A LETTER FROM GEORGE CLOONEY

I just read an article about the insanity of David O. Russell humiliating people on set.  Included was a letter from George Clooney that I want to repost for the day.  Those of you watched my docs THE WAMEGO TRILOGY (available for free at that link) saw the clips of him freaking out on Lily Tomlin.  That he does this all the time is just absurd.  I can’t understand why, with all the talented directors out there who are professional and polite, like me for instance, one would continue to hire people who abuse their coworkers.

In 1999, George Clooney got into a fistfight with David O. Russell on set of THREE KINGS.  Here’s what George Clooney writes:

He’d throw off his headset and scream, “Today the sound department fucked me!” For me, it came to a head a couple of times. Once, he went after a camera-car driver who I knew from high school. I had nothing to do with his getting his job, but David began yelling and screaming at him and embarrassing him in front of everybody. I told him, “You can yell and scream and even fire him, but what you can’t do is humiliate him in front of people. Not on my set, if I have any say about it”.

Another time, he screamed at the script supervisor and made her cry. I wrote him a letter and said, “Look, I don’t know why you do this. You’ve written a brilliant script, and I think you’re a good director. Let’s not have a set like this. I don’t like it and I don’t work well like this”. I’m not one of those actors who likes things in disarray. He read the letter and we started all over again. But later, we were three weeks behind schedule, which puts some pressure on you, and he was in a bad mood. These army kids, who were working as extras, were supposed to tackle us. There were three helicopters in the air and 300 extras on the set. It was a tense time, and a little dangerous, too. David wanted one of the extras to grab me and throw me down. This kid was a little nervous about it, and David walked up to him and grabbed him. He pushed him onto the ground. He kicked him and screamed, “Do you want to be in this fucking movie? Then throw him to the fucking ground!” The second assistant director came up and said, “You don’t do that, David. You want them to do something, you tell me”. David grabbed his walkie-talkie and threw it on the ground. He screamed, “Shut the fuck up! Fuck you”, and the AD goes, “Fuck you! I quit”.

He walked off. It was a dangerous time. I’d sent him this letter. I was trying to make things work, so I went over and put my arm around him. I said, “David, it’s a big day. But you can’t shove, push or humiliate people who aren’t allowed to defend themselves”. He turned on me and said, “Why don’t you just worry about your fucked-up act? You’re being a dick. You want to hit me? You want to hit me? Come on, pussy, hit me”. I’m looking at him like he’s out of his mind. Then, he started banging me on the head with his head. He goes, “Hit me, you pussy. Hit me”. Then, he got me by the throat and I went nuts. Waldo, my buddy, one of the boys, grabbed me by the waist to get me to let go of him. I had him by the throat. I was going to kill him. Kill him. Finally, he apologized, but I walked away. By then, the Warner Bros. guys were freaking out. David sort of pouted through the rest of the shoot and we finished the movie, but it was truly, without exception, the worst experience of my life.

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Perhaps this is the standard experience on a Hollywood movie set.  Thankfully no one who works with me will ever experience such a horrific situation.  If you want to catch the WAMEGO TRILOGY each is available for free at that link.

MUSICIANS ARE FAMOUS, TOO

The film business is one of the most illogical businesses in the world.  Or, rather, the people who operate inside The Industry (executives, let’s say) make some of the most illogical decisions.  If they were working in another business, they’d be fired or out of a job pretty quickly.

And, well, actually, the turnover rate for Industry executives is steadily climbing.  Remember your contact at that company?  Yah, he only worked there for six months, and then he was canned.  Now he works at that other company.  No, wait, that company folded, he’s working as a Producer’s Rep now.

Anyway, when I’m casting a movie, I’ve found that sometimes it makes more sense to cast famous musicians in roles, instead of famous actors.

Famous musicians have global followings and fans who buy whatever they churn out.  I figure tapping into that market place makes sense if my purpose is to have exposure.  To get the movies I make out there, to be seen by an audience.  I don’t make movies so they can sit on the shelves in a dark closet.

Did you know that a musician can have as many, and in some cases, MORE fans than a famous actor?  Famous actors are used to being in movies.  So when I’m putting together a guerrilla style shoot, the chances of attracting someone like Kevin Spacey to that project is pretty slim.  But, famous musicians don’t get approached for movies very often, so for them it’s a fun adventure.

Danny DeVito can attest that Mike Patton has as many fans as he does.  Ask him!  But, most Industry executives don’t know who Mike Patton is.  And, those who do know probably don’t think he has a fan base as big as Danny Devito.  So when you have a film starring Mike Patton, Industry executives won’t be as interested as they would if it starred Danny Devito.

