Rex Sikes Movie Beat

Rick Overton | Actor | Comedian

Wed, 28 Jul 2010 04:52:55 -0700

Rick Overton has been doing standup comedy since before there were lockable steering columns on cars. Seriously. Rick believes that Comedy shares it's roots with Country Western and The Blues because they're all just complaining to a rhythm.

Rick can currently be seen in the comedy film DINNER FOR SCHMUCKS with Steve Carrell and Paul Rudd, recently in Stephen Soderberg's THE INFORMANT starring Matt Damon. He's also Pam's Dad on THE OFFICE in the Wedding Episodes. Yay for On Demand! Someone got something right somewhere. And he recurs on TNT's LEVERAGE as an FBI agent, along with Gerry Downey.

He’s been a creative consultant on a sci fi series in 1999 called The Secret Adventures Of Jules Verne, designing all the steam punk technology for the series.

Rick had the honor of sharing a couch with Jonathan Winters and Robert Klein on Showtime's THE GREEN ROOM WITH PAUL PROVENZA! When not doing standup comedy, Rick can be seen on local dog park paths getting to visit all the dogs he wants without having to actually own or pay for any of them. Win-win.

Rick loves to improvise! He’s been a guest player with a lot of established improv troupes down through the years, Second City, Groundlings, Off The Wall, Bucket O' Snakes, The Transformers etc. He’s been doing two man improv blowout shows with Robin Williams for 30 some odd years. And some odd years they were! But fun!

Rick is the son of Jazz musician Hall Overton (Taught at Julliard, New School) He was the arranger for the MONK AT TOWN HALL album, and helped to create Be Bop Jazz back in the 50's. His Mother was one of the Chordettes, (Lollipop, Mr. Sandman) As a kid, he saw comics work the stage before the musical headliner came on. He went to Dwight Morrow High School with John Travolta in Englewood NJ. Rick was in two comedy teams. 1970-71 Overton and Pastore. (Tonn Pastore. Lives in Fla now.) Overton and Sullivan (Roger Sullivan - Lives in NJ now. Roger is the guy who told Rick the Aristocrats joke that he went on to tell Gillette and Provenza to inspire the movie.

He's also got an Emmy for his writing on HBO's DENNIS MILLER LIVE from the 1996 season.

Rick's philosophy on life is - "One cannot achieve true happiness without Serotonin"

Roberta Munroe | Filmmaker | Author

Wed, 28 Jul 2010 04:31:54 -0700

Roberta Marie Munroe is an award-winning filmmaker, writer, entrepreneur, international short film festival programmer, consultant and now published author. Her book *How Not To Make A Short Film: Secrets From A Sundance Programmer *(Hyperion Books, January 2009) is a provocative and practical
insider's guide to making a great short film described as the “bible” for short filmmakers. Roberta packed this “bible” with insider tips gleaned from 5 years programming short films at Sundance, interviewing successful short filmmakers worldwide and sharing the horrors and the brilliance of her own award winning short filmmaking career.

From 2001-2006 Roberta Munroe programmed short films at The Sundance FilmFestival. During her tenure at Sundance, The Sundance Online Film Festival (2003-2006) was acknowledged with several highly acclaimed Webby Awards. After five very successful years at Sundance, Roberta served as their founding Artistic Director launching The Blackhouse Foundation, a live venue at Sundance, that supported African American filmmakers.

For the last four years, Roberta has guided short form filmmakers, from script to screen to distribution, at her Los Angeles based independent filmmaker company, Roberta Munroe Film Consulting Los Angeles

With over fifteen years experience of experience at international film festivals and after viewing over 15,000 short films during her career, Ms. Munroe is considered the go-to expert in the world of short form filmmaking. In working with short form media makers, Roberta has provided a large group of artists with her valuable first-hand knowledge and advice, helping many go on to produce award-winning films. But making films and working with
filmmakers is more than just a career with Roberta; it's her passion:

"There’s nothing that brings me more joy than seeing the success of other people and helping them achieve their goals. I want to create films that inspire others, and whether it’s creating my own work or helping someone else to realize their true cinematic vision, that's the place where I feel most at home.”

A Toronto native, Roberta began her film festival career at the Inside/Out Lesbian & Gay Film Festival of Toronto. She then moved on to Viacom Canada and from 1997-98 the Toronto International Film Festival. Crossing the U.S border, Roberta moved to New York City, where she became the Administrative
Manager for the New Festival, 1999-2000. During 2000 she also programmed No Borders at the IFP Market (Independent Film Project), the prestigious international co-production section of the market. Offered the position of Festival Manager for Outfest, the Los Angeles Lesbian & Gay Film Festival (2001-02), Roberta moved to Los Angeles, where in 2003 she returned to programming film at the Los Angeles Film Festival during her off-season from Sundance.

A sought after speaker and educator, Roberta has also participated on several panels and film juries including, The Black Lily Film & Music Festival (Philadelphia), The Palm Springs Short Film Festival, Canadian Film Centre Worldwide Short Film Festival, NewFest (NYC), The North Carolina School of Film, Planet Out Short Film Awards, The LA Indie Film Group, Outfest, The Sao Paulo Short Film Festival and The American Pavillion Student Intensive. At these and other events, Roberta has spoken about her
craft, both in filmmaking and programming, in support of independent filmmakers. In addition, Roberta is a Mentor for Los Angeles based Innercity Filmmakers, where for the past four years she has taught classes held at USC, mentoring high school graduates from underserved demographics to realize their dreams of working in the film industry.

Roberta's directorial debut Dani and Alice (a Fox Searchlight Directors Lab project) has played at over 120 festivals globally and was the recipient of the PlanetOut Best Drama Award 2006. The film received a distribution deal with Wolfe Releasing and was featured on MTV Network's Logo on The Click List: Top 10 Videos, and is available on iTunes as part of Logo's television series slate. Happy Birthday, Roberta's second short film,
is currently making a highly successful run on the film festival circuit. She has again secured a distribution deal with Wolfe Releasing, and Happy Birthday, too, is featured on Logo's The Click List: Top 10 Videos.

In the fall of 2009, Roberta was commissioned to write, direct & produce 2 short films for the United Nations.

Roberta lives in Los Angeles, California with her killer Miniature Pinscher, Marcello, and the Queen of Echo Park Chihuahua, Rita - where she continue to consult with filmmakers, develop and host The Best Short Film Workshop Ever*, as well as creating and moderating panels & talks worldwide.

Joe Wilson | Filmmaker | Director | Vampire Mob

Sun, 25 Jul 2010 08:06:55 -0700

Joe Wilson is an award-winning filmmaker & comedy screenwriter, stand up comedian, actor and private investigator by day (honest).

Wilson began as a freelance photographer in Boston shooting news events, bands, models and numerous portraits. His photographs have been published in newspapers and magazines, including The Boston Globe, The Boston Herald, People Magazine, Stuff Magazine and Cosmopolitan. Currently, Wilson shoots a lot of pictures of his cat, Mike, with an iPhone and exhibits them on Facebook, Twitter and Tumblr.

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Wilson's photography led him to work in three dimensions creating multimedia installations, often using video, which were shown in Boston area galleries including Mobius, The Art Complex Museum and the Federal Reserve Bank Gallery. He received a grant from Art Matters (New York, NY) for his visual work. Wilson was invited to join the Mobius Artists Group, which runs Mobius, Boston's artist run center for experimental work in all media and was founded in 1977.

"Pigs Feet and Marble Skies" was Wilson's first evening length solo-performance, premiered at Mobius and he was awarded a grant by The Franklin Furnace (New York, NY). The show was performed at venues including P.S. 122 (New York, NY) at The Cleveland Performance Art Festival, The Bug (Denver, CO) and The Lincoln Center Out of Doors Festival (New York, NY).

He began performing stand up comedy in Boston at Dick's Comedy Vault, The Comedy Connection and The Comedy Studio. Wilson was a semifinalist in Comedy Central's national stand up competition and has performed at The Improv (Brea, Irvine, Hollywood), The Bridgetown Comedy Festival (Portland, OR), The Los Angeles Comedy Festival, The China Lake Naval Base, The City of Hope (cancer treatment center), LeStat's (San Diego), San Manuel Indian Casino and in your frozen food section.

Wilson co-wrote & performed "Subject To Stress" with Mary Keefe O'Brien, which received critical acclaim from The Boston Globe, The Boston Herald and The Boston Phoenix and eventually led to a move to Los Angeles.

Wilson's short film "The Swear Police" won best shortie-short at the 2009 LA Comedy Shorts Film Festival, which can be seen at http://www.SwearPolice.com.

"Vampire Mob" is a new web series created, written, directed, produced and edited by Wilson, starring John Colella ("Swear Police'), Reamy Hall (Criminal Minds), Marcia Wallace ("The Simpsons"), Chris Mulkey (Twin Peaks, Boardwalk Empire), Kirsten Vangsness (Criminal Minds), Jim Roof ("Swear Police"), Andrea Cansler (Groundlings Sunday Company), Cris D’Annunzio ("Digging Up Dad") and Elizabeth Beckwith ("Curb Your Enthusiasm"). The series will premiere early this summer and a trailer is available at http://www.VampireMob.com.

Wilson has worked on web series through three net booms, including writing for Mondo Media's "Like, News," created by Don Asmussen, directing the web series, "Lake Charles Lake," created & written by Martha Kelly & Tom Sharpe for SuperDeluxe.com (Turner Entertainment) and he was a producer and half the crew on episodes of "Powerloafing," created by Emmy-award winning writer, Mike Upchurch, including "Dept. of Doom," guest starring Neil Patrick Harris - http://vimeo.com/5817119.

One of Wilson's feature screenplay comedies, "Let's Mow," won first place in the Hollywood Film Festival's screenplay competition and also won the Producer's Outreach Program run by the Scriptwriter's Network, as well as being a finalist in Scriptapalooza. Once a month, Wilson participates as a writer in "LA Cafe Plays" at the Ruskin Group Theatre in Santa Monica, where five writers are handed two headshots and a theme, and in four hours, write a short play, which is performed twice that evening - 10 hours from creation to opening night.

Wilson made international news by selling a Jar of Celebrity Air (air captured within proximity to Angelina Jolie and Brad Pitt) on eBay, which made international news and was seen on CNN, MSNBC, CBS, Access Hollywood and The Tonight Show, as well as being featured in magazines and numerous morning radio programs nationwide and in Australia. The Jar of Celebrity Air became the subject of a one-man show Wilson performed numerous times at venues including the Upright Citizens Brigade Theater (Los Angeles), The FAKE Gallery and The Los Angeles Comedy Festival.

He was been a co-host on several podcasts, including the ongoing "Road Stories" with Murray Valeriano weekly for two years he co-hosted “The Dork Forest’ with Jackie Kashian, others include 5TOP and Dr. Mardozo's Traveling Sideshow.

Matthew Tompkins | Actor | Producer | Director

Tue, 13 Jul 2010 07:58:01 -0700

Matthew’s Tompkins’, actor, producer, director, twenty year career includes starring or co-starring in over 80 television productions, 25 feature films, 60 national commercials and 75 theatre plays.

Among his extensive acting credits, he has starred in the movies Killing Down, The Fragility of Seconds and Radiant as well as co-starring in Living & Dying with Michael Madsen, Missionary Man with Dolph Lundgren, Fire Down Below with Kevin Sorbo, a reoccurring role on Fox’s Prison Break and most recently in Robert Rodriguez’s new movie Machete alongside Robert DeNiro.

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In theatre, he has won the Dallas Theatre Critics Forum Award for Best Actor seven times, and has been voted best actor twice by the Dallas Observer. Most recently, he played Oberon in the Dallas theatrical event of the season for The Dallas Theater Center’s grand opening production of A Midsummer Night’s Dream at the new 80 million dollar Wyly Theater in the new AT&T Performing Arts District in downtown Dallas, Texas.

As a producer, Matthew has produced the feature films Killing Down (distributed by Maverick Films), as well as The Fragility of Seconds and Radiant both being released in July of 2010.

He holds a Bachelor’s Degree in Fine Arts, and attended the acclaimed HB Studios for Acting in New York City.

Jon Reiss | Director | Author | Think Outside The Box Office

Wed, 26 May 2010 16:30:35 -0700

Named one of “10 Digital Directors to Watch” by Daily Variety, Jon Reiss is a critically acclaimed filmmaker who has produced and directed three feature films most recently Bomb It about graffiti and the battle over visual public space throughout the world. Based on his experience releasing Bomb It with a hybrid strategy has just published Think Outside the Box Office: The Ultimate Guide to Film Distribution in the Digital Era. He also speaks around the world at film festivals, schools and organizations on this topic.

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Jon teaches film the California Institute for the Arts where he created the class “Reel World Survival Skills: Everything I Wish I Had Been Taught in Film School.” This course covers the practical aspects of surviving as an independent writer/producer/director in today’s economy from finding a job, pitching and script development, to financing and new models of distribution.

His previous documentary feature film was Better Living Through Circuitry, a startling, humorous and entertaining glimpse into the exploding rave culture featuring such acts as the Crystal Method, Roni Size, and Moby, among others. The film played at such festivals as RESfest, Rotterdam, Sao Paulo, Copenhagen, Los Angeles Independent, Seattle, Vancouver, and Sheffield International Doc Festival before being released theatrically in the United States. Following its theatrical distribution the film had numerous screenings on Showtime and Sundance Channel as well as a worldwide DVD/VHS release.

Reiss’ first film, Cleopatra’s Second Husband, is a dark psychological drama which screened at the Los Angeles Independent, Seattle, Montreal World, Hamptons, Houston, Sao Paulo and Bangkok film festivals, winning Best First Feature at Cinequest before its theatrical release in the United States and subsequent DVD release by First Run Features and broadcast on IFC/Rainbow.

