, we have to come through with our promises (which we always do anyway).
Other concerns are about high mega-budgets. "Bean counters" think this is a great way to entice investors (Hello!). During my decades of experience, I've been on sets and seen some of Hollywood's top Director throw money away by the minute. OK, I know some of the best laid out plans sometime don't work...but the waste of budgets are mind boggling. Fortunately for us, smaller budgeted films, independents and family motion pictures seem to do very well. They can make the investment back, provided its a decent story, good distribution, shot properly and have the right team, all this together, makes for a nice profit overall. I hope investors don't put us in the same "boat" as a studio!
Ronald Grover, entertainment columnist for Business Week wrote a very interesting article on April 4, 2006, "Tinseltowns Tin Ear for Quality" questioning the thinking of recent re-makes and high budgeted flops. I was so impressed with his unorthodox comments, I was compelled to send him my opinion (who would have thought). I've included the note in the following:
Mr. Grover,
You hit the nail on the head. Today, studios don't care about the science of making movies. Directors depend on computer effects to make magic. The old phrase of “we'll fix in post” seems to run wild in this town. Whatever happened to the days of making a film that audiences would “buy” into every scene, make you squirm or stayed in your mind for coming weeks? Now, once the credits roll the movie is really over.
The new geniuses at studios have about 15 minutes of experience in true moviemaking, while dazzled by the talent, the psychology of filmmaking has been replaced by marketability. True audiences (everyone outside of LA) gets it, box office sales have been soft and it not because people are purchasing new formatted TV’s! Our film schools are also at fault. Every University has developed a “film school” as another great source of revenue, pumping out students who don't have a clue how the industry works. Thus, the market is flooded with poor or abstract scripts with mediocre plots and storylines. Unless you're a buddy of a studio executive or aggressive agent, your chance to pitch a project is slim. If the talent or Director is marketable on nightly TV entertainment shows or media tours, then they get the gigs.
Brands are buzz words, not great films. Ongoing, Hollywood management is so dazzled by actors and a “named” director because of some deal they've cooked up with agents or buddies, they've forgotten the moviegoer. Studios who bet on re-makes are scrapping the bottom, unwilling to negotiate new deals with creative filmmakers of tomorrow. Once a studio has the rights to a storyline, they sadly beat it to death...and historically, death is what happens.
As far as budgets go in a studio landscape, each time a script passes someone's desk the budget is increased by 5%. Since, everyone has a TV or goes to movies, that makes them a “director”, giving them some notion to express their “creative” opinion. Lets face it, a camera rental is based on a 3 or 4 day week, costs for grips and other behind the camera crews will always remain what the unions dictate, so the costs aren't that far out. But when directors waste time in the name of “creative judgment”, rent a bunch of “cool” gear they never use, compounded by costly talent, together creates elements that pump up production costs. Studios must to stop playing to stockholders and start playing once again to audiences or stockholders will begin to look in other places, possibly audiences already have.
The industry is becoming very tough. Good projects are out there ready to be made. Maybe its time the big guys remember that they too were little fish. May be it time they start looking outside of friends and family and give a gander to fresh new projects to boost stockholder interest that could bring the audiences back the big screen...and that's the REEL STORY!
Re-Thinking The TV Landscape
Article #57 Published 3/06
As the entire TV industry struggles with the enormous changes taking place in the broadcasting landscape, a few historical facts popped in my thoughts. Recent polls indicate young adults don't watch TV...(OK). Next, younger teens have also tuned out...(that sounds correct). While an 18-49+ demographic uses their phones, computers and other devices to see what TV, combined other information has to offer on the interactive highway or coin "Televisual Age".
