With it comes to making films with your partners there really is nothing more important than keeping the lines of communication open. Film making is stressful. The more the folks sharing the load communicate, the more things will magically fall into place when you’re on the set.
The members of Mutantville Productions meet 2 – 3 times per week via phone conference when we don’t have any shoot scheduled for the weekend and considerably more frequently when we do. Take today for instance, we’ve already had a 3 way phone conference and will have a business lunch meeting at 12. From lunch, we’ll take a short break and meet up again at 2 to start preparing the triage set and getting folks into makeup. The shoot will most likely run until 11 tonight or so.
Before you ask, we all work standard 40 hour per week jobs in addition to our duties in MVP. Experience has shown that the more we communicate, the better the finish product, ultimately, the film on DVD will be in the end.
Increased communication with your cast & crew will likewise make your life so much easier while in active production. Don’t presume that because you’ve sent the details in an email that everyone has taken the time to read it or has the important stuff present in mind. People get busy and forget. Put in the extra time to make that phone call and make sure every remembers the shoot schedule, what to wear, not to cut their hair when to arrive etc etc. You’ll be glad you did.
Remember this above all else Mutantville Players, Johnny Brento loves ya!
Posted 2 months, 3 weeks ago at 10:19 am. Comments
From indieWIRE.com: The following are Michael Lynne’s opening remarks from Friday’s Independent Film Summit, presented by MoMA & indieWIRE (with Zipline Entertainment).
As someone who grew up in the independent film world and helped shepherd a company from “Reefer Madness” to “Lord of the Rings,” it is a pleasure to be here today.
I think it is ironic that I have been asked to kick-off this Independent Film Summit, having been a principal in perhaps the most successful independent film company in history – which has nevertheless become one of the biggest victims of the consolidation of film production and distribution that has so negatively affected the independent film universe. Fortunately, we are living to fight another day in our new production company, Unique Features.
There are however, several very telling points which can be made in this regard:
1 – If you are independent and value the freedom which that brings – stay independent. There is no free lunch – if you are owned by a major studio, you will ultimately be governed by major studio guidelines and major studio decision-making. It is kind of a Faustian bargain. When New Line agreed to be acquired by Turner Broadcasting, we had access to wherewithal for production and distribution substantially beyond what was available to us as a free standing public company. The ambitions which we had for New Line could be accelerated by years. But there was a catch – as Ted Turner said to us about six months after the merger when we referred to him as our partner – “Yes, guys, we are partners in a way and we are definitely friends – but you did sell your company to me – let’s just keep that in mind as we go forward.”
2 – Independent filmmaking emerged in a significant way in the early ‘80s with the arrival of New Line, Miramax, Cannon, New World, Tri-Star and others. Each of those companies had a game plan and a strategy for the space they would occupy in the industry landscape. It was an earlier time of irrational exuberance and lots of capital and very expensive debt was available. The anticipation that we were on the brink of a new generation of film companies, was palpable. Obviously, some of those companies have left a significant film legacy, but the truth is, and this is very telling, none of them today, if they exist at all, exist in the same ownership configuration in which they existed then. And none is truly independent now.
3 – Just as there was an opportunity then for independent, maverick organizations to make films for underserved audiences and to create new paradigms, the same opportunity will undoubtedly come out of the very difficult times for independent filmmaking today as fresh, out-of-the-box thinking on content and delivery, from passionate and talented filmmakers and producers, finds its way through the ambient noise of the establishment to a public hungry for the new. It may be one of us in this room – or it may be a kid with a dream, a digital camera and a fire in his or her belly.
4 – We should be prepared to rethink all of the commonly accepted practices and pre-conceptions about film production and film distribution. There is and will be less funding available for the production of independent films and for the release of those films. (In fact, there will be less funding available for the production and distribution of films in general.) We will see the conventional timing and formats for film viewing re-invented to a meaningful degree. Where films are seen, when they are seen, who pays for them to be seen, are all going to change dramatically in the next 5 to 10 years. Some of those changes will make the process easier and some will make it much harder.
5 – Tough economic times may favor movie-going in theaters, but it won’t solve the shrinking DVD sector and, on balance, it has, and will probably continue to, encourage the production of safer product for a more mainstream audience looking for escape from their stressful private situations. Obviously, that has never been the basic mission of independent filmmaking. The real challenge is to work toward creating films that are original, thoughtful, even challenging, but which nevertheless can capture the imagination of audiences who will always be responsive to something new and unexpected and yes, to films that are entertaining, in the broadest sense of that word.