As an award-winning music video director, Reiss has directed videos for Nine Inch Nails, The Black Crowes, Danzig, Slayer, and the Kottonmouth Kings. Reiss’ “Happiness in Slavery” video for Nine Inch Nails won awards at the Chicago and San Francisco film festivals and was voted Top Ten by the Village Voice Critics Poll for Best Music Video. In 1995 the Toronto Film Festival curated a retrospective of Reiss’ music videos. His shorts screened at festivals throughout the world including Sundance, Berlin, New Directors/New Films, Edinburgh, and Chicago. Reiss received his MFA from the UCLA Film School.

Jon Reiss’ early credits also include four hour-long documentaries concerning the notorious performance group Survival Research Laboratories. These documentaries have screened in festivals, theaters and cultural centers throughout the world. All were included on a compilation DVD 10 Years of Robotic Mayhem released Summer 2004. Reiss got his start in filmmaking at Target Video, a San Francisco based alternative video company where he covered much of the West Coast punk explosion.

About Jon’s Book:

Think Outside the Box Office: The Ultimate Guide to Film Distribution and Marketing for the Digital Era

Whatever kind of content you create – feature film, short, webisodes, transmedia, YouTube – this book is for you.

Think Outside the Box Office is the first nuts-and-bolts guide for filmmakers who want to take control of their own distribution and marketing destiny. Each chapter addresses an essential aspect of a film’s release and gives specific techniques to filmmakers to create success with their films in today’s marketplace.

Covering everything from theatrical, grassroots/community, publicity, sponsorships, live events to DVD sales, affiliates, to social networking/web marketing to monetizing digital rights including YouTube, iTunes, Amazon, to crowdfunding, and audience identification its all here and more.

Jon Reiss Official Site

Jon Reiss Blog

Think Outside The Box Office Official Site

Jason Brubaker's MOVIE MAKER ACTION PACK

Tue, 25 May 2010 08:44:39 -0700

Jason Brubaker is a Hollywood based independent movie producer, passionate about helping other filmmakers make their movies and apply proven marketing strategies to reach a global audience through new movie distribution models.

With over a decade of movie making experience, Jason has produced numerous shorts and THREE feature films including (Special Dead 2006, Rattle Basket 2007 and Toxic Soup 2009).

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Jason Brubaker’s The Movie Maker Action Pact

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Brubaker began his movie making career paying his dues at a small market production company in Pennsylvania. In January 2002 Jason took a bite out of the Big Apple (NYC), where he worked in story development for an independent producer. There he read hundreds of screenplays, learned how to raise money for movies and built lasting relationships with independent filmmakers.

Coinciding with producing and teaching, Brubaker also served as an executive for Lehman Brothers, one of the biggest investment banks in the world, where he learned sales, finance, negotiation with heavy hitters and cutting edge internet marketing strategies – which he now applies to his film marketing efforts.
Brubaker currently resides in Los Angeles where he can be found most days in a mad dash hustle, working to produce his next feature film.

Jason is a contributing author of The Independent’s Guide to Film Distributors (2009 Independent Media Publications), he is the founder of Filmmaking Stuff, an educational resource for independent filmmakers and screenwriters. His articles on independent movie marketing, distribution and film production have been featured in The Independent as well as the New York Film Academy. Brubaker has has lectured on these subjects to filmmakers from around the globe at the Maine Media Workshops.

Jason Brubaker onIMDB

Jason Brubaker Official Website “Filmmaking Stuff”

***Check out Jason’s great filmmaking and screenwriting products by clicking bold link below:***

Jason Brubaker’s The Movie Maker Action Pact

SPECIAL DISCOUNT FOR REX SIKES’ MOVIE BEAT listeners and readers --- use this discount code to get an additional 20% off the purchase. Discount code is Rex. Use discount code at checkout.

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Glossary Of Screenplay And Film Terms

Wed, 24 Feb 2010 06:21:37 -0800

This is a great resource - repository of screenplays on film, television, radio and more. Check it out!

Website Article Reprint: Simply Scripts: Read Scripts Online

Glossary of Terms - This is a list of terms seen in screenplays and films.

A
ACTION
The scene description, character movement, and sounds as described in a screenplay.

For example: The sounds of TYPING rise above all the rest as MAX sits at his computer writing his essay. He stops to sigh. Looks at what he's written. Reaches over to the mouse. Highlights it all. And erases it.

AERIAL SHOT
Use only when necessary. This suggests a shot be taken from a plane or helicopter (not a crane). For example, if a scene takes place on a tall building, you may want to have an aerial shot of the floor the action takes place on.

ANGLE ON
A type of shot. This usually occurs in scenes taking place in large settings.

For example: if you're at a playground and little Billy is playing in the grass while his sister Jenny is playing on the structure. To get from a detail shot of Billy playing to Jenny playing you'd use "ANGLE ON STRUCTURE" to suggest a new shot featuring Jenny. You're still in the same location, but the director knows to point the camera a different direction.

Note: this is often implied by simple scene description. Use ANGLE ON with good purpose.

B
BEAT
Many scripts will use the parenthetical "(beat)" to interrupt a line of dialog. A "beat" suggests the actor should pause a moment, in silence, before continuing the scene. "Beats" are often interchangeable with ellipses "..."
b.g. (background)

Used to describe anything occuring in a rear plane of action (the background as opposed to the main action or attention is focused in the foreground). Always use this term in lower case initials or written in full ("background"). For example: two people talk as Bill and Ted fight in the b.g.

C
CHARACTER
In a screenplay, the name appears in all caps the first time a character is introduced in the "Action." The character's name can then be written normally, in the action, the rest of the script.
For Example: The limo pulls up to the curb. DAISY, an elderly woman sits in the car as MORGAN, the driver, steps out and opens the door for her. Daisy is dressed in evening-wear, ready for an Opera.

Character's names always appear in all CAPS when speaking. For proper margins, see the Format page. For Example:

DAISY
You've been a darling, Morgan. Here's twenty dollars.

CLOSE ON
See also INSERT and Shot.

CLOSE ON is a shot description that strongly suggests a close-up on some object, action, or person (an expressive body part such as the face, or a fist).

May also be seen as CLOSEUP or CLOSE SHOT
CLOSER ANGLE

We move in for a new angle nearer to the subject. This is more of an editing term, but can be mentioned in the screenplay when necessary.

CONTINUOUS
Sometimes, instead of DAY or NIGHT at the end of a SLUGLINE/Location Description, you'll see CONTINUOUS. Basically, continuous refers to action that moves from one location to another without any interruptions in time. For example, in an action movie, the hero may run from the airport terminal into a parking garage. The sequence may include cuts, but the audience would perceive the action as a continuous sequence of events from the terminal to the lobby to the street to the garage to the second floor to a car etc. CONTINUOUS is generally optional in writing and cn be dropped altogether. For Example...
INT. AIRPORT LOBBY - DAY

JANET looks over her shoulder. The MEN IN BLACK are still after her, toppling innocent passersby and sending luggage flying across the linoleum floor. Janet faces forward again and nearly runs smack into a nun. She apologizes wordlessly, glances back one last time before pushing through the glass doors.

EXT. STREET - CONTINUOUS

Janet stumbles to the curb, stopping short of the honking traffic
-- Los Angeles drivers. As a bus flies by, blasting her with wind, she steps out into traffic. A car SWERVES to avoid her! She GASPS, looks back. The men in black are there.

FLASH

Janet gets shot in the back by the men in black.

BACK TO SCENE

She shakes off the thought and hops up onto the curb opposite the
airport. She enters the parking garage.

INT. PARKING GARAGE - CONTINUOUS

BANG! A shot RICOCHETS into the garage. Janet SHRIEKS, her steps faltering momentarily, but she recovers.

EXT. STREET

The men in black pocket their guns and enter the parking structure.

INT. PARKING GARAGE

They glance around. No one else is in sight. The men nod to each other and draw their guns. FOOTSTEPS in the distance. One of the men points at the stairs.

SECOND STORY

Janet, breathing heavily, makes her way to her car...
As you can see, I used CONTINUOUS for some of the sluglines (EXT. STREET - CONTINUOUS) and dropped it for others (INT. PARKING GARAGE). And it all represents no time passing between changes in location.

CRAWL
This is a term used for superimposed titles or text intended to move across on screen.

CROSSFADE:
This is like a "Fade to black then Fade to next scene." In other words, as one scene fades out, a moment of black interrupts before the next scene fades in. It is not to be confused with DISSOLVE, since CROSSFADE always involves a black or blank screen. (Note: I'm not sure if this term is still in common use)

CUT TO:
The most simple and common transition. Since this transition is implied by a change of scene, it may be used sparingly to help intensify character changes and emotional shifts. The transition describes a change of scene over the course of one frame.

D
DIALOG
Very simply, this is what people are supposed to say according to the script. For formatting instructions, see the Format page.

DIRECTOR
The person who visualizes the movie based on the script, creates shots, suggests how the actors should portray their characters, and helps to edit the final cut. Basically, the person in charge of putting converting a script into a movie.

DISSOLVE TO:
A common transition. As one scene fades out, the next scene fades into place. This type of transition is generally used to convey some passage of time and is very commonly used in montages such as seen in Bugsy.

DOLLY
A mechanism on which a camera can be moved around a scene or location. Simple dollies involve a tripod on wheels. Dolly shots are moving shots.

E
ESTABLISHING SHOT:
A shot, usually from a distance, that shows us where we are. A shot that suggests location. Often used at the beginning of a film to suggest where the story takes place. For example, if our story takes place in New York, we might use a shot of the Manhattan skyline as an establishing shot.

EXT.
Exterior. This scene takes place out of doors. This is mostly for producers to figure out the probable cost of a film project.

EXTREMELY LONG SHOT (XLS):
Basically self-defined. Means the camera is placed an undefined, very long distance from the subject or action. Generally, this term would be left out of a screenplay and left to the director to decide. Use only when necessary.

F
FADE TO:
See also DISSOLVE TO:
This is commonly used as a DISSOLVE to a COLOR. Commonly, you'll see this as:

FADE TO:
BLACK
FADE IN:
NEXT SCENE

This usually suggests it's not the end of the movie, but it is the end of a major movement in the film. The "Next Scene" is often days, months, or years after the previous scenes. Sometimes titles will appear in the blackness to declare a passage of time. But this transition is often a sign of a major shift in time or emotional status for the main characters. It may also be used to suggest a character has been knocked out or killed.

FAVOR ON
A particular character or action is highlighted or "favored" in a shot. The focus is basically centered on someone or something in particular. Use only when necessary.

FEATURE FILM
In the olden days of cinema, people watched a series of short films. Then, as films became longer, they would watch some short films and one long film. The long film became the main attraction, hence the term feature film. Today, feature films are generally defined as any film at least one hour long that people pay to see.

FINAL DRAFT (1)
As in all writing, this refers to the writers last rewrite of a script. Often the script will be changed or rearranged again by the director.

FINAL DRAFT (2)
Very rarely, a script will appear as a Final Draft document. This means only people with a screenplay formatting word processor known as Final Draft or the appropriate Final Draft viewer can view the document appropriately. The Final Draft Viewer is available as a free download. For those of you interested in screenwriting, Final Draft is one of many excellent professional screenwriting tools and can be obtained in many software stores or from Amazon.com.

FREEZE FRAME:
The picture stops moving, becoming a still photograph, and holds for a period of time.

I
INSERT
When a writer pictures a certain close-up at a certain moment in the film, he or she may use an insert shot. This describes a shot of some important detail in a scene that must be given the camera's full attention for a moment. Inserts are mainly used in reference to objects, a clock, or actions, putting a key in a car's ignition.
For example: if there's a clock in the room. I, as the writer, might have reason for the audience to get a good glimpse of the clock. I would use an insert shot to suggest the director get a closer shot of the clock at a particular point in the scene.

Note: often; writing important objects in CAPS will convey their importance in the scene and give the director more freedom and a greater feeling of importance. Use inserts only when truly important.

INT.
Interior. This scene takes place indoors. This is mostly for producers to figure out the probable cost of a film project.
Intercutting

INTECUTTING
Some scripts may use the term INTERCUT BETWEEN. At this point, two scenes will be shown a few moments each, back and forth. For example, if Laura is stuck in her flaming house and the fire department in on the way, a screenplay may call for intercutting between the flames closing in on Laura and the fire fighters riding across town to save her.

Note: this is a style that can be written around with standard scene breaks. It's more to prepare the reader for the upcoming slug line bonanza.

INTO FRAME:
see also: INTO VIEW:
The audience can only see so much through the window of a movie screen. Use this term to suggest something or someone comes into the picture while the camera stays put. It's like a character or object coming from off stage in the theater. For example: Forrest Gump sits on the bench.
OLD WOMAN INTO FRAME. She sits next to him.

INTO VIEW:
see also: INTO FRAME:
The audience can only see so much through the window of a movie screen. Use this term to suggest something or someone comes into the picture while the camera pulls back (pans, etc) to reveal more of the scene.

IRIS OUT
see also wipe.
Also written as: IRIS FADE OUT or IRIS FADE IN. Used at the end of Star Wars scripts, this term refers to a wipe from the center of the frame out in all directions. It's as if the iris of a human eye were opening for dimly lit situations to take us into the next scene or the ending credits as is the case with Star Wars.

J
JUMP CUT TO:
A transition. Imagine setting a camera down to film a person. You record him for five minutes. But as it turns out, you have only a one minute time limit on your project. You have no special editing tools, just a couple of VCR's. But you realize that most of the important stuff is said in a few short moments. If you cut out the unimportant parts and edit together the parts you want based on a single camera angle, you will have what are called jump cuts.

Transitions from one moment to the next within a scene that appear jarring because they break the direct flow of filmic time and space. This transition is usually used to show a very brief ellipsis of time. A good example of Jump Cuts can be seen in the movie Elizabeth when the queen practices her speech. The jump cuts make us disoriented and nervous along with the queen, giving us the tension and humor of the situation as if it were an out-take reel. Bad examples of Jump Cuts would be in B-movies like Mothra where they don't have the money to get scenes from various angles, so they cut from one important moment to the next from the same angle.

L
LAP DISSOLVE:
See also DISSOLVE: A transition between scenes that is achieved by fading out one shot while the next one grows clearer.