I pondered the historic reality television created bringing us to this point. First, my generation watched TV during the week with family, it was a big deal! As my family gathered around a brown box with a small tube screen, watching Uncle Milty, Bob Hope, Mitch Miller, Lawance Welk and other classic live shows. On Saturday mornings, I got the chance to imagine myself in the seat next to Sky King, galloping with Hop Along Cassidy, flying next to Superman or standing up two feet from the screen, while the Lone Ranger got the bad guys. I laughed at the antics of Knuckle Head, taunted by Jerry Mahoney and wondered how I could exist when Buffalo Bob told me this was his last show.
Then came the transistor, we were the "cool kids" with a portable "transistor radio" picking up every AM single in the market. Later, I carried a small portable record player with an AM radio...I put batteries in it and play my 45's with a new sound labeled "Motown"...WOW...! OK...enough with the time capsule.
Now, our audiences are the tech-savvy, multi-tasking, impatient "Millennial Generation". When Apple introduced their version of a modern day transistor radio or record player, we all could see the next thing coming...telephones, the portable "all can do" devices delivering TV shows and everything else.
So, what do we do as content developers or better yet how do we build our shows to accommodate future devices? The answers are simple. We do what we've always have done... build shows with interesting story lines. Whether the programs are sport related, entertainment or information, we make our products marketable and well produced. Sure, there are people putting together programming on a "shoestring", but lets face it, the product is only acceptable for a curtain format, like computers. The key is still to make quality products that are diverse on cross platforms. Kids designing a politically silly video, reaching to a minute or narrow demographic will fade as fast as the arrived. Don't get me wrong, creativity can come from the strangest places and we'll continue our support for up and coming creative artists...we've all started someplace.
But, now its critical to have the knowledge to build our products for multi-platforms. Film, as we know it, is going to vanish, not only because HD has taken the spotlight, but there are other issues, like harsh chemicals in the developing process, that really do pollute our environment, time and turn around or better yet, budget. So, as we squirm and try to find that crystal ball we ordered in the '70's, a "change is a comin" which we need to rapidly conform. The future holds many opportunities with new vehicles for the production community. It now time to get on the "band wagon" or as the industry is phrasing this rapid grow...the next "Big Bang"...and that's the REEL STORY!
Change Can Be Bitter Sweat
Article #56 Published 1/06
Historically, our industry is the first to create new ways of improving techniques to deliver a better product. In the early days of Hollywood, a guy named Cunningham invented a device to mount a camera and camera operator on a long lattice beam to freely move or float the camera...thus we have the camera crane. In the 1930's, a grip got his hands on an bomb loader that would hoist a bomb to the belly of an aircraft, modified it with a camera head and wha-la, we have the camera dolly.
We've moved light years ahead of the old days with analog fading away, film images being re-defined, Hi-Def bringing us a look of the 35mm or 65mm clear resolutions and standards on aspect ratios. Although, cranes are still large and most often awkward, our insurance agents would rather us "fly" cameras than people. In the last twenty years, remote heads, telescoping cranes and cameras on cables have replaced the truck arms. We've gone from tape to file, from biking shows to streaming, TV sets to a hand held devices. Is the cinema the next to fall? Well, I don't think so...but when studios want to introduce a film in a theater and the very same day release it on DVD and broadcast, I stop and wonder.
The FCC has introduced new requirements that broadcast stations and networks must meet this year and through 2009. All this change to an industry in a short amount of time is interesting. Some sources, have reported huge issues over simple things like, closed-captioning recently. It seems stations can't find line 21 and when they do they don't know how to deal with it or each show must be captioned in real time.
Few of us knew where we were going when we started in this "exciting" industry. As for me, I just wanted to make movies and direct great performances. The business of the business has been overwhelming, with 6 companies owning all the major broadcast space and studios, the stock market has now become our new ADI and sloppy production doesn't seem to bother anyone but me. Because of shoddy research from some high paid law firms, we can no longer pick the phone up and pitch a show without it costing a minor fortune.
OK, maybe this is all for the better...I'm not convinced yet, but, we'll deal with it! In the meantime, I'm going back to do what I set out to do, create and capture stunning performances to share with audiences across our tiny globe...we'll see what this new year brings...and that's my REEL STORY!