6 – As an industry we’ve tried to preserve the idea of windows of distribution, ordering the availability of our product by distribution channel, starting in about every instance with the theatrical distribution window. And I don’t know a filmmaker who doesn’t want his film seen in a theatre on a big screen with beautiful sound. But we should be prepared for the possibility – not clear how far off – that there will be 50 or 60 million flat-screen HDTV’s capable of receiving digital downloads around the world. And someone will have the quintessential tent pole which can be ordered for $40 a household before theatrical release. The stakes are high – maybe 2 or 3 billion dollars on one night high. Of course theatrical exhibitors will have something to say about that. But it will also be an opportunity for more niche product which can be targeted to a specific segment of that digitally connected audience, on an incredibly efficient and lucrative basis. For independent films, we are talking about a version of the long tail, which one day may be a real lifesaver for these special films with discreet audiences who can then be identified and addressed directly.
7 – All in all, there is a lot to consider. We are in a very interesting moment in time. It is a time of complicated issues but of enormous potential opportunity. Of course, everyone knows the famous William Goldman quote about our industry: “Nobody knows anything.” It is cautionary, humbling and probably entirely true. And we should all keep that in mind as we continue our conversation today. The fact is, there are no real experts on the future of our business or any business – although I think I’ve found one expert. He’s a true visionary who understood totally the risk of being too certain about what lies in store for us. So in addition to William Goldman’s sage advice, let’s keep in mind what Yogi Berra said (which applies very much to our topic today): “The future ain’t what it used to be.”
Michael Lynne, a co-founder of New Line with Robert Shaye, with whom he also co-founded the new production company, Unique Features.
2 – Independent filmmaking emerged in a significant way in the early ‘80s with the arrival of New Line, Miramax, Cannon, New World, Tri-Star and others. Each of those companies had a game plan and a strategy for the space they would occupy in the industry landscape. It was an earlier time of irrational exuberance and lots of capital and very expensive debt was available. The anticipation that we were on the brink of a new generation of film companies, was palpable. Obviously, some of those companies have left a significant film legacy, but the truth is, and this is very telling, none of them today, if they exist at all, exist in the same ownership configuration in which they existed then. And none is truly independent now.
3 – Just as there was an opportunity then for independent, maverick organizations to make films for underserved audiences and to create new paradigms, the same opportunity will undoubtedly come out of the very difficult times for independent filmmaking today as fresh, out-of-the-box thinking on content and delivery, from passionate and talented filmmakers and producers, finds its way through the ambient noise of the establishment to a public hungry for the new. It may be one of us in this room – or it may be a kid with a dream, a digital camera and a fire in his or her belly.
4 – We should be prepared to rethink all of the commonly accepted practices and pre-conceptions about film production and film distribution. There is and will be less funding available for the production of independent films and for the release of those films. (In fact, there will be less funding available for the production and distribution of films in general.) We will see the conventional timing and formats for film viewing re-invented to a meaningful degree. Where films are seen, when they are seen, who pays for them to be seen, are all going to change dramatically in the next 5 to 10 years. Some of those changes will make the process easier and some will make it much harder.
5 – Tough economic times may favor movie-going in theaters, but it won’t solve the shrinking DVD sector and, on balance, it has, and will probably continue to, encourage the production of safer product for a more mainstream audience looking for escape from their stressful private situations. Obviously, that has never been the basic mission of independent filmmaking. The real challenge is to work toward creating films that are original, thoughtful, even challenging, but which nevertheless can capture the imagination of audiences who will always be responsive to something new and unexpected and yes, to films that are entertaining, in the broadest sense of that word.
6 – As an industry we’ve tried to preserve the idea of windows of distribution, ordering the availability of our product by distribution channel, starting in about every instance with the theatrical distribution window. And I don’t know a filmmaker who doesn’t want his film seen in a theatre on a big screen with beautiful sound. But we should be prepared for the possibility – not clear how far off – that there will be 50 or 60 million flat-screen HDTV’s capable of receiving digital downloads around the world. And someone will have the quintessential tent pole which can be ordered for $40 a household before theatrical release. The stakes are high – maybe 2 or 3 billion dollars on one night high. Of course theatrical exhibitors will have something to say about that. But it will also be an opportunity for more niche product which can be targeted to a specific segment of that digitally connected audience, on an incredibly efficient and lucrative basis. For independent films, we are talking about a version of the long tail, which one day may be a real lifesaver for these special films with discreet audiences who can then be identified and addressed directly.