M
MATCH CUT TO:
A transition often used to compare two completely unrelated objects. It's film's version of metaphor. This involves cutting from one object of certain color, shape, and/or movement, to another object of similar color, shape, and/or movement. For example, a circular saw to a child's merry-go-round. A commonly studied example of match cutting comes from 2001: A Space Odyssey.

The classic cut comes towards the beginning of the film. After the apes have used a bone as a weapon for gathering food, an ape throws the bone into the air. As it falls, we match cut to a space ship carrying nuclear warheads. Both the bone and the ship are of similar shape and color, and both happen to be moving towards the bottom of the screen. The cut relates all of technology to the development of weaponry as it cuts out all of human history.

MATCH DISSOLVE TO:
See also MATCH CUT TO:, DISSOLVE TO:
This contains similar qualities to the MATCH CUT. A match dissolve involves two objects of similar color, shape, and/or movement in transition from one scene to the next.
 For example: if Scene A is following (tracking) an arrow whizzing through the forest, I might match dissolve to a tracking shot, in Scene B of a bullet whizzing through the inner city.

MICROSOFT WORD DOCUMENT
A computer term referring to the digital format a script may be stored in. These files are in a word processor files and often require Microsoft Word 6.0 or higher to read. Microsoft Word comes with many PC's or can be obtained with Microsoft Office 97, 98, and 2000.

MONTAGE
In film, a series of images showing a theme, a contradiction, or the passage of time. This film style became common in Russia in the early years of cinema. Russians were the first to truly use editing to tell a story. Some early examples of montage include City Symphony's and Man With a Movie Camera. Modern day examples of montages can be seen in Kramer vs. Kramer and Bugsy.

MOS
Mit Out Sound (Original German) Moment of Silence (Made up English memory device). I've never seen this anywhere before, but maybe it has been used before, so, now you'll know should you ever run into it.

O
O.S. or O.C.
Off-screen or Off-camera. This is the abbreviation sometimes seen next to the CHARACTER'S name before certain bits of dialog. Basically, it means the writer specifically wants the voice to come from somewhere unseen.

P
PAN
Camera movement involving the camera turning on a stationary axis. Imagine standing in one spot on a cliff in Hawaii. You want to absorb the view so you, without moving your body or feet, turn your head from the left to the right. This is the same effect as a pan.

See Also: Swish Pan

PARENTHETICAL
If an actor should deliver his or her lines in a particular way, a screenplay will contain a description in parentheses to illustrate the point. Parentheticals should be used only in cases where a line of dialog should be read in some way contrary to logic. If used too often, actor's and director's egos get hurt, and things get messy.
For Example:

JULIE
(calmly)
I hate you. I hate you. I hate you.

PDF
This is a computer term referring to Adobe's cross-platform portable document format. This file is created with Adobe Acrobat and can only be read by the Adobe Acrobat Reader. To download the Reader for free, click here.

POV
Point of View. The camera replaces the eyes (sometimes the ears) of a character, monster, machine, surveillance camera, etc. As a result, we get to see the world through the sensory devices of some creature. This can be used to bring out the personal aspects of a scene, or it can be used to build horror and suspense. An example of horror and suspense in POV can be scene in the opening shot of Halloween.

PUSH IN:
The camera physically moves towards a subject.

R
REVERSE ANGLE
Often used to reveal things for comic or dramatic effect. Could be described as a counter POV shot. Basically, the script suggests the camera come around 180 degrees to get a shot from the "other side" of a scene.

For example, in the Something About Maryscript, Tucker is playing a joke on Mary in her office in one scene that the writers didn't want to reveal right away. They use a REVERSE ANGLE to show that he's got two tongue depressors in his upper lip to represent teeth. This reverse angle is used for comic effect.

ROLL
This is a term used for superimposed titles or text intended to move vertically on screen. For example, the text at the beginning of Star Wars movies.

S
SCENE
An event that takes place entirely in one location or time. If we go outside from inside, it's a new scene. If we cut to five minutes later, it's a new scene. If both, it's a new scene. Scenes can range from one shot to infinity and are distinguished by slug lines.
Shooting Script

This is the truly final draft used on set by the production people, actors, and director to make the movie from the screenplay.

SHOT
One image. If there's a cut, you've changed shots. Shots can range from split seconds, like in Terminator 2, to several minutes, such as in Secrets and Lies or the opening sequence of Halloween. Shots are generally chosen by the director although the writer can use capital letters to suggest where the camera should be. When a writer absolutely must have a certain shot at a certain moment in a film, he has a few options each described in detail elsewhere in this list: INSERT, ANGLE ON, and CLOSE ON.

For notes regarding how to format shot types, check the Format page.

SLUG LINE
The text in all CAPS at the beginning of a scene that briefly describes the location and time of day.

For example: INT. DAVE'S BEDROOM - NIGHT
Note: sometimes sluglines are abbreviated to something as simple as "LATER" or "BEDROOM."

SMASH CUT TO:
An especially sharp transition. This style of cut is usually used to convey destruction or quick emotional changes.

For example: If I were writing a horror movie but wanted to lighten the gore at the beginning, I might have the first victim trip and fall. The killer enters the forest clearing, taking a moment to savor this death. The victim shakes her head, as if begging for the killer to change his mind. But no, he closes in, a black cloaked arm raising the knife into the air. The knife catches the moonlight for just a moment before it races downwards.

SMASH CUT TO:

EXT. WOODLAND HIGH SCHOOL COURTYARD - DAY
It's a bright and beautiful morning and kids wander the courtyard on their way to class or to meet friends. And the students discuss the end of this example.

The sudden shift from a dark forest to a bright schoolyard on the first stab would convey the distress of the murder without showing it. For another example of a smash cut, see the transition to L.A. in Barton Fink.

Note: this transition is often a director's choice. As a writer, use this sparingly if at all. Many script readers find this term unprofessional.

SPEC SCRIPT/SCREENPLAY
You won't see this term anywhere else on this site. If a writer finishes his own screenplay outside the studio system (it isn't an assignment) then sends it to the studios for consideration, it is a spec script.

SPLIT SCREEN SHOT:
The space of the frame is split into two, three, or more frames each with their own subject. Usually the events shown in each section of the split screen are simultaneous. But Split screen can also be used to show flashbacks or other events. For example, two people are talking on the phone. They're in different locations, but you wish to show the reactions of both simultaneously. Or, watch Run, Lola, Run to see another use of split screen.

STEADICAM
A camera built to remain stable while being moved, usually by human hands. Occasionally, seen in scripts to suggest a handheld shot be used in a scene.

STOCK SHOT:
Footage of events in history, from other films, etc. Basically, anything that's already filmed and you intend to be edited into the movie. For example, the Austin Powers movies use stock footage for comic effect. Some old B films use stock footage to keep their budgets low.

SUPER:
Abbreviation for superimpose. The superimposition of one thing over another in the same shot. Sometimes TITLES are superimposed over scenes. Or a face can be superimposed over a stream-of-consciousness montage shot. It's up to you!

SWISH PAN
A quick snap of the camera from one object to another. This high speed movement causes the image to go completely blurry. Imagine yourself in the center of a merry-go-round that's moving really really fast. Aside from making you totally dizzy, the world becomes a blur, swished out in the movement, like a giant and constant swish pan. Cuts are often hidden in swish pans. Or they can be used to disorient or shock the audience.

For a good example of Swish Pan, watch certain old episodes of The Twilight Zone.

T
TIGHT ON
A close-up of a person or thing. Basically, like the space has been squeezed out of the area between camera and subject. Not in common use. Use only when necessary.

TIME CUT
When you want to cut to later in a scene, you have the option of writing TIME CUT as the transition. For example, if two people walk into a restaurant and their conversation is important at first then veers off into topics not important to your story, then you might want to time cut from the drinks to the main course and then again to paying the check.

TRACKING SHOT (Track, Tracking)
In short, a tracking shot involves a camera following a person or an object. As long as the camera isn't locked down in place by a tripod, for example, and is following (tracking) a subject, then it's a tracking shot. For good examples of tracking shots, watch the one take episode of The X-Files or most any episode of ER. Star Wars Episode One has tracking shots galore during the pod race. And I'm sure most films have some form of tracking shot or another. (It'd make a good drinking game)

TRAILER
In the olden days of cinema, the advertisements for upcoming attractions were usually played after the end of the movie. Hence, they became known as trailers. But, as credits reels have grown in size over the years, audiences would often leave before watching these advertisements and "trailers" became "previews." But the name is still in common use. A trailer is a theatrical advertisement for an upcoming film attraction.

TRANSITION
These describe the style in which one scene becomes the next. Used appropriately, these can be used to convey shifts in character development and emotion. In other words, a CUT TO: is not required at every scene change. Some major transitions include CUT TO:, DISSOLVE TO:, MATCH CUT TO:, JUMP CUT TO:, SMASH CUT TO:, WIPE TO:, and FADE TO:. Each term has it's own entry in this list of terms.

Occasionally a writer will make up his own transition. In these cases, the transition is usually self-defined (such as BRIGHT WHITE FLASH TO: suggests whiteness will fill the screen for a brief moment as we pass into the next scene). For formatting info on transitions, see the Format page.

V
V.O.
Voice Over. This is the abbreviation sometimes seen next to the CHARACTER'S name before certain bits of dialog. This means the character voices that dialog but his or her moving lips are not present in the scene. Voice over is generally used for narration, such as in the beginning of The Mummy. Or, as Austin Powers would say, a character's inner monolog. The inner thought processes of the character said out loud such that only the audience will hear it.

An general example of Voice Over can be seen (heard, actually) in Election or in the Sixth Season Finale of The X-Files.

W
WIPE TO:
A transition in which one scene "wipes away" for the next. Imagine Scene A is water and Scene B is the substance underneath. A wipe would look like a squeegee pulling Scene A off of Scene B. These usually suggest a passage of time from one scene to the next. The most common and obvious example of wipes is in the Star Wars franchise. You can also watch The Mummy for more examples.

Z
ZOOM:
The image seems to close in on a person or object making the person or object appear larger (or smaller) on screen. Technically, the lens mechanically changes from wide angle to telephoto or vice versa. Notice and recognize the difference between a zoom and a push in (camera moves closer to subject). Use zoom only when necessary. For an example of zoom, see Boogie Nights.

Simply Scripts Official Website

Truly Free Film Blog | Resource For Filmmakers

Fri, 12 Feb 2010 08:44:23 -0800

Here is a blog site that is a must for independent filmmakers and filmmakers of all kinds. It is a wealth of information from one of today’s most prolific filmmakers Ted Hope. So be sure to check into it and keep checking back. Not only does he have his blog but the list of resources available to us are outstanding. I reprint some of Ted’s blogs in OUR BIZ because I want to expose more people to this incredible filmmaker and filmmaker resource.

Ted is a guest on Rex Sikes’ Movie Beat and you can read more about him and listen to his interview here:

Rex Sikes’ chats with independent producer Ted Hope

Here is the link to Ted’s incredible blog site:

Truly Free Film

Distributor Links | Movie Distribution Facts

Fri, 12 Feb 2010 05:06:40 -0800

Here is a resource you want to check into. Movie Distribution Facts answers questions, provides links and much more. So be sure to visit the official web site link below. Keep in mind that in our changing times information, providers and links may also change. New ones may be added and sadly, reliable ones may vanish. It does not appear that this website has been updated in some time so be aware of that as you use this reference.

DC COMICS ENTERTAINMENT

MARVEL COMICS ENTERTAINMENT

LIONS GATE FILMS

WEINSTEIN COMPANY

TROMA ENTERTAINMENT

ROGUE PICTURES

KINO INTERNATIONAL CORP.

SONY PICTURES CLASSICS

MERCHANT IVORY PRODUCTIONS

NEW LINE CINEMA

MIRAMAX

FOCUS FEATURES

GRAMERCY PICTURES

IFC FILMS ENTERTAINMENT

PICTUREHOUSE ENTERTAINMENT

THINKFilm

MAGNOLIA PICTURES

SAMUEL GOLDWYN FILMS

FIRST LOOK INTERNATIONAL

PALM PICTURES

NEW YORKER FILMS

IDP DISTRIBUTION- jointly owned by Samuel Goldwyn and Roadside Distribution

ZEITGEIST FILMS

SCREEN MEDIA FILMS

WELLSPRING MEDIA

COWBOY PICTURES

FIRST RUN PICTURES

CASTLE HILL PRODUCTIONS

EMERGING PICTURES

Movie Distribution Facts Official Website

Bolex Camera For Sale NOW

Mon, 01 Feb 2010 09:34:51 -0800

Contact Daniel Noe if you’d like to pick up this camera from him. He has has the original flip top box the camera came in, and the conversion wheel. Contact information below

H-16 REFLEX 16mm Camera 1956

OVERALL DIMENSIONS: 8 1/2" x 6" x 3"

WEIGHT: Approximately 5 1/2 lbs

OUTER CASE: Highly polished duraluminium body, covered in genuine Morocco leather. Metal parts are chrome-plated.

FILM CAPACITY: 100ft (30m) and 50ft (15m) daylight loading spools of 16mm film.

THREADING: Automatic threading and loop forming. The end of the film is simply placed in a channel leading to the feed sprocket. The release is pressed and the film is then automatically threaded throughout the entire mechanism.

MOTOR: Constant speed, spring motor mechanism; governor controlled. Large winding handle folds downward and attaches to camera when not in use. Spring cannot be over-wound. 8:1 external drive shaft permits the attachment of an electric motor.

TURRET: Rotating turret with folding lever; Accommodates three interchangeable RX type C mount lenses.

VIEWFINDER: 6x magnification; Reflex viewing with semi-reflecting prism system; Groundglass focusing; Adjustable to eyesight. The camera comes equipped with an Octameter viewfinder.

FILTER SLOT: Built-in slot holds a gelatin filter behind the taking lens and in front of the shutter.

VARIABLE SPEED: 8, 16, 24, 32 and 64 frames per second
RELEASE BUTTON: provides for the making of continuous exposures by a finger-tip release on the front of the camera. A side release allows for locked, hands-free running or single frame exposures.