The Twelfth Month
Article #55 Published 12/05
As the year closes and most production companies try to complete projects before the holidays. I looked back at some of the developments in '05 that laid out a direction for the new year '06.
Finally, talk of the small (real small) screens have surfaced into a tangible hand held device that we can touch, feel and sometimes (if I have my readers on) see! Clients are understanding the difference between High Definition and Digital formats. Files are no longer confined to word documents, but are actually the norm for distribution of programming. Theaters are warming us up to the conversion that will eliminate massive projection systems, making way for a signal and simultaneous showings of movies across the globe. Now, TIVO has created a hand held wireless version of it hard drive device, making it easier to view our favorite shows on our schedule, not the schedule of a program director.
Indeed, great mines have diligently worked on new ways to bring the entertainment world to the masses, when and where they want it. The effects of digital has been overwhelming as a new way to distribute signal. Miniaturizing computer chips have taken devices from room size to pen size. Mini-screens have been out for many years, thanks to Casio and Sony, but the signal was analog not digital. It took transistors to descramble a signal and pass it into a screen. So, now that analog has gone the way of Swanson's TV dinners and into the vaults of Nick-At-Nite, the new age is officially upon us...Welcome to 2006!
As dust settles, congress is holding to the date when we covert to digital and rightly so! With so many new wigits out, being scarfed up by the consumer, it's time to let go. Yes, colleagues, we can truly use the 3/4 cassette machines as boat anchors. As producers, new tasks to build programming must adhere to the large screen, mid-screen and a 2.5 screen. When High-Def was introduced, I heard some talent scheduling dates with their plastic surgeons. Believe me, what difference is it if we go to the small screen?
Distribution as we've known it, is another area where we'll see major changes. As stations become more familiar with downloading a program and not having to "rack tapes", moving more towards streaming shows, will only increase. I predict, a ten fold increase in the new year. Yes, my friends, those of us that learned how to bike programming can add that concept to the museums vaults of golden garbage.
Now, for the next generation of movie theaters...the unions will have to set aside their feeling for the projectionist. Costs to move a print around the country is "old world thinking". Quality and technology in today's world can offer any "look" a filmmaker can create. Putting creative looks aside, the cost factors are mile apart between film and High Definition. Granted, High Def is in the early stages and they have some issues to work through, but those details and setup issues will be gone as technology increases. As for the Cinemas, flicking a switch and having a head-end system download the movie will increase profits and maintain ticket sales. You'll have to agree, a far better approach than charging $7.00 for a candy bar or a dry bag of popcorn!
So, filmmakers, Content Developers, Producers and Stockholders, hang onto your hats...the new year will bring us into new worlds we just conversed about two years ago. The future is exciting, giving everyone a better advantage for creativity, developing, producing and increasing the bottom line! And that's, The REEL STORY.
MAKING THE CUT
ARTICLE #54 PUBLISHED 8/05
Post-production, cutting the show or just plain editing is one of many areas dramatically changed in the new production landscape. Computer editing is no longer a term an elite group of individuals understand or can afford. Technology has taken us from massive machines located in big cold rooms to laptops with a few hard drives attached. A large numbers of companies have taken a beating over the rapid changes in the post production community.
When the reality of analog was on it way out and the birth of digital emerged, I'm not sure everyone understood the impact. All of us were thrilled to make a correction without going all the way back to the beginning of a piece and re-adjusting everything to take out a flash frame. Avid and CMX made the world of editing a very different workplace. But, the real conversion came about when Apple introduced "Final Cut". This low cost program enabled anyone to edit at your desk (as long as you had a Mac). The engineering and development team at Final Cut sent me a Beta copy of version 1.2 to try out at Disney. We saw the potential, but it sure had aways-to-go. Over the last five short years the program has grown to epic proportions enabling anyone to cut a full length project, as long as you have enough memory and fast processors. That really was the death march for large editing houses and post production facilities...or so it seemed.