I learned that lesson when peddling my film FIRECRACKER.  I was just stunned by the film Industry’s total disregard for famous musicians.  I was reminded by this while peddling my film THE CASSEROLE CLUB.  It stars Backstreet Boy Kevin Richardson in his acting debut.

The Backstreet Boys are the best-selling boy bands of all time.  They sold over 170 million albums.  They have a global following that is larger than that of Mike Patton.  Which means, Kevin Richardson has more fans than Danny Devito.  It’s almost the equivalent of having someone like George Clooney in the movie.  The tens of millions of Backstreet Boy fans spend money to buy a DVD just as easily as they do a CD.

Yet most film businesses can’t wrap their heads around this idea.

But that’s okay.  You don’t particularly need anyone in the film business to help you market directly to a musician’s fan base.  You can do it on your own.

Filmmakers: think about why you’re making a movie.  Do you want people to see it?  Are you only interested in working with famous actors?  Have you thought about casting a famous musician?  Did you know that there are famous musicians you’ve never heard of who have more fans than Brad Pitt?

Maybe one day the film Industry will recognize the music industry exists, and take advantage of cross-market promotion.  But until they figure it out, my advice is to take advantage it, and be thankful they don’t!

GOING GLOBAL

I grew up in a small Kansas town, and when I returned home from film school it seemed the most logical place to begin making films.  Of course, people on the coasts thought I was nuts, but where else can you close down an entire street without having to worry about the police or any passers-by bothering you?

My first three features were filmed in Kansas.  It was only when I traveled to Macon, Georgia, for a film festival there, that I felt so comfortable in the town, I could see how easily it would be to make a film there.  So I did.  It felt like I’d graduated to the next level somehow.

After shooting in Macon, I decided to venture even further from the roost and shoot something in Palm Springs.  It was an exhilarating shoot.  Partly because it’s allegedly against the law to film anything inside Palm Springs city limits without having permission from the Powers That Be, permits, insurance, and all that.  So we just didn’t tell anyone, and made our movie anyway.

The next year, when we were headed to the Raindance Film Festival in London, I thought, well, if we’re all going to be there we might as well make a movie at the same time.  It was an absolute thrill.  Much like with the California shoot, London is beyond strict when it comes to permits, insurance, and permission from the Powers That Be, and so forth.  And, like our prior escapade, I decided to do it stealth and not say a word to anyone.  We got away with it.

I don’t do drugs.  And the rush that came with filming guerrilla style, essentially illegally, became so addictive I couldn’t stop!  After stealing London and Paris (for a quick scene at the Eiffel Tower), I set my sights on Hong Kong.  We filmed a week in LA and then flew to Hong Kong where we filmed an additional three weeks.  Hong Kong was more relaxed, and filmmaker-friendly than all the other cities, but it was still under-the-radar and more than once we filmed someplace we weren’t supposed to be.

How does one accomplish these things?  Well, it’s pretty easy, actually.  Google Earth and Google Maps makes it possible to “walk around” the streets and find locations, restaurants to eat in for lunch, alleyways to hold a staging area, and directions for subway travel times and so forth.  We didn’t need to hire any location scout or send someone to take pictures.  Google had already done all that for us!

It was pretty easy to post casting calls in both the UK and in Hong Kong, and all auditions were held via Skype, or on password protected YouTube or Vimeo pages.

In both places I had great help “on the ground” from the actors who would appear in the film.  We took advantage of shooting in areas they knew about, or perhaps places they lived.  In Hong Kong, our local producer even arranged for us to film the climactic fight sequence in a penthouse with terraces and more!

It might seem daunting at first to go to a far flung destination and shoot a movie without ever having been there before, but I’m here to say it can be done.  And, it is highly recommended.  The pure joy you’ll have coming home, knowing you made a movie in a foreign land… It’s something you can treasure forever.

HOW DISTRIBUTION CHANGED FILM: Part 4 of 4

Click here to read PARTS ONE, TWO, and THREE.

The STUCK! shoot was marvelous.

One of the best parts was the food.  See, when the cast and crew are only a handful of people it is possible to go to someone’s home for a dinner party.  You can eat superior food.  Feeding 42 people on a traditional crew likely means scraps and bulk-made meals.  And there is no intimacy about that kind of thing.  With a set like mine we eat homemade slow-cooked masterpieces every night.  We can sit around the same table.  It becomes a far more rewarding experience.

Like WATCH OUT, the STUCK! shooting days were just as efficient.  We’d work from 9 AM and wrap around 5 or 6 PM.  We worked every day with no days off.  It took less than two weeks to complete.