SHUTTER: 144 degree shutter.

FOOTAGE COUNTER: adds and subtracts accurately in forward or reverse motion and automatically returns to zero when film is reloaded into the camera.

AUDIBLE FOOTAGE INDICATOR: A distinct click announces the passing of each 10 inches of film through the gate. This mechanism may be disengaged, if desired, by simply moving a lever.

FRAME COUNTER: Twin dial counts frames individually and in total; Adds frames in forward motion and subtracts when film is wound backwards. Dial may be reset manually at any time.

SINGLE FRAME: Time lapse and animation is possible by using the side release button or an accessory cable release and adapter; I-T lever allows for timed or instantaneous single exposures.

MANUAL REWIND: Clutch disengages spring motor and permits forward movement and backwind without running down the spring; allows for dissolves and superimposition.

TRIPOD SOCKET: 3/8" thread

Notes and Comments
The H-16 Reflex incorporated several new designs to the Bolex H camera. A system of ten optical prisms was utilized in a new viewing system, allowing through-the-lens framing and focusing. Unlike other reflex cameras, the Bolex reflex used a semi-reflecting prism located behind the lens and in front of the shutter. The advantage was flicker-free viewing during filming. However, the disadvantage of the system was a slight loss of light diverted by the reflecting prism (approximately 25%).

The Bolex H-16 Reflex was also designed with a 20% more powerful motor than earlier models. On a full wind, it was possible to run the camera for 40 seconds at 16 frames per second.

The camera could accept three C-mount lenses (1 inch thread diameter). However, the glass of the reflex prism between the lens and film plane affected the optical correction of focal length lenses equal to or less than 50mm. To solve this problem, Kern introduced a line of "RX" mount lenses which were distinguishable by red letters engraved on the front of the barrel.

(More on RX and standard C mount lenses.)

It was still possible to use standard C-mount lenses of 50mm or less, but for best results it was recommended they be stopped down to at least f/5.6. [2] However, it was later suggested that non-RX lenses of 50mm focal lengths and less would likely produce satisfactory results only when stopped down to f/8 or smaller. [3]

Bolex Cameras in the H16 Reflex Series:
H16 Reflex, H16 REX, H16 REX-2, H16 REX-3, H16 REX-4 and H16 REX-5.

Identifying features:
The first model of H16 Reflex is often mistaken for the later H16 REX. Varying terminology among users and sellers also complicates the matter. An original first model H16 Reflex can be identified as such by looking at the viewfinder; the control knob for eyesight adjustment on this model is located on the side of the finder. The most distinguishing feature, compared to later reflex models, is that it does not have a variable shutter control lever.

Serial Numbers and Dates of Manufacture
The serial number on this model can be found inside the film chamber, near the top spindle. A matching number can also be found inside the film chamber door. Paillard Serial number data lists the date of introduction as 1956, beginning with S/N 116001. However, according to their same information, 116001 falls into the range of numbers allocated for the 1955 production year. It's possible that it began production in 1955, although it was not officially introduced until 1956. The camera was superseded by the variable shutter H16 REX in 1959.

Contact Daniel Noe here

WI Gubernatorial Candidates All PRO New Film Incentives for State

Tue, 20 Jul 2010 06:03:47 -0700

The three Wisconsin candidates for governor agree that film incentives can benefit the state. However they have not gotten specific regarding their plans to reinstate a workable and effective new program. I have asked each by email and one in person. In person I got a positive political response. None replied by email so what they plan to do, how and when is still in the air.

Still, this is good news.

You may recall that I spear headed the SAVE WI FILM INCENTIVES campaign (the grass roots effort) to lobby the legislators in favor of the Film Incentives. Our 3000 plus members wrote letters, made calls and spoke at Joint Finance Committee meetings had a positive impact in getting the JFC to vote unanimously in favor of supporting the incentives.

Doyle going against the people and his legislators still torpedoed the program killing a substantial developing new industry, stopping potential investors from coming into the state and loosing us millions and millions of dollars in revenue - even though the program showed a profit in it's first year.

As stated, I have asked each potential governor what specifically they would do differently to put us back on the correct track and make us film friendly and inviting to business around the world. Michigan has produced 50 movies last year, Illinois is doing well, Louisiana has benefited from incentives - IN FACT over 40 states have them.

We need a proactive, well constructed, intelligent set of incentives that are properly administered. This could have been done in the first place, it could have been done instead of eliminating them, and it should be done now. We are hurting and there would be immense benefit to the local communities and the residents of the state to have films come into the state and actually be produced within our borders.

Our US film business is leader in global export of motion picture related products and Wisconsin should join in on exporting to the world. We were poised to capture the lion share of movie production in our state - Doyle killed that. It is time to thoughtfully make it happen.

Along with numerous feature products we lost the series "The Good Wife" now in its third season - 33 million dollars a year in production went out of this country thanks to Doyle and the DOC. Any state or city knows what it means to have a series shoot in your area. It is a tremendous boon. We lost so much when Doyle took any chance away from us and now we have to play catch up.

As you know I am spearheading a new group WI FILM JOBS -KEEP WI FILM FRIENDLY that people can join from my Facebook profile page. It is time for the candidates to get specific about what they intend to do and when.

Time is moving quickly past us and we only have a small window of opportunity to get new incentives on the books to both attract outside film production investment into Wisconsin AND to stimulate movie production from within by local filmmakers.

Join us - help us get this state back on track.

The Making of Woody’s World | Video

Wed, 26 May 2010 19:32:27 -0700

Still photos from the set of "Woody's World", written and directed by Ron Kolman, produced by Rex Sikes, starring the voice of Gary Puckett. Photos by Ray Schulze

Movie Beat | Rex Sikes Talks Movies And Incentives | PBS

Tue, 16 Mar 2010 04:07:49 -0700

This is a recent interview of me done by students at PBS Station MPTV. I discuss Hollywood a bit, the movie business, making movies in Wisconsin and some more. There are clips from a local film festival, “Baggage” a dinner theater play I was in, and from”The Spade County Massacre”. Hope you enjoy.

Movie Beat | Movies in WI | Incentives |What We Need NOW To Move Forward

Sat, 13 Mar 2010 05:27:47 -0800

If it is accurate that 44 states are offering Film Incentives to attract business monies, investments, and productions to their area then what on earth is the matter with the other 6 states?

For crying out loud - if the old adage is also accurate - ‘you must spend some money to make some money’ then these 44 states DO understand something the other 6 do not.

The WHOLE point of incentives is to do something positive and creative for YOU and for OTHERS.

YOU create a win/win agreement wherein it is beneficial for investors to come in and invest in your area. YOU make it so it is irresistible for others that they HAVE TO come in and make their projects here. You make it compelling for them to be here.

Flowers know how to attract bees and they exist together in a mutually dependent relationship - what on earth is the matter with state governments, legislators, DOC’s that they can not yet figure out how to put positive business practices into place.

The notion is a simple one. You create reasons for people to help you by helping them first. ‘Givers get’ is a favorite phrase.

You benefit by adding value to others first.

Keep in mind this is not about government programs and funding Hollywood. This is what businesses do all the time. The provide incentives and reasons for others to do business with them, to invest in them and to purchase their products. It is an everyday, useful business practice used to grow business and profits.

This is something that many in the Wisconsin state government, the lame duck Governor Dolye and his minions and cronies in the DOC just never could understand. Hence, they broke our state, and drove business from us. We need to capture that business back, we need to grow our state and attract others. We will NEVER do that by living in the dark ages by being stingy and as short-sighted as the exiting governor.

You don’t move forward by being stupid nor naive and you also do not move forward by being stingy, stubborn, unfriendly and unresponsive to others. You win by helping others to win.

We need progressive, positive, creative action - we need to make irresistible programs while at the same time not giving away the farm. We need to be smart and visionary and we need to be friendly. Plus, we need to have quality professionals in place to add to the mix.

It is not just about money - it is also about competence. We need to create an environment and a mindset that welcomes others, gives them advantages they can’t get elsewhere AND we need to have a production base that they can utilize in exchange for investing in our locale, spending monies here and helping to benefit us. IT should be an exchange of resources that both sides need and want.

Figure out what someone wants and help them get it and you create a potential friend for life.

Most importantly we need to draft programs that service both sides and adopt a friendly and inviting attitude. We have a lot of catching up to do since Doyle broke our business and left us in deficit but we can do it.

We need to have the right mind set, the right people, the right legislators and use our VOTING power and our VOICES to make sure our wants and needs are heard and acted on.

We need to catch up and the time is now for action.

Please join the cause, please spread the word, please be prepared to act. The only way we get what we want and need is to be proactive and work hard to get it.

It has been said for evil to triumph all that is required is for good people to do nothing.

So we need to act. We need to make this our priority. We need to make it THE topic of conversation, we need to email others, call others, post about it, meet about it. We need to TELL our legislators what we want and when we want it.

We need to ramp up our own internal productions and become a state of filmmakers serious about creating commercially viable product.

We need to draft the incentives so that they ACTUALLY benefit local filmmakers and assist them in getting their films funded, produced and completed. We need good, smart, strong , practical, positive incentives better than how they were originally drafted AND certainly, better than anything Doyle left us with after vetoing them.

We need good, strong, inviting incentives, and a means to track spending - we need a business plan to track expenditures and receivables. We need a DOC that understands HOW the film business works and is able to be on top of things instead of how they have acted in the past. We simply need good strong business practices - because making a movie or running a state is, after all, business.

If we are able to ramp up our own internal productions while inviting outside productions in to partner with then we will build our infrastructure and our film,TV and gaming business. Building infrastructure may take some time, so be prepared for things to happen without an immediate evidence of benefit.

Shortsighted people may complain that it isn’t happening fast enough or that movie crews will come in and locals won’t be hired. That could be true for awhile because unless we have qualified workers they need to bring their own. And they won’t hire our locals either when they inflate their prices and price themselves out of work. A sad practice among many here who only later complain.

We need to be smart. We have to nurture a program, massage it, until it works.

Putting all thins into effect will be a work in progress and we have to keep out eyes on the goal.

We have to take each step by step and make constructive adjustments along the way. We need to be flexible in our thinking and in our approaches. We need to figure out how to correct and move forward instead of break it and go home as Doyle did.

If we keep our eye on the goal, make a great workable business plan that we implement - then we can make our own movies while partnering with those from the outside.

To do all this we need to think outside the box to do this. We need to be innovative and we need ot adopt 21st century practices.

But when we do
and when we are able to create this plan
and then work the plan
THEN we can work in the industry we love right here in Wisconsin.
Then each state’s cast and crew’s can work in their states as well as in each other’s.

JOIN the cause here by clicking on the bold link and then signing up at the website - WI FILM JOBS - KEEP WI FILM FRIENDLY.

AND Please work hard to help us build the infrastructure we need .

What is infrastructure - it is Crew - experienced, knowledgeable crew - people who can work the jobs that otherwise would have to be brought in. It is the Facilities - sound stages, recording studios, editing suites & post houses and the people who can manage these. It is Competitive rental houses so productions don’t have to go outside the state to get equipment. It is everything a business needs to thrive and compete. It is everything needed to be in business, run the business and compete.

We have some great people already and some great resources and we need to continue to build our resources and offerings, to get educated and experienced so we can compete with other states.
We need to be competitive to even be considered to be in the running.

MOST OF ALL we need this practical, well constructed plan, and smart legislation, and a positive vision combined with the best business practices and welcoming attitude to put the invitation out there.

AND we need your support.

Keep in mind when we created SAVE WI FILM INCENTIVES we grew to 3000 some voices. AND we we had a positive effect on the Joint Finance Committee and the Assembly - everyone we needed to save the incentive except for the governor whom it is alleged torpedoed them for his own personal petty reasons and not for what was good or bad for the state.

SO while there are no guarantees ONE THING IS GUARANTEED, one thing is certain - if we do nothing we will get nothing.

If we don’t act we will get what we deserve - zero.

So please join me in this, please act and let’s work together to build what we want. Let’s make sure we get a governor and legislators who is on the side of the people in this state. Let our needs and our wants be known. We can make it happen AND it will take work. So be prepared - but we can do this. We can build this.

And if we build it, AND BUILD IT RIGHT, they will come! They will spend their money here in our communities, and hire our workers, and stay in our hotels, rent our cars, use our businesses to make their projects, pay for entertainment and products here, and we will be better off because they are here than if they stay away. And if we build it right, our own filmmakers will be able to utilize the incentives too to finance and produce their products.

That is a win/win for us. And we need a win/win for us and and for the outside companies.

So let’s getting movie on this. Let’s not waste the time or the opportunity before us. There is much to be done - are you with me on this?

I hope so.

Movie Beat | Get Mad | Take Action | Join Keep WI Film Friendly | Save WI Film Jobs

Mon, 08 Mar 2010 08:48:57 -0800

WI residents PLEASE JOIN OUR CAUSE --- WI FILM JOBS - KEEP WI FILM FRIENDLY and spread this cause and the word to other WI residents and other WI filmmakers.

We need to take action now to insure that WI is film friendly & inviting to potential outside investors & movie manufacturers. We need to insure RIGHT NOW that our current & future legislators & new governor KNOW that we want them to work harder to create a film viable state.

Sadly, the outgoing governor destroyed the potential of building a strong viable film business that could partner with outside film producers to create product within the state. He dismantled incentives that applied to outside interests as well as for filmmakers within the state. It is time to undo his harm.

CLICK HERE NOW TO JOIN OUR CAUSE WI FILM JOBS - KEEP WI FILM FRIENDLY

Our film office was not able to prevent the lame duck governor from fulfilling his destructive agenda. Not only did he destroy our film business but drove 6700 hundred businesses outside the state. We have lost 4.3 % of business in last three years while Illinois number of private business grew 8%, Iowa is up 2% MN went up less than 1% & Michigan lost fewer businesses than WI even though it has a higher unemployment rate.