There are times we all feel we can do just about anything. Even when it comes to doing our own editing, as for myself, it almost felt like the Best Buy commercial, when the puppet walks into the wireless computer department and finds out his "strings are cut"...he's free! Well, the story could end here, but it doesn't. The truth is something we've always known, the people behind the keyboard.
Machines and computer programs are no more than tools, some good, some too expensive, others great. What really makes a good editing session different from a great session, is the editor. I've sat next (and behind) many editors over my 3 + decades and have formed some interesting observations. When looking back, I remember three (maybe four) editors that really got-it and did an excellent job." Fast Eddie" was one of the favorites. Eddie Johnson worked for the Post Group. Eddie had the knack, he felt the beat and made dull shots come to life. Some editors were good, some had personalities equal to cardboard and others an engineering mentality (nothing wrong with that, but, we're in showbiz). The end result of any editing session must imamate pace, flare, excitement and punch (unless you're cutting news). Straight cuts have there place, dissolves are important and wipes are made for TV (or a George Lucas film). Audio can hold the attention of your audience during boring scenes and it's all performed through the magic fingertips of an editors timing.
Although, many facilities are "crying" about the "state-of-affairs" and how difficult the post business has become, it's time they stop selling equipment (or out-dated equipment they're still paying for) and start selling the talented people they've had the keen insight of hiring to bring "magic" back to the screen. For so long, the newer generation has relied on computers and programs to make a story work. Times have changed, we need to get back to what movie making and TV projects are all about...the people behind those tools and the pure trickery that holds an audience and makes our magic sell. Sure, anyone can run out and spend 10 - 15 grand on gear and programs, but few can make them "sing". When I trained crane and dolly operators, the first question I asked was "can you keep a beat". If they had rhythm, they would be able to swing an arm, work a remote head or handle a Steadicam with emotion, as though it was an extension of their mind. I've noticed the same is true for a great editor. Since, we take an intangible or story and bring it to life, we need the most "feeling" from the people associated with our projects, making it truly believable and marketable....and that's THE REEL STORY.
ARTICLE #53 PUBLISHED 7/05
In a recent poll by the Dove Foundation compared the profits generated by G/PG and R rated films came to no surprise to MPC. In a follow-up to a 10-year study commissioned by the foundation in 1999, found that between 1988-97 the average G-rated film made eight times the profit of an R-rated picture, an extension of that study found that trend continuing and expanding. The new, expanded study examines the revenue and production costs for 3,000 Motion Picture Assn. of America-rated theatrical films released between Jan. 1, 1989, and Dec. 31, 2003, using the 200 most widely distributed films each year based on the number of theaters (Reuters/Hollywood Reporter).
The new study found that the average profit for films rated "G" rose to $92.3 million from $74.2 million, "PG" vaulted to $78.8 million from $9.9 million, PG-13 rose to $45.6 million from $15.4 million, while R-rated films increased to $17.9 million from $3 million. The study notes that those increases are probably due in part to higher ticket prices, coupled with a decrease in home video manufacturing costs. These numbers shouldn't be dismissed! This means G or PG films took in about 11 times more than R-rated. WOW...now you know why MPC concentrates on Family Entertainment.
Investors seem to plant dollars into sex, disasters, blood and guts, thinking it bigger returns. Theater chains are crying about box office lows and Hollywood continues to pump out R-rated flicks with old story lines and new faces. Dah...! Traditionally, the G and PG productions have had an up hill battle since the early days of filmmaking. Take for example, Walt Disney...Walt got it early on, family entertainment was a real two-fold return. Families are a larger group to see movies, it keeps you in a safe haven away from smaller special interest groups, not to mention good ethics...(oh sorry, I'm in Hollywood, they don't like to use words like that). Roy Disney had to go and find money, Walt and Roy put everything up as collateral for lenders to get involved. At the same time, studios easily found the dollars for May West flicks which ended up luke warm returns overall...Disney is still profiting from Snow White (yeah, I know there two different concepts...but you get the comparison).