7 – All in all, there is a lot to consider. We are in a very interesting moment in time. It is a time of complicated issues but of enormous potential opportunity. Of course, everyone knows the famous William Goldman quote about our industry: “Nobody knows anything.” It is cautionary, humbling and probably entirely true. And we should all keep that in mind as we continue our conversation today. The fact is, there are no real experts on the future of our business or any business – although I think I’ve found one expert. He’s a true visionary who understood totally the risk of being too certain about what lies in store for us. So in addition to William Goldman’s sage advice, let’s keep in mind what Yogi Berra said (which applies very much to our topic today): “The future ain’t what it used to be.”
Michael Lynne, a co-founder of New Line with Robert Shaye, with whom he also co-founded the new production company, Unique Features.
Our intrepid heroes, Streebo & Brento, made a special trip across the skies of guerrrilla filmmaking to begin work on the editing of our latest short horror film – G.H.O.S.T.. Going into our first editing session – we had just under three hours of footage from the two weeks of shooting G.H.O.S.T.. We decided it would be a good idea to build the first assembly during production. This way we know if we need any additional shots or pick ups while we still have all of our cast available to us. It took us roughly five hours to pull the footage needed – but we’re all set and ready to go. We’ve already discussed editing possiblities and the angles we want to use. Next week – we’ll start building the first rough cut of the movie. Be sure to keep checking back for more documentary like updates as we continue the movie making process for G.H.O.S.T..
A certified Fango Fiend and winner of a 2006 FANGORIA CHAINSAW AWARD for his “Killer Film”, THE DEVIL’S REJECTS, Rob Zombie has built an impressive career in multiple creative mediums.
Now, with his second visit to Haddonfield set to arrive in U.S. theaters this Friday, FANGORIA takes a look at the music and cinema of Rob Zombie, from White Zombie to HALLOWEEN II.
Creature FX artist Todd A. Britt with writer/director Streebo & Walking Dead.
Since we’ve received so many questions about our upcoming projects, I wanted to take a moment to thank you all for your interest. We look forward to meeting with and talking to each one of you. I do want to remind everyone to relax just a bit. We still have over two weeks until the auditions. We’re working hard behind the scenes at Mutantville.com to get everything lined up for you.
Mark your calendars for August 29th from 12 PM – 3 PM. I’ll post a vid-cast update to bring you up to speed with everything going on at Mutantville.com soon. Keep watching this space. If you haven’t yet – take time to look around the website. You can find links to our various other media and Internet presence on the About Us page above. Take time to friend us on MySpace, Facebook, Twitter and Youtube. We’ll take care of the rest.
Welcome to Mutantville Productions MVP Blog. Join Streebo, Brento, Geo & the rest of the Mutantville Players as they set sail on the high seas of guerrilla filmmaking in their ongoing quest to bring you the finest in genre entertainment.
With it comes to making films with your partners there really is nothing more important than keeping the lines of communication open. Film making is stressful. The more the folks sharing the load communicate, the more things will magically fall into place when you’re on the set.
From indieWIRE.com: The following are Michael Lynne’s opening remarks from Friday’s Independent Film Summit, presented by MoMA & indieWIRE (with Zipline Entertainment).
Our intrepid heroes, Streebo & Brento, made a special trip across the skies of guerrrilla filmmaking to begin work on the editing of our latest short horror film – G.H.O.S.T.. Going into our first editing session – we had just under three hours of footage from the two weeks of shooting G.H.O.S.T.. We decided it would be a good idea to build the first assembly during production. This way we know if we need any additional shots or pick ups while we still have all of our cast available to us. It took us roughly five hours to pull the footage needed – but we’re all set and ready to go. We’ve already discussed editing possiblities and the angles we want to use. Next week – we’ll start building the first rough cut of the movie. Be sure to keep checking back for more documentary like updates as we continue the movie making process for G.H.O.S.T..