Doyle was bad for the state no matter which way you look at it. SO we need to act and we need to act now. We need to insure the next Governor has a viable plan - and that the Governor works the plan to create economic opportunity for us all, NOT just the film business BUT we want to make sure filmmakers are not overlooked.

JOIN ME - I want to do something! AND I want to begin things now. Others seem to move too slow, they fear for their livelihoods due to conflicts of interest and I can’t blame them. Such is the case and nothing is happening in a strong and positive manner. WE need to change that and change that now.

So let's up our membership numbers and let's do it fast. Let’s do a push to get people to join this cause today.

Let's make this a priority so we can send a strong loud clear message to our legislators NOW, as well as LATER, that we want change, positive change, and that we want our film business to be resurrected. We want to build our infrastructure, make our movies, TV and video games. We want to work and attract other productions into the state so we can work more and feed our families.

We need film friendly legislation and we need film friendly legislators!!!

We need a comprehensive plan to insure that we make this happen.

AND we need to make sure that the new Governor and our legislators ALSO have a comprehensive plan to make revive the film business in the state - so we have to begin today otherwise, it will be too late. We can not wait until people are already elected.

We need them to know what it is we want and we need to discouver how proactive they are and just what exactly they will do to make this happen. What is their plan? We need to help them draft it.

We need to help them make this happen. We have to make certain they do the right thing and make the correct changes now for the latter days when these officials do take office.

We need to VOTE IN those who will work to help us get what we want and VOTE OUT those who do not.

Let’s make this real clear to them. We want legislators who will work for the people of this state and who can demonstrate that they can put their money where their mouth is. We don’t want political promises and political speak we want change in the right direction.

We want to become film friendly because the perception out there right now is that we are not. That is due to the Governor and to the Department of Commerce - that blame lands squarely at their feet.

Our state has not been film friendly. The DOC has been unresponsive, slow to act, causing interested film partners to go elsewhere to the tune of millions and millions of dollars.

Let's put an end to this bureaucratic stodginess and get some results around here.

Let's make WI a competitive film friendly state so we can get OUR movies and other's movies made here.

The time for action is NOW and it is up to each and everyone of us to become a loud clear active voice and partner in this movement.

SO PLEASE JOIN WITH ME TODAY - spread the word, stay tuned and let's get this going.

In the meantime - Dolye recently celebrated the addition of a company to Wisconsin, Talgo from Spain, citing that it means 125 new jobs.

But the reality is the Department of Revenue states we lost 160,000 jobs during this recession so we would need 1,320 Talgos (the Spanish company) just to equal the jobs we lost.

Let’s not live like this anymore. Let’s take control of our future to see a brighter future.

Remember, among other projects, we lost the series “The Good Wife” now in it’s second season in Canada. Two years in production - we would have already had more people working than Talgo.

We have lost so much more - keep in mind who lost it for us. The DOC, and Doyle dismantled our business and cost us jobs, income and benefits.

Please also stay tuned to my MOVIE BEAT web site here and the FAN PAGE on Facebook so I can easily communicate with you and you with me.

THE TIME FOR ACTION IS NOW. Put the above link to the cause on your fb profile - send this letter and the cause info to all your family, friends and contacts who you know can take the same action and help out. Begin an email campaign, use whatever social media means you have available to help get the word out to others inside our state.

We need to send messages to the legislators and the candidates that we mean business and that we want to finally see prosperity for our state and her filmmakers.

To quote a popular movie go to your window and yell
"I am made as hell and I am not going to take it anymore"

And let's get some good things done! Won't you help out right now?

Thanks, be well and take care and let's all stay in touch about what actions we will be taking soon.

You can comment below and start a discussion.

The Art and Craft of the Director 3 Day Film Workshop | May 14 Thru 16

Sat, 27 Mar 2010 16:40:59 -0700

The Art and Craft of the Director 3 Day Film Workshop May 14,15,16, 2010 – Vancouver, Canada by PETER D MARSHALL

“You aren’t an artist because you’re good at it. You’re an artist because you can’t not be, because you’re driven to it and if you can stop and walk away from it, then you weren’t an artist to begin with.” Anon

The Art and Craft of the Director 3 Day Film Workshop: How to Become a Successful, Working Film Director

Dear Filmmaker,
Is your dream to direct movies? Are you having trouble getting your film directing career started? If you have the drive and passion to be a film director, and the courage to stick it out “no matter what”, I can help you reach that goal!

Hi, I’m Peter D. Marshall and I would like to invite you to my “Art and Craft of the Director” filmmaking workshop in Vancouver, Canada on May 14,15,16, 2010. This three day workshop will be held at the historical Sylvia Hotel located on English Bay near Vancouver’s famous Stanley Park.

“The Art and Craft of the Director” is a 3 day intensive workshop where up to 20 filmmakers from around the world will have the opportunity to focus on what I believe to be the director’s most important roles – understanding the story and knowing the objectives of the characters.

When you know how to do these tasks efficiently, you then have the foundation from which to create your visual style and the means to get believable performances from actors.

“I have taken several directing courses and Peter’s course by far, takes the gold star. This impressive, condensed seminar saturates years of experience and learning and presents it in an easy to use package. A definite recommendation.” Trevor McWhinney – Vancouver, Canada

But before I tell you what else you will learn during these three days, you should know that this directing workshop isn’t for everyone!

To be a film director, you need to know what is expected of you when you begin pre-production, when you step on the set, and when you are in the editing room. And to do this successfully, you need to have complete confidence in yourself and an unshakable faith in your talent and ability.

Here are just some of the many skills you need to be a filmmaker today:
- relentless focus on what is possible rather than what’s not possible - protecting yourself from anyone who does not support your vision - searching for the deep longings that inspire you to create - sharing your deepest feelings and experiences through your work

So if you understand the path you have chosen, and you are serious about learning how to succeed as a film director, please read on.

“Thanks again for offering The Art Of The Director. A great learning experience. For me, there were many mysteries solved and 1000 assumptions debunked as to the role and focus of the director: a wonderful confidence builder.” Patrick Stark – Vancouver, Canada

Here are just some of the many tips and techniques you will discover in this 3 day workshop that will help kick-start your film directing career.

- the differences between directing television and feature films - why “politics” plays a major role in your success as a director - what is expected of a director in pre-production - how to effectively communicate your vision - why “listening for the truth” is your best directing tool
- the importance of the actor-director relationship - the three qualities of an actor you look for during casting - the seven categories of actors - how to guide an actor’s performance on the set - how to break down your script to understand the story

“I took the course to kick start the drama side of my directing career. It did more than kick start it. It gave a tool box to work with.” Michael Keeping – Vancouver, Canada

- the four sources of conflict - the quick reference guide to script and scene analysis - the breakdown of the four main character personality traits - why you must know the objectives of every character - how the director creates the sub-world of the script
- the creative use of camera techniques - why you must understand “film montage” before you direct - the secrets of getting a good performance from an actor - the four parts to staging and blocking a scene - the guidelines for working with the crew on the set

“Valuable insights into not only the mind set of the director, but also the actor, the character and the value of interpreting the story. I learned a lot about the director’s strategy about how to connect with the actors to bring vision to the story.” Julie Slater – Vancouver, Canada

The Three Day Workshop Format

Overview – for three days, you will have the unique opportunity to meet filmmakers from around the world; to learn and discuss your craft; and to share your experiences as artists and story tellers.

Day One – a combination of lecture, class discussion, film clips and a Q & A session with a special guest speaker. You will also get an assignment for Day Two.

Day Two – analysis of the class assignment, lecture, film clips and a Q & A session with another special guest speaker. You will also get an assignment for Day Three.

Day Three - analysis of the class assignment plus the hands-on part of the workshop. You will be partnered with another director for a staging and composition exercise. Each group will direct two “actors” (class participants) and pick camera angles that best portray the scene and character objectives.

Workshop Objective – When this 3 day workshop is completed, you will see for yourself how any director, even someone with very little experience, can effectively block a scene and get a believable performance from an actor!

“Very in-depth class with a great way to express the director’s role. The role playing was a fantastic way for me to learn to compose a scene, deal with actors and understand what is needed for the story.” Alexandra Pacheco – Burnaby, Canada

Right about now, you may be asking: “Who is Peter D. Marshall?”
Good question. Well…I have worked (and survived!) in the Film and Television Industry for over 35 years – as a Film Director, Television Producer, First Assistant Director and Series Creative Consultant.

I have Directed over 30 episodes of Television Drama such as “John Woo’s Once a Thief”, “Wiseguy”, “21 Jumpstreet”, “Neon Rider”, “The Black Stallion”, “Scene of the Crime” and “Largo Winch.”

As a First Assistant Director, I have worked on 12 Feature Films (including “Dawn of the Dead”, “The Butterfly Effect”, “Happy Gilmore”, “The Fly II”); 17 Television Movies; 4 Television Series Pilots; 7 Television Series and over 20 Commercials.

I have written, directed or produced over 50 hours of documentary and educational programs and these documentaries and dramas have won, or been nominated for, 14 International film awards.

I have worked for directors such as John Woo, Zack Snyder, Phillip Noyce, Ed Zwick, John Badham, Roger Vadim, Dennis Dugan, Anne Wheeler, Bobby Roth and Kim Manners.

I have also worked with actors such as Peter O’Toole, Kevin Spacey, Morgan Freeman, John Travolta, Kathy Bates, Michelle Pfiefer, Marcia Gaye Harden, Madeleine Stowe, Mel Gibson, Ashton Kutcher, Goldie Hawn, Judy Davis and Adam Sandler.
I am a directing instructor at the Vancouver Film School, and I have taught classes and workshops for the Directors Guild of Canada, Victoria Motion Picture School, Capilano College and the Gastown Actors’ Theatre.

I have also developed several filmmaking workshops and seminars that I have presented over the past 15 years – from Canada to Singapore to Dubai.

“Peter is a great instructor. He is very willing to share with us his experience in film directing. He creates a very relaxed and cordial environment for the class and gave us the opportunities to ask and share ideas in class. He is quite knowledgeable in the subject and he said many key concepts that left lasting impressions.” Kevin Peng – Singapore

Registration Fee

The total fee for this 3 day workshop is US$695.00. BUT…if you register before April 15, I will reduce the price by US$200.00 for a total fee of US$495.00.

To register for this workshop now (and save US$200.00), please Click Here.

When you register for this workshop, you will get these 7 FREE Bonuses:

Bonus # 1 – on Day One you will get a Workbook filled with directing notes and tips that you can refer to in the workshop and take home with you.

Bonus # 2 – on Day One and Day Two, I will bring in Special Guest Speakers, industry professionals who will answer your questions and give you more insight into what it takes to be a working director today.

Bonus # 3 – a free script review from script consultant Michael Adams. This complimentary script assessment is designed to let you know if your script is ready to go as is, needs only a few tweaks, or could use extensive polishing, depending on your goals for the story.

Bonus # 4 – a free 1 hour consultation with Peter D. Marshall. If you want to discuss a directing project, a film production issue or you just need some guidance, this bonus entitles you to a 1 hour conversation with me (over the phone or on Skype.)

Bonus # 5 – a US$100.00 discount certificate you can use towards any future filmmaking workshop I produce myself.

Bonus # 6 – a 50% discount certificate for any of my online filmmaking courses.

Bonus # 7 – a 10% discount from Biz Books – a Vancouver bookstore specializing in books on film, theatre and television.

“A well rounded workshop that combines informative theory, group discussion and hands-on application. Peter offers something for everyone, from the PA to the experienced director. Nobody gets left behind – everybody gets stimulated.” John MacCarthy – Vancouver, Canada

My 100% Risk-Free Money Back Guarantee

If, after the first day of the workshop, you feel this information isn’t for you, I’ll issue you a prompt and courteous refund. This means you can try out the workshop for one full day and if you honestly believe I haven’t delivered on my promises, you can ask for a full refund of your registration fee.

And you can even keep the Workbook as my way of thanking you for giving the workshop a try. There’s absolutely no risk whatsoever on your part.

To register for this workshop now (and save US$200.00), please Click Here.

The Art and Craft of the Director Filmmaking Workshop…
….is three intense and exciting days of discovering what it takes to be a successful film and television director today. It’s going to be held on May 14, 15, 16, 2010 at the Sylvia Hotel in Vancouver, Canada. If you have any questions, please email me at pdm@actioncutprint.com.

I look forward to meeting you and sharing filmmaking stories on May 14, 2010.

All the best,
Peter D. Marshall

P.S. I’m inviting only 20 filmmakers to this special workshop and I expect seats to fill up fast. So register by April 15 to assure your seat and to also get your US$200.00 discount.

P.P.S. Filmmaking is a universal language and no matter where we live in the world, we all have our own stories to tell. So if you have a story that has UNIVERSAL THEMES, and the PASSION to tell this story, you CAN make a movie, in your own language, and audiences around the world WILL watch it.

“I found Peter’s workshop very inspiring. Peter’s obvious passion for the art of cinema was contagious. The workshop was a great opportunity to refresh my viewpoint, and to put myself in the director’s mind set. It even inspired me to work out some of my own script ideas that had stalled and were suddenly unblocked! I now have a new perspective on the power of movie making and the realities of the Director’s role.” Annabelle Wilczur – Vancouver, Canada

VPYPE’s Screenplay Pitch Contest VIA Facebook

Wed, 24 Feb 2010 05:47:19 -0800

Get discovered! It’s as easy as logging onto your Facebook account!

VPYPE’s Screenplay Pitch Contest: Pitch Your Script via Facebook to Industry Insiders for Free
Contestants Invited to Submit Movie Ideas
Contest Runs February 23 – April 15, 2010
Submissions run February 23, 2010 – April 15, 2010
Top ten finalists announced April 26, 2010
Final pitch event May 1, 2010 6pm (PST)
Winners announced May 3, 2010

Milpitas, CA – February 23, 2010 – Vpype, a social video company today announced the first live Screenplay Pitch Contest on Facebook. The contestants will be competing for the opportunity to have their screenplay reviewed by industry decision makers with the power to Greenlight their creative visions.