Getting back to the survey, this is great news for investors wondering where their dollars should go. At least the return could be very substantial in a G or PG rated flick. Of course, there's many other variables not mentioned...creativity and story line still ranks high, along with experienced crews to get the job done, producers that know what their doing and keeping a project independent. Distribution is key when the film is ready for exhibition and the "after market" promotion such as DVD and product placements, together, with a little luck, makes the magic come alive to deliver a fair return on the investment. Studio films cost too much, not that the filming process costs more. Facts remain...a camera package will always cost about the same, lights and sound stages are all rate card. Talent cost escalates...each time the script passes another office the budget seems to go up 7-9%, too many irrelevant fingers touch the piece. Family subjects are the true money makers in this market, not that I'm saying R's will ever go away...NO...we need all types of story lines to comfort the movie goer! The key is true balance and that's where MPC comes in.
MPC has all these issues set in policy, which makes what we're doing "in-sync" with profits, good filmmaking and a strategy for success. As long as I continue to have a majority holding in MPC we will never produce anything outside a G-PG-13 rated film. We believe in family, we support scripts that have tones of "good" and faith in character with human spirit. So, for many of you that would like to get involved in a team that values, "VALUE", look at MPC for your next investment consideration. In the meantime, keep supporting those G, PG and PG-13 (with an occasional R in the mix) movies and that's...THE REEL STORY! (For more information on the survey Mr. Cummings focused on in this article contact MPC).
ARTICLE #52 PUBLISHED 5/05
I arrived at Andre's home at the scheduled time and found a gentle, soft spoken, elderly lady, surrounded by 10 cats wandering everywhere. Andre sat in a rocking chair near a bay window, she wasn't interested in my small talk, Andre wanted to get down to business. "How could they do this?", She questioned. This soft spoken woman was enraged with the production company that made her book into a movie. I asked for all the details. "You see, John, my publisher sold all the rights to my novel "Beast Masters" and the production company that purchased it, KILLED the cat!" Andre shouted. I said, "killed what cat?". Well, as I sat there and listened, I learned the production company spray painted a tiger black for the movie to match the animal in Andre's novel and suffocated the beast in their shallow understanding of basic anatomy.
Obviously, Andre was a great protector and advocate of animal rights and this careless act of the production company devastated her. She insisted her name be removed from any credits and thus wanted nothing to do with the film. I did what I could (a bit after the fact) which began a long and cherished friendship between this great author and me. Through Andre, I was educated on the world of "literary" and was shocked what little respect was given to an author or their creative written words. When I saw unsold books come with the front cover torn off, I discovered this practice was the norm.
However, some industry leaders, like Jeffrey Kataenberg, had respect for the great lady, asking me to submit "Time Traders" and "Wraiths of Time" to a reader at Disney (1986). In 1995, I made a wonderful announcement at the Disney/MGM Studios, that MPC had just sign a production agreement with Andre and intended to make the movie "Wraiths of Time/Shadow Hawk". We also, began developing treatments on "Seven Spells to Sunday", "Witch World", "House of Shadows" and other fascinating stories that took us beyond our imagination, coming from the creative mind of Andre Norton.
Andre change her name from "Alice" to get her works published at a time when women were not excepted as writers in science fiction or fantasy. Her time spent at the Library of Congress allowed a wealth of research to flow into the novels. When we would speak about "Wraiths of Time", Andre openly present the accurate data on dress and weaponry used in the days of the Nubian Kings, she was truly a fascinating and knowledgeable lady.