This is a five-minute pitch contest using the Vpype Live Broadcaster Application on Facebook.

To enter it’s as easy as these three simple steps:
1. Join The Hollywood VPYPE Pitch Contest group on Facebook http://www.facebook.com/group.php?v=info&gid=259144206323
2. Visit the Vpype Live Broadcaster Application on Facebook and click on “go to app” http://www.facebook.com/apps/application.php?id=126457550345&ref=ts
3. Once you’re at the app, click on “Start Your Show”. Be sure to share with “everyone” and add “Pitch” to your show name! Now, record your five- minute pitch!

Submissions for the competition begin February 23, 2010 and end at midnight on April 15, 2010.

“The revolutionary VPYPE broadcasting technology connects creative minds from around the country and provides aspiring screenwriters with the invaluable opportunity to get their script in front of an elite group of studio decision makers,” said Julie Richardson, Producer of Collateral and host of the contest events.

A-List industry professionals from Fox, MGM, William Morris Endeavor and other top rate production companies will review each and every pitch before narrowing it down to ten finalists. For more information on the judges go to http://hollywoodvypyepitchcontestt.blogspot.com/.

Each contestant is allowed to record as many five-minute pitches as they’d like, but if submitting multiple pitches, each one must be posted separately. By posting their pitches, they’re also agreeing to the terms of our waver, which can be reviewed at http://hollywoodvypyepitchcontestt.blogspot.com/2010/02/to-enter-contest-join-our-facebook.html

The five-minute pitches must be in English using the Vpype Broadcaster Application template designed for the contest. Each pitch will be judged on their originality, commercial viability and the writer’s unique point of view. This is the opportunity of a lifetime for aspiring screenwriters to get that meeting they’ve always dreamed of!

On April 26th, 2010 the top ten finalists will be announced on the Contest Group page on Facebook http://www.facebook.com/group.php?v=info&gid=259144206323.

The ten finalists will be given their specific slot for the live pitching event finals to be held on May 1st, 2010 at 6pm PST.

Using the Vpype Live Broadcaster Application, each finalist will pitch their five-minute script idea to the panel of judges who will provide live feedback. The judges will then choose the top three winners who will be announced on the group page on May 3rd, 2010.

“Vpype is thrilled to provide a way to open doors for fresh and emerging screenwriting talent,” said Shoeib Yunus, founder and CEO, Vpype. “This contest represents my love of the movie industry and commitment to advancing creativity in the industry at large.”

Prizes include Final Draft Version 8 Screenwriting Software and Save The Cat Screenwriting Structure Software. The grand prize includes a free consultation with a Save The Cat professional script consultant and the opportunity to submit their screenplay for consideration by our judges!

For more details and to enter the contest, join the group on Facebook, The Hollywood VPYPE Pitch Contest at http://www.facebook.com/group.php?gid=259144206323.

Also check out our blog at http://hollywoodvypyepitchcontestt.blogspot.com/.

About Vpype:
Vpype is a social video company committed to helping people tell their story to the world. Based in Milpitas, Calif., the company was founded in 2009 by entrepreneurs with expertise in video technology, consumer and enterprise software as well as broadcasting and entertainment. Visit www.vpype.com, our Facebook Fan Page or Facebook Application for more information.

Listen to Producer Julie Richardson speak about VPYPE and about the ingredients for a successful pitch by clicking on the bold link.

2010 Great Lakes Film Fest Call For Entries

Fri, 12 Feb 2010 04:34:11 -0800

Considered among the top 100 most popular film festivals in the world and a 501c(3) non-profit organization, the 9th annual Great Lakes International Film Festival has officially opened its Call for Entries and will accept submissions internationally of independently produced feature length and short length films and scripts in the genres of documentary, horror, experimental, Religious/Spiritual, animation, and all genre of music videos and Gay/Lesbian for the 2010 festival, September 22nd. Thru September 29th. 2010.

Our film festival has reached a global echelon launching our festival interactively online allowing independent filmmakers and fans world wide to not only enjoy the films, but communicate with each other in real time as though they were together in the same room via online chat and web cams.

Much like most other festivals, ours was limited by time in how many films we could screen at the fest. Simply put, if a film is good, it will be accepted and screened without time constraints. Films will not be available for download, but shall be presented in a video on demand system that will allow users to watch the films. The VOD system will be secured and can be viewed from any computer.

Unlike other festivals streaming films online, films in this festival cannot be downloaded, the films HAVE NO EMBEDDING CODE and our HTML code if copied and pasted, the films will not play, therefore they CANNOT be placed on other websites.

The only time and place they can be viewed is in our festival. In short, we have gone to great lengths to set this system up to protect the safety and security of each filmmaker's film always keeping the filmmaker in mind. Basically, it is just as secure as a brick and mortar theater screening, only much better.

We made the decision to screen films exclusively online because of two reasons, first we understand that filmmakers around the world pour not only all of their time and heart into their work but also most of their money. Because of financial and time constraints independent filmmakers most times find it difficult to attend the screenings of their film. Now not only can the filmmaker attend, but all of their friends and family members can as well. In addition, the number of attendees to the festival is literally limitless giving the filmmaker much more exposure for their work.

In addition, you hear so much about the environment and global warming it got us thinking. When you realize how much power is used during the film fest – electricity for the building, natural gas for heat and the gasoline the people use to get to the fest it left one hell of a carbon footprint. By doing the whole festival on line it actually helps cut down on greenhouse gases.

We shall accept all ranges of music videos, along with entries of short and feature length screenplays, stage plays, and teleplays of all genres and niches. The 2010 Great Lakes International Film Festival will accept all forms of religious, Christian, and spiritual films including African, African American, Gay/Lesbian, Black, Hispanic, Islamic, Latino, Native/Aboriginal and student films from the United States and around the world. The Great Lakes International Film Festival horror categories for scripts and films will include Horror, Thrillers, Science Fiction, Suspense, Grindhouse Horror, Horror Documentary, Horror Animation, and student films and scripts. The Great Lakes Film Festival Scriptwriting Competition has achieved such great success in past years that we now are able to offer a $5,000.00 cash award to our first place winner of the 2010 competition among other prizes. The winning script will be forwarded to agents and industry professionals for consideration.

The annual screenwriting competition is a way for new and veteran scriptwriters to possibly get the break they need. If there is anything as universal as the ageless storytelling of motion pictures, it’s the music that makes up life’s soundtrack. The 2010 Great Lakes International Film Festival shall accept music videos from around the world of cross-continent and cross-genre productions. We shall accept music videos of all ranges from pop, punk, rock, alt-country, country-western, folk, reggae, hip-hop to electronica, jazz, blues, Zydeco, industrial, gothic, karaoke, avant-garde, world music, and experimental.

Great Lakes Film Festival Official Site
Printable Entry Form
Film Submission Fees, Deadlines and Rules
Script Submission Fees, Deadlines and Rules

NorCal | Screenwriter & Filmmakers Expo | Mar 26 thru 28 201 | Napa CA

Fri, 22 Jan 2010 06:40:44 -0800

Northern California Screenwriters presents the Screenwriters & Filmmakers Expo this March 26, 27, 28, 2010 at the Silverado Resort in Napa, CA.

The expo includes 2 days of classes and presentations from industry leaders such as:

-Paul Walker

- Oscar-winning screenwriter Bobby Moresco ("Crash", "Million Dollar Baby")

- Dave Trottier (writer of the bestseller "The Screenwriters Bible")

- Movie poster extraordinaire Tony Seiniger (Jaws, Moonstruck, Field of Dreams)

- Casting agent Jennifer Miller (has worked with Walter Mathau, Jack Black, Paul Walker)

- Casting Agent Victoria Wisdom ("Crash", "Million Dollar Baby", "Hellboy")

- More to come...

***Expo includes 1 day of audition classes and pitching scripts and projects to Hollywood agents, producers, and studio executives.

For more information visit the official website: Northern California Screenwriters Expo

The Three-Day Expo and Pitch Fest will be held at:

Silverado Resort
1600 Atlas Peak Rd.
Napa, CA 94558
Silverado Resort

Northern California Screenwriters is dedicated to the education and support of aspiring screenwriters and filmmakers. The group holds weekly meetings, and offers basic and advanced screenwriting classes, script evaluations, consulting, and editing services.

Northern California Screenwriters
P.O. Box 3843
Santa Rosa, CA 95402
707-539-5115
Email Norcal Screenwriters

Kevin Sorbo Celebrity Golf | A World Fit For Kids | June 10 - 11 2010| Las Vegas

Tue, 12 Jan 2010 10:03:38 -0800

SECOND ANNUAL KEVIN SORBO CELEBRITY GOLF TOURNAMENT BENEFITING A WORLD FIT FOR KIDS
June 10-11, 2010 LAS VEGAS, NEVADA

You are invited to enjoy a very special charity golf tournament in Las Vegas, Nevada, hosted by Kevin Sorbo. Benefiting Kevin’s Charity in Los Angeles, a World Fit for Kids, our tournament will
bring together golf enthusiasts and celebrities to enjoy two days of great golf, fantastic food, and exciting entertainment!

Sorbo is spokesman for A World Fit For Kids, a non-profit organization that provides gang, drug, and dropout prevention to teens through mentoring programs, fights obesity, and promotes healthy life choices. The program received the Gold Star from Governor Arnold Schwarzenegger in the Fall of ’07 for being the best after school program in the entire state of California.

A World Fit For Kids works with 12,000 school age children and boasts a 100% graduation rate for its participants.

WorldFitForKids.org Email: sorbogolf@worldfitforkids.org

Celebrities Participating in Tournament Jun 10-11

Kevin hosts his inaugural celebrity golf tournament in Las Vegas, which raises money for A World Fit For Kids.

GOLF CLUB LOCATION
DragonRidge Country Club is Southern Nevada’s newest fully private country club and was recently voted; the “Best of Las Vegas” golf course by the Las Vegas Review Journal Staff and “2007 Best Golf Course in a Luxury Community” by VegasGolfer Magazine. Host of the Tiger Jam III and IV, and The Wendy’s Three Tour Challenge in 2002, DragonRidge CC was listed as the #1 Country Club in the Nevada Business Journal in 2002. Located in the McCullough Mountains, high above the Las Vegas
Valley floor, DragonRidge is a unique private Country Club that offers features unsurpassed in Southern Nevada.

INCLUDES
TRANSPORTATION - Air and limo transportation.

ACCOMMODATIONS - First class accommodations for you and your spouse at Planet Hollywood Resort and Casino, featuring state-of-the art casino floor, award winning restaurants, leading
entertainment shows, comprehensive shopping experience and the most exclusive nightlife on the strip!

ONE PRACTICE ROUND, PAIRINGS PARTY – THURSDAY, OCTOBER 8 - Enjoy a practice round on Friday, followed by an exciting cocktail reception and pairings party at Planet Hollywood.

ONE PLAYING SPOT IN THE GOLF TOURNAMENT – FRIDAY, OCTOBER 9 - Format: Two Best Balls of Five "Shamble" Stroke Play – 18 Holes. In two best balls of five "Shamble", each player tees off. The best drive is selected and each player plays his/her own ball from there into the hole. The two best netballs of the five players will be the team's score for the hole.

PAIRINGS PARTY, LIVE AUCTION – THURSDAY, OCTOBER 8 – Planet Hollywood

GALA AND AWARDS DINNER – FRIDAY, OCTOBER 9 - Following the golf tournament, enjoy the gala and
awards dinner, including auction and a special private concert at Planet Hollywood.

SPA DAY FOR YOUR SPOUSE – We will coordinate a fantastic spa and lunch package for your spouse during the golf tournament on Friday, October 9th

FABULOUS TEE PRIZES/GIFT BAGS

For Information on attending this event as our special guest,
please contact Amber Behrens 707-837-7902 or amberbehrens@comcast.net

WI Film Festival April 14 thru 18 | Madison

Tue, 30 Mar 2010 07:20:16 -0700

In its twelfth year, the Wisconsin Film Festival presents a broad range of independent American and world cinema (narrative, documentary, experimental, shorts), restorations and revivals, and locally made pictures from Wisconsin filmmakers. The festival plays in eight theaters, all within walking distance, in the heart of the state’s capital city.

The 2010 Wisconsin Film Festival will run from Wednesday, April 14 through Sunday, April 18. The Opening Night Film — The Topp Twins: Untouchable Girls — will screen on Thursday, April 15, at 6 pm, as has been the tradition for years.
The Festival — possibly the largest campus-based film festival in the United States — is presented by the University of Wisconsin–Madison Arts Institute, with the assistance of the UW Department of Communication Arts.

Take a look at this list of other film events and film festivals — many of them free — in the Madison area and around the state.

Visit WI Film Festival Official Site for more info and for tickets.

Next | Firestarter Films Festival | Date

Fri, 01 Jan 2010 21:59:16 -0800

FIRESTARTER FILMS #8 Friday March 26, 2010 6:00pm - 12:00pm at Live Artists Studio 228 S. 1st Street Milwaukee, WI 53204 Be sure to follow the red hand!

Attention Film watchers and Film makers Welcome

Firestarter Films is a unique event in the Milwaukee area for local filmmakers to screen their work and chat with the audience in Alchemist’s comfortable lounge afterwards.

Watch Firestarter Films VIDEO Trailers Here:

Breaks are taken regularly between the short films to give the audience a chance to talk to filmmakers while the films are still fresh in everyone’s mind.

FIRESTARTER FILMS #7 Friday Jan 15, 2010 6:00pm - 12:00pm at Live Artists Studio 228 S. 1st Street Milwaukee, WI 53204 Be sure to follow the red hand!

New Firestarter Films # 7 Contest:

Firestarter Films is an interactive event with mingling cast, crew and film makers comprised of composers, artists, writers, cinematographers and more networking to work on future films.

Films begin at 7pm and will run until or past midnight.
Networking begins at 6:00pm

Firestarter Film Fest Live Artists Studio 228 S. 1st Street Milwaukee, WI 53204 $5 Admission (Free to Show films)

Projected in 16:9 Widescreen

Bring your film in on DVD (10 minute limit or less) write your name on the DVD, the title and the length of your film. DOn’t have a 10 minute short film - except your longer film, create a trailer.

FIRESTARTER FILMS #6 Friday Nov 13, 2009 6:00pm - 12:00pm at Live Artists Studio 228 S. 1st Street Milwaukee, WI 53204 Be sure to follow the red hand!

Firestarter Films #6 Contest

Beloit Intl Film Fest |Feb 18 T0 21

Fri, 01 Jan 2010 08:22:58 -0800

It’s their fifth season, and the Beloit International Film Festival BIFF would not be possible without the generous support of both the Hendricks Family and Visit Beloit.

We encourage you to click on the Visit Beloit logo to your right to explore all that Beloit has to offer during your stay!

The Beloit International Film Festival Official Website

"The Beloit International Film Festival is an EVENT. From sold out packed screening to limo rides, the whole community comes out to support the festival, the films, and the filmmakers. This festival has set the bar high, and from what I've seen, they intend to raise it even higher next year. I highly recommend this one. It may not be the biggest but BIFF is not afraid to make a play to be the best. It's obvious that BIFF cares about people who care about making films."
--Sean Jourdan
Dir. An Open Door

"BIFF was very very good to me. My film played to great crowds and got a tremendous response. I met fellow film makers from around the world and the connections I made are going to help get my next film produced. Quickly becoming a must-do for film makers."
--Chad Queen
Dir. The Corner Of

"I had a great time at the Beloit International Film Festival. The people of Beloit were a particularly attentive and astute audience and couldn't have been more friendly and welcoming to all the filmmakers. The festival was also a lot of fun because the organizers made it easy for filmmakers to meet each other and socialize at various locations around town. Interestingly my film, THE COMET MODEL NEWS, which has screened at several film festivals, never looked and sounded better than it did that snowy Sunday afternoon on the temporary screen at Beloit's Casa Grande restaurant. I will always have warm thoughts of that screening moment."
--Nancy Kapitanoff
Comet Model News

"It is with great pleasure and enthusiasm I recall my experience at BIFF 07. From the opening celebration to the closing film, the festival was filled with a collaborative, encouraging, friendly atmosphere. BIFF did a superb job of fostering creative interactions while adhering to a high level of professionalism. BIFF is a great forum to meet filmmakers and view works from around the world. I recommend to the filmmaker and film buff alike to not miss this event next year."
--Robert Last
Brothers Three, An American Gothic

"You guys did such a great job to welcome filmmakers with warm audiences, lovely accommodations, and swanky limo service. BIFF is better than fried cheese curd! Really, let us know if you want us to speak in more depth on anything in particular and we'll be glad to help out. Thanks for working hard to make the festival so fantastic. We can't wait to come back."

--Rory and Robin
Downtown Locals

The Field Film Festival | UW Waukesha |Sat February 6

Fri, 01 Jan 2010 08:20:09 -0800

The 1st Field Film Fest will be held on campus at: Lunt-Fontanne Theater 1500 W. University Drive , Waukesha, WI 53188 on Saturday February 6, 2010 5 PM - Midnight

I was asked by TK, my co-host on the “Anytime Show” , if I could help create a film festival that UW-Waukesha might participate in. I thought who better to enlist in helping make that come to pass than Shawn Monaghan and Phil Kock of Firestarter Films. So the three of us went out to the campus and met with Professor Steven Decker and Professor Damon Schneider a few times before we met with students of their film club. We presented the idea to the students - that we would help sponsor a student run film festival.

We had Producer Ron Kolman and Jon Richter of SuperMassive Studios meet with the students at different times to encourage and help explain the process.

At this time we are proud to announce that Rex Sikes’ Movie Beat, Firestarter Films and UW-Waukesha presents the “Field Film Fest” created and run by students of UW-Waukesha.

The artwork above was created by one of the students Amanda Pfeiffer. Graphic design by Brittany Farina.

It is important to note that this is an independent film festival hosted on the university campus. Filmmakers from all over may submit to this showcase.

Baggage | Opens Feb 5 At The Memories Ballroom |Dinner Theater |Pt Washington WI

Fri, 01 Jan 2010 08:19:31 -0800

BAGGAGE A comedy by Sam Bobrick February 5-14, 2010

Okay so I am in a play. It has a short run and it is a fun, romantic romp. Visit the Memories Ballroom web site to make arrangements for the play or dinner and the play.

Two difficult, single people, both healing from failed relationships, get their luggage mixed up at the airport. After a very disagreeable first encounter, they help each other get over their heartaches by forcing a friendship that leads them to discover that they may be too difficult for everyone else, but perfect for each other.

Use bold link to Purchase Tickets Now: Dinner and Show $28, Show-Only $15

Memories Ballroom Official Website

New Governor Would Change Film Incentives For Wisconsin

Tue, 20 Jul 2010 16:24:17 -0700

Reprint: The Chicago Tribune By Carrie Antlfinger

MILWAUKEE — The three main gubernatorial candidates all support changing the state's film incentives to attract more film projects, after Gov. Jim Doyle drastically scaled back tax credits a year ago.

But when it gets down to details, none gets specific.

The closest anyone has said to what he wants to do is Democratic candidate Tom Barrett, whose spokesman said Barrett supported the previous film tax credit program -- which included a 25 percent tax break -- and would like to see something similar re-instituted.

Republican candidates Scott Walker and Mark Neumann say they also support changing Doyle's $500,000 annual grant program.

Walker said he's looking at other states' incentives and still finalizing his plan. Neumann said he didn't support the original credits, saying there was no focus on developing a thriving new industry.

But the fact that the candidates support change was good news to Dave Fantle, president of Film Wisconsin's board, which promotes filming in the state.

"It's going to be a new day, with a new governor and we're optimistic we will be able to work with both the Legislature and governor to restore the tax credits," Fantle said.

He said the board wants to ensure the new incentives emphasize growing the creative economy and adding jobs. The board plans to bring in outside experts to look at other state's programs, among other things, to come up with the best proposal.

Incentives have been dramatically curbed and interest in filming in the state has waned since "Public Enemies," starring Johnny Depp, came to Wisconsin in 2008. The movie received $4.6 million in tax rebates and credits but only generated $5 million in economic activity, prompting state officials to replace the previous incentive plan with the grant program.

Crews filmed "Transformers 3" at the Milwaukee Art Museum last week, but it was for the look of its modern building along Lake Michigan. It won't qualify for the grant program.

Walker's spokeswoman Jill Bader said Walker was disappointed that Doyle made the incentives less attractive and he is looking at what other states have done before he comes up with a final plan.

"The film tax credits can give Wisconsin the competitive advantage we need to bring jobs and investment into the state," Walker said in a statement.

Neumann's spokesman Chris Lato said Neumann supports tax credits that lead to business growth. He said Neumann would conduct a cost analysis to ensure the incentives result in measurable economic development. He said the previous credits didn't have focus on developing a thriving new industry, and "Mark would demand more accountability and would work to ensure a more favorable result."

On his website, Barrett said he thinks the field "could provide more high-tech jobs that are of interest to the young, highly educated workers that Wisconsin needs to keep."

Barrett's spokesman Phil Walzak said Barrett would look at expanding the incentives beyond the $500,000 cap if it's fiscally responsible and supports Wisconsin jobs and businesses.

RDI Stages spent millions to expand its facility in St. Francis because of the incentives, said Owner Janine Sijan Rozina. She said within three months of opening a new building the incentives changed, calling it a "tremendous gut punch." She said they are struggling to keep their doors open, supporting themselves with commercials.

"Honestly, if I don't remain optimistic, it's very tough to come in every day," she said.

Jay Schillinger used to be head of business development at Pulse Communications in Green Bay, which had planned to expand in response to the incentives. But the owner declared bankruptcy, partly because of losing business due to the changed incentives. Schillinger bought the assets and started NorthCoast Productions in Green Bay. He said it's been doing well, concentrating on video production and commercials but he's pushing for better incentives knowing he and other parts of the industry could do much better.

He said the Depp film was great, but they had a number of independent films planning to film in Wisconsin that left when the incentives changed.

He said the industry was just gaining momentum when Doyle's actions caused it to come to a "screeching halt."

"We have to give it a chance and if the candidates are sincere in this, which I think they are, it needs time," he said. "... I think it's not far-fetched to think that Wisconsin could really be a hub of film making activity, which would be great for job creation."

The Chicago Tribune

Wisconsin, you could have been in the pictures!

Mon, 28 Jun 2010 18:41:50 -0700

Wisconsin, you could have been in the pictures!
Reprint: Milwaukee Magazine By Matt Hrodey

Once a state offering subsidies to filmmakers, Wisconsin has become an early dropout in the race to woo Hollywood. More than 40 states offer incentives, but Gov. Jim Doyle slashed Wisconsin’s subsidy program in 2009, leaving leaders in the state’s fledgling film industry complaining he cut too far. They contest a recent national study which found such incentives are usually a waste of money, arguing a revised program of incentives could pay off.

The state subsidy program helped attract the 2008 production of “Public Enemies,” the Johnny Depp-starring gangster flick shot in Oshkosh. But a follow-up analysis by the state Department of Commerce concluded NBC Universal only spent $5 million in the state but received $4.6 million in tax credits. The Motion Picture Association of America, however, claimed the production resulted in a whopping $18 million in spending. Other estimates from state lawmakers advocating to keep the state’s film incentives put the figure at $7.5 million.

With the announcement last week that “Transformers 3” would be shooting in Milwaukee in July, it seemed like Wisconsin was having no trouble attracting film productions without the credits. According to Visit Milwaukee, the production “could pump more than $1 million into the local economy during its very limited shooting window.” The film crew, however, will be spending much more money during an extended stay in Chicago – six weeks – as it benefits from Illinois’ generous film credit program.

States have gone cuckoo for the movie biz, but none can compare to Michigan, which offers tax credits covering up to 42 percent of production expenses. In 2002, just five states had film production incentives, but by early this year, the number had grown to 44, according to the Center on Budget and Policy Priorities (CBPP).

A December report by the Federal Reserve Bank of Boston found such incentives don’t pay off. Robert Tannenwald, a former vice-president at the bank who know works at the CBPP, says state leaders are lured by “the buzz people get when they see celebrities in vans running through their streets and their town in movies” into offering up big bucks to Hollywood producers. “Everyone sees the celebrities, the fans and the cameras, but the cost is spread throughout the state.”

The problem, he says, is that states end up paying the salaries of people who live elsewhere. “Why feed programs that benefit non-residents?” he says. Tannenwald applauds Doyle’s cuts. “Good for him,” he says.

A recent CBPP report says, “There is lack of credible evidence showing that these incentives are a good investment for states. Research shows that alternative uses of the funds now devoted to these incentives could yield a better bang for the buck in terms of economic development.”

Wisconsin now offers only a miniscule $500,000 a year grant program to filmmakers and video game companies. Local filmmakers say it’s not enough to foster growth in the state’s film industry.

“I don’t know of anybody that’s been able to take advantage of it,” says Michael Graf, a director and owner of Madison’s Spot Filmworks, which produces commercials for Midwestern and national clients. It’s one of just a few commercial production companies in the state. That began to change in 2008 when the state’s incentives took effect, he says – but the new studios, camera rental companies and other businesses that sprang up wilted when the incentives died.

Graf is also a board member at Film Wisconsin, a nonprofit that promotes the state’s film industry. Formed in 2005, it predates Wisconsin’s incentive program, but since the program got the ax, the group has fallen on hard times. “Film Wisconsin, as of late last year, has no paid staff. We still have a volunteer board and our priority going forward is working with the new governor and the Legislature to get the tax incentives restored,” says Dave Fantle, who serves as its executive director and chairman of the board. He’s also vice-president of public affairs at Visit Milwaukee.

Fantle says Film Wisconsin received about $132,000 in state grants in 2007 and was also able to drum up some private donations. Today, the group reports having less than $40,000 left in the bank.

Graf says Wisconsin’s incentives never catered to ad production companies like his or small filmmakers: “It kind of shut the ad industry out of the process. (The Department of Commerce) kind of got starry-eyed. They didn’t understand that the industry isn’t just a couple of Los Angeles studios.” Applying for the incentives was a long and laborious process, according to Graf, one usually only undertaken by large producers.

He insists Wisconsin is missing out on building a recession-proof industry. “The movie industry has turned out to be remarkably resilient,” says the financial website 24/7 Wall Street. Says The New Yorker: “movies are, relatively speaking, recession-proof… in tough economic times Hollywood really does offer escapism for a relatively small price.”

Some state legislators support an incentive program, though one more modest than the old one. State Rep. Tamara Grigsby (D-Milwaukee) proposed a program in 2009 that would only give tax credits for salaries and wages paid to Wisconsin residents. Only productions spending 35 percent or more of their total budget in the state would qualify.

The electricians, gaffers and other Wisconsin employees hired by film productions usually spend most of their time working on commercials or small films, Graf says, because there aren’t enough blockbusters like “Public Enemies.” But these are the productions state incentives have overlooked, he says. Big productions are more likely to bring employees from out-of-state, often because of union requirements.

He says the state’s incentives were beginning to benefit smaller filmmakers by growing Wisconsin’s infrastructure of film-related businesses when Doyle cut funding. “The state didn’t really get an opportunity to see how effective it was,” he says.

Fantle agrees: “You want to develop a prudent program aimed at growing a state-based creative economy that brings in a steady stream of projects, both large and small. The state called ‘cut’ to the tax incentives long before any meaningful analysis or adjustments could have been made to the program.”

From: Milwaukee Magazine - June 23, 2010

New Mexico Gets It Right | Make Movies And Prosper

Tue, 25 May 2010 13:52:24 -0700

CNN reports on the boon film making is to New Mexico...