I could go on for days with my personal experiences with Andre. I would recommend you check out one of Andre's 135+ published novels and see for yourself the parallels of her stories with modern day authors. What is interesting are the many modern day stories that mirrored a Norton novel, for example "Star Gate" (Andre had a novel by that very title), Star Wars, the many time travel novels, and stories with cats.
Andre has been gone from us only a short time, but the impact she made on modern day science fiction and fantasy writers will last for decades to come. We hope you support our endeavors, when we present our Norton stories to audiences on the big and small screens. We salute this great lady and miss her more, now that she is beyond our mortal imagination. And that's the REEL STORY!
Article # 51 Published 4/05
Well, I stand corrected! In October, President Bush signed into law a wonderful incentive for independent film development companies titled:"Independent Film Small Business Job Creation Act". This new tax break has substantial benefits for investors which seems to be the best kept secret in Washington. The tax benefits escalate each year until it reaches 2010, beginning in 2005. These tax breaks are set up to entice the investment community to invest in independent corporations or partnerships making motion pictures and television productions in the great United States.
There is some criteria that must be adhered too, such as the picture investment must be no less than $2 million and not exceed $20 million. The content can not have sexually explicit material in the storyline (that knocks out most Hollywoods studio films), must create jobs (which it will) and must be shot in any of the 50 states.
Our thanks go to Congresswoman Karen McCarthy (D, Mo.) who is a film lover, for introducing such a great bill. Congresswoman McCarthy (our research indicates no relationship to Joe) introduced a bold incentive that motivates investors to financially be involved in a film or TV project, reduces the investors financial risk by several percentage points, allowing companies like MPC to accomplish what we've set out to develop, keeps film and TV production in our country and the icing on the cake, puts people to work!
When developing a concept or movie, of course, a budget is designed. Going line-by-line, the amount of people it takes to do the simplest shoots (if there's such a thing..?) is incredible. Most independent shoots are design to be completed in about six to eight production weeks or sooner. Each production day equates to a dollar figure and each "set up" or scene cost "X" amount depending on the complexity of the script requirements. Although, watching the budget is crucial, sensitivity to the creative process must be understood and compromise seems a standard function on the set. Hollywood studios tout their big budget extravaganzas, whereas, an independent filmmaker must stretch each dollar without compromising the creative elements, while keeping a marketable edge. Big budget films (or studio productions) are stacked with talent costs and huge departmental expenses, creating an even larger investment risk. The Indie is "home grown", pulling every possible creative trick "out of a hat".
Once a production is edited and complete, you hit the film festival circuits or "market", get the product seen and sold to a distributor. The distributor gets the film to the screen and you then can return the investments and profit back to the wise and kind people that believed in you. The process could take one year from your shooting start date and one year plus until it's cleared for the screen. During that time you've pumped several major dollars into the economy, put many people to work including the local hardware stores, bakeries, gas stations, etc. and taken many off the unemployment line while bringing excitement to small and large towns across our country.
I don't always agree with decisions made in Congress nor Mr. President, but I have to "tip my hat" to Congresswoman McCarthy, the supporters of the bill and President Bush for helping independent film corporations, like MPC, offering the "tools" for sound business. These tool are enticing the investment community to look at the opportunities in making a good independent film and giving an incentive, in addition to what a films potential profit might be.
In closing, I invite investors to look hard at MPC's many quality projects currently in development. I want you to contact me for additional information on how you can become an intricate part of the MPC team and receive a tax credit for your efforts. That's why I call on all investors on the eve of our 20th year as an independent film production company you can rely on...And that's the REEL STORY!
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JC Cummings Sr. is the Chairman and Founder of The Motion Picture Company, Inc. All opinions expressed in The Reel Story are that of Mr. Cummings and not necessarily the opinion of MPC or related companies. All comments should be addressed to Mr. Cummings directly at JCC@TMPCI.COM
For additional information on Mr. Cummings, click on his name or photo.
For additional information on MPC, click on about us.
Any article re-print will need the permission of MPC
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