Michigan Gears Up For Big Production Year

Tue, 27 Apr 2010 13:01:33 -0700

REEL MICHIGAN Michigan gears up for big production year
MPA’s Mark Adler on building infrastructure to sustain it
Reprint: Ruth Ratny’s Reel Chicago April 27, 2010

After a comparatively quiet first quarter, Michigan is looking forward to a tremendous amount of spring and summer activity.
It gets off to a high octane start April 18 in Detroit with Sony Pictures’ action-adventure “S.W.A.T.: Fire Fight,” based on the 1970s TV series, directed by Benny Boom (“Next Day Air”) and starring Robert Patrick.

“Salvation Boulevard,” the Pierce Brosnan comedic thriller will get underway in May. Horror comedy “Vamps,” starring Alicia Silverstone, commences in June. Wes Craven’s “Scream 4” comes to film in Ann Arbor in mid-June.

Also scheduled for Detroit principal photography are “A Very Harold and Kumar Christmas,” “30 Minutes or Less,” “The Double,” “Transformers 3” and “Northern Lights.”

The biggest-budget production will be DreamWorks' “Real Steel,” an action boxing drama starring Hugh Jackman, set in the near-future where 2,000 pound robots that look like humans do battle. Filming will start June 15 for 70 days in the Detroit area.

Last year, Michigan was host to a total of 49 projects, mostly features, but also a TV series and several feature-length docs. (See list below.)

But in order for Michigan to keep pace with the increasing flow of entertainment projects it needs to build a sustainable infrastructure.

Towards this end, the Michigan Film Office in late 2009 hired Richard Jewell as its workforce development director. His main task it is to standardize and organize the many different skills needed to support a new creative economy. Jewell, who is developing a basic competencies document, is leading a skills’ alliance of educational institutions and other stakeholders.

An example of this alliance is a very promising educational opportunity: the partnering of Wayne County Community College and IATSE.

This partnership provides for Detroit residents to receive grants for classroom training by IATSE members. They are then embedded into working film sets where they are paid to work alongside union workers, as a fast track to union membership and more feature film opportunities.

This model may be duplicated in other parts of the state.
The goal of the Michigan Film Office Advisory Council (MFOAC) is to increase the film labor pool in a short time. The current number of ready local crew available depends on who you speak to, but seems to be in the range of two to four films.

Through the recently unveiled MFOAC multi-university program, students would be trained in above- and below-the-line skills. Students in this pilot program, which is a collaboration among Wayne State, Michigan State and the University of Michigan, would work together to develop, script, shoot and edit a film.

Organizations such as the Michigan Production Alliance (MPA) have taken it upon themselves to fast track an indigenous creative community. Incentives have kick-started the industry here, although Michigan has been a commercial production center for over 50 years. Now it’s up to the local industry to make it all stick.

On April 22, non-profit MPA sponsored a summit for investors and their agents to understand what to look for in pitches from filmmakers. Until now, Michigan hasn’t had enough reason or interest to support a financial/legal community with expertise in film financing.

Like the entire landscape, this is changing. The hope is to create foundations that will allow the community to grow and maintain Michigan as a viable production center in the United States.
For more about the Michigan Production Alliance.

Completed 2009 Michigan-made Productions

“Up in the Air” - Paramount Pictures
“Betty Ann Waters” - Innocence Productions, Inc.
“Hopeful Notes” - Red Future Entertainment, LLC
“Oogie Loves in the Big Balloon Adventure” - Big Balloon Adventure Movie, LLC
“Caught in the Crossfire” - Caught in Crossfire, LLC
“Stone” - Stone Productions, Inc.
“The Irishman” - Sweet William Productions, LLC
“Hung” TV series - Hangman Films Inc. / HBO
“What If” - What If Productions, LLC
“The Lake Effect” - Growing Up, LLC
“Crash Course” - Crash Course Productions, Inc.
“Meltdown” - Meltdown Productions, LLC
“Clark Family Christmas” - Karew Records, LLC
“Capitalism: A Love Story” - Front Street Productions, LLC
“Flipped” - East of Doheny
“Jump Shipp” - Dot&Cross, LLC
“The Genesis Code” - American Saga Productions, LLC
“Trivial Pursuits” - 3,4 Women Productions
“The Next Great Mission” - 45 North Productions, Inc.
“Little Murder” - Cine Grande Films
“Fitful” - Fitful Film Associates, Inc.
“Daisy Tells a Secret” - One of Us Films, LLC
“Annabelle and Bear” - Radish Creative Group
“John, The Revelator” - Revelator Movie, LLC
“Alleged” - Dean River Productions
“You Don't Know Jack” - Royal Oak Films, Inc.
“Grey Skies” - Grey Skies, LLC
“The Domino Effect” - Detroit Film Production Services, Inc.
“Highland Park” - Highland Park Productions, LLC
“What's Wrong With Virginia?” - Tic Tock Studios
“Vanishing on 7th Street” - Vanishing Film LLC
Game of Death - Game of Death Productions, LLC
Mooz-Lum - Peace Film, LLC
Secrets In The Walls - Prospect Park Productions, LLC

—Ruth L Ratny

Council Passes Film Incentives | California

Sun, 21 Mar 2010 03:10:03 -0700

Reprint: Council Passes Film Incentives Daily News By Rick Orlov Mar 19, 2019

Friendly: City continues its battle against runaway film production

Striving to combat the continuing threat of runaway film production, the Los Angeles City Council on Friday authorized a number of programs to make the city more industry-friendly and to "keep Hollywood home."

The council approved steps to continue allowing companies to film in municipal buildings at no cost, open city parking lots to productions, create a film coordinator post in the Recreation and Parks Department and have the Department of Water and Power install energy nodes around the city to accommodate filming equipment.

"We want to show how strongly we feel about keeping Hollywood here," said Councilman Richard Alarc n, who has been working to ease restrictions on filming.

"A report was released recently in New York where they said filming is one of their key economic drivers. They are not giving up the fight. We need to fight New York and other states to keep filming here."

Alarc n said the nonprofit Film L.A. is developing a marketing plan to ensure the entertainment industry knows what Los Angeles has to offer.

Councilman Paul Krekorian, who as an Assembly member authored a state law offering tax breaks to the industry, said the city already is reaping some benefits.

"I was at a location in the Hollywood Hills that had been looking at filming in New Mexico," Krekorian said. "Because of the state law and what we are offering, that production stayed here. That's a $25 million boost to our economy, and it is keeping the jobs here."

Council President Eric Garcetti said efforts to keep filming in Los Angeles should be addressed statewide. He is part of a group headed by Assemblyman Charles Calderon, D-Los Angeles, that is studying the issue.

"We need to keep pushing," Garcetti said. "The committee Keep Hollywood Home is designed to look at all aspects and see what we can do to keep production and post-production here. With the Internet, it doesn't matter where some of the post-production takes place. We want to keep it here."

Councilwoman Janice Hahn called the proposals signal to the industry the city's concern.

"There is no reason filming should take place anywhere else," Hahn said. "We have to let them know that and how important they are to the city."

Daily News

Movie Beat | Peter Broderick Seeks Associate For His Company

Sat, 27 Feb 2010 07:58:51 -0800

Associate (part-time)

Join us at the cutting edge of distribution. I'm Peter Broderick, an independent film consultant and distribution strategist. I'm looking for a resourceful, friendly, and committed teammate. You will manage scheduling, billing, and database of contacts; handle filmmaker relations; and research new distribution models. This is a great opportunity to provide support for exceptional films and pioneering filmmakers.

You must have an engaging personality, be diligent, and extremely well-organized. A passion for independent film is important, and a knowledge of documentaries a plus. Must be a self-starter with solid writing, typing, research, and Mac computer skills (owning a Mac laptop is essential). Flexible schedule--25-30 hours/week split between work at home and Westside office. Must be reachable outside scheduled hours for urgent questions. Minimum commitment of one year.

To learn more about Paradigm Consulting, visit http://www.peterbroderick.com.

To apply, send a resume and cover letter to associate at peterbroderick dot com with the exact subject line "Associate Application." The cover letter should state: why you want this job; your qualifications and relevant experience; and your long-term goals. Please write your letter with care since it will give me a sense of who you are, what's important to you, and how well you express yourself.

Please do not call.

Peter Broderick
President
Paradigm Consulting
708 Euclid Street
Santa Monica, CA 90402
310.393.7483
http://www.peterbroderick.com

Sign up to receive my bulletins on the latest in independent film distribution and marketing: http://www.peterbroderick.com/subscribe/signup/signup.php

Movie Beat | L A Based Co |Seeks Director And Crew FOR DOCU Film

Sun, 31 Jan 2010 06:42:46 -0800

LA based Omantrafilms looking for an independent director/editor who can help with developing and producing our Documentary film.in Wisconsin

We would like to create an edgy, high-tech, fast moving short Documentary film.

Must have 5 yr experience.also we need boom-operator /sound Eng/ production asst / music composer/Lights and grip/ make-up

DP must have a own gear HD/ or we will provide Gear.

Sound Boom operator and sound engineer must have their own equipments every one will be on a differed contract NON SAG under independent film productions.

This Film submitted to The All Roads Film Project is a National Geographic.

program dedicated to providing a platform for indigenous and underrepresented minority-culture storytellers around the world to showcase their works to promote knowledge, dialogue, and understanding with a broader, global audience.

If interested, please respond back with your qualifications/portfolio.

You can also visit my website for my other projects if the same crew can be also work with my other projects.

We will pay the air tickets/boarding/lodging to go Europe and Asia.

Contact; email Raj at Omantra Films

Website; Omantra Films Official Web Site

Omantra’s link to IMDB for film

Thank you -

I believe a good picture can tell more of a story then any dialogue is able to.

Movie Beat | Casting Jan 30 | Milwaukee | Short Film | Feb

Tue, 26 Jan 2010 13:48:41 -0800

Producer Derek Underwood out of Savannah, GA and director, Milwaukee native Kyle Leister, will be coming to Milwaukee this weekend to have an open casting call on Saturday for an independent short film that will shoot in February.

This casting session will be held at Aloft Hotel (1230 North World
3rd, Milwaukee, WI 53212) on Saturday January 30th, 2010 from 9AM - 5PM in the meeting room.

Here are all the casting details:

Storyline: A young man tries to maintain while keeping the family finances from sinking. When his not-so-legit means of income take a turn for the worse he must do what is necessary to get by.

[BOBBY]
Male/Caucasion 19-25, short to average height, healthy body type. Bobby is a lower middle class, city born and raised young man with a level head.

[TED]
Male/Caucasion 45-55, scruffy/weathered look. Blue collar type who's been working the same job and sitting at the same bar stool for as long as he can remember.

[MARYANNE]
Female/Caucasion 45-55, petite to average body type. After the passing of her husband, this mother hangs on by a thin thread.

[DON]
Male/Caucasion 20-30, preferably stock build. The older tough brother, Don lives for today and has never been one for responsibility.

[ROMAN]
Male 50-60, wise guy look. His presence alone can be intimidating.

[NINO]
Male 25-35, stocky to large build. Although he has a calm demeanor, not the type of guy you'd want to mess with.

Actors/actresses who cannot make it to the casting session on Jan 30 are encouraged to submit headshots/resumes for potential video audition submissions. You may submit to their office via email here. Please let me know if you have any questions or would like more information.

Derek Underwood Producer 706-495-8863

Movie Beat | Casting Feature Film | Actress

Thu, 07 Jan 2010 13:06:53 -0800

SELECT CASTING NEEDS FOR 420 FEATURE FILM SHOOTING IN DETROIT

LA/NY producers Rubin Whitmore II (Milwaukee native) & Andrena R. Hale of SlikWitt Films are looking for several remaining roles to cast for a non union, low budget feature!

Genre: Drama (not a Comedy)

Compensation: Negotiable (but minimal), travel and accommodations provided.

Synopsis:
With marijuana and an inner city emergency room as the common thread, the complexity of five very different ethnic and socio-economic lives unfold.

A Middle-Eastern female college student has to deal with the day-to-day challenges while attempting to get her chronic pained father to consider medicinal marijuana as a treatment.

... A urban cowbay white male has almost reached rock bottom and attempts to get off of hard drugs and still keep his sanity.
... A young Black male and his pregnant girlfriend try to cope with the everyday difficulties of life in the inner city.
... An Indian ER doctor decompresses after a hard day at work, before his corporate fiancé heads off to a day full of boring meetings.
... A 30-something Latino couple survives a near-death bout with their newborn.
... This multiple storyline narrative is not always reverent but remains a true anecdotal reveal into the world of people who live their lives with marijuana.

Remaining Cast Needs:
SUPPORTS FOR MIDDLE EASTERN STORY
Lily - College Black female 19-21 yr

LEADS FOR WHITE STORY
Angela - White female 25-35 yr
Ginger - White female 25-35 yr

LEADS FOR LATINO
Uncle Raul - Latino patriarch male 45+ yr
Jessica - Latino female 30-40
3 Latino young adults males 18-25 yr

SUPPORTS FOR LATINO STORY
Latino family for Quinciera 15-20 kids/adult females

NEEDED - a white female 20+ (the role is Taruntino-like in its intensity)

Please forward resumes & headshots to

420themovement@gmail.com to get details.

Video audition tape required.

Movie Beat | Sales | Producer | Wausau | Appleton

Thu, 29 Oct 2009 04:53:10 -0700

Your position will include bringing in new clients and working with existing ones. Help clients develop and define their projects and see them through the production process. This position does not require total hands on during the production process, but having some experience in this area would be helpful in seeing projects through completion.

We provide full service video production and web services.
• TV commercials
• broadcast TV programming
• tradeshow display videos
• web video
• training
• product demos
• website design
• database programming and custom coding

• a to be announced web software product for a vertical market which is ready to ship
• a to be announced software product for the video industry which will be shipping in 2 months

The ideal candidate is :
• able to organize and work with several projects at once
• have experience in the video production field
• have experience and knowledge of the web and web based products
• ideally bring some existing clients in with them
• be able to work with others on the production team and with clients
• have some basic writing skills to help start project outlines, write proposals
• have a car in good working order with insurance
• driver's license with no restrictions
• be able to take day trips or overnight trips to client locations when needed

Respond By email