The reviews were amazing:  Film Threat writes, “Balderson just doesn’t make simple films, and this is no exception. It’s not in the words, or the plot or the story; but it’s in the air, it’s in the beat, it’s in the very soul of the work.” The LA Weekly said it was “Revolutionary.”  And UK Critic MJ Simpson writes, “Steve Balderson is the best-kept secret in American independent cinema. He makes his own films – which are unfailingly brilliant – and the rest of the world very, very gradually catches up with him.”

In February, 2010, the American Cinematheque hosted the LA Premiere of STUCK! at the Egyptian Theatre in Hollywood.  The cast was there with me to present the film and do a Q&A after the screening.  One of the people in the audience mentioned that because all the actors were there, talking enthusiastically about this new way of filmmaking, it spoke volumes about the process.

I signed a deal with a sales agent who is selling STUCK! to buyers around the globe.

In the fall of 2010, I put together another top-secret film shoot and produced my film THE CASSEROLE CLUB.  A couple new stars joined the group for this shoot: namely Kevin Richardson (from the Backstreet Boys), Daniela Sea (from the L Word), and acclaimed stage actress Jennifer Grace.  We made the film in Palm Springs in exactly the same way we made STUCK! and WATCH OUT.  The entire experience is captured in director Anthony Pedone’s documentary CAMP CASSEROLE.

The shoot was a lot like summer film camp.  We rented a few vacation homes that would serve as the locations, and also would house all of us.  Staying together in the same place was magical.  Each day we’d gather to film scenes, and if any actors weren’t working, they would lounge by the pool, read a book, and basically turn their time on the set as a vacation.  This aspect of the shoot was the best.  I made sure that we’re doing the work we need to do, but it’s just as important for me to create an atmosphere that is a rewarding experience personally.

Each evening we would have a meal sponsored by one of the cast or crew, or friends and family.  Imagine being at summer camp and coming together over a meal and singing Kumbaya.  That’s exactly what it was like!  Only instead of singing Kumbaya, per se, several people would pull out their guitars and do an impromptu acoustic concert; or, there would be fun short films being made; or, night swimming and gazing up at the stars with a great conversation.

One of my favorite moments filming THE CASSEROLE CLUB came whenever we needed to do some exterior shots around the Palm Springs area.  We’d just jump in my car and drive around until we’d find the greatest place, jump out, film it, then rush back to the car and speed away as if nothing ever happened.  This is the kind of freedom I love work in.  It’s exhilarating.

THE CASSEROLE CLUB premiered at Visionfest`11 in New York City where we were nominated for 9 Independent Vision Awards and won 5: Best Picture, Best Director, Best Actor for Kevin Richardson, Best Actress for Susan Traylor, Best Production Design.  And the most overwhelming compliment came in 2012 when the U.S. Library of Congress invited the film to be a part of its permanent collection.

Making films in today’s distribution landscape is drastically different than it was even a few years ago.  It is very important to spend as little money possible to make your films.  If your film cost $200,000 that’s fine.  But maybe you could try to find a way to make two movies for $100,000 instead of putting all your eggs in one basket.

Be realistic when you’re planning your expenses.  Regardless of the storyline, regardless of the actors, stars or location, if you think your project will make $100,000 in sales, your best bet at sustainability is to make sure that project costs less than that.

These are just some of the ways the distribution landscape has changed the way films are made.

HOW DISTRIBUTION CHANGED FILM: Part 3 of 4

Click here to read PARTS ONE and TWO.

We began doing research on the best equipment to invest in, best sound package, and best HD camera (we judged each camera based on the level of color captured, best sound captured, and overall user experience).  Months later, we had the whole set up.

I was ready to make my next narrative feature.  And I wouldn’t need so much money after all.  By owning my own equipment, omitting unnecessary personnel and expenses, and keeping costs as low as possible, it would be possible to make a feature film for little more than the price of a used Toyota.

This also appealed to investors.  Distribution has changed significantly since the glory days of the million-dollar buys at Film Festivals.  That simply wasn’t happening any more.  A top sales rep told me, “no company is buying low-budget independently made films for more than $50,000 up front.  And if you get that much you’d be one of the lucky ones.”

The first project to test if my new renegade style of filmmaking would even work or not, was an adaptation of Joseph Suglia’s dazzling novel WATCH OUT.  Could I really make a feature-length movie using only two people on my crew, with me doing all the camerawork, and still make it high-quality art?

The answer was a big loud YES.

WATCH OUT, which became my third feature film, was shot in two weeks.  Our working days were incredibly light.  We’d start shooting at 9 AM and on a few days we were done by 4 PM.  It felt like summer camp and everyone had a ball.

The film was highly praised by critics as “One of the great cult films of all time, (MJ Simpson).”  WATCH OUT also premiered at the Raindance Film Festival in London to sold-out crowds, where it was nominated for Best International Feature.

A review in Film Threat wrote, “(Balderson) makes movies that are so gorgeous that it’s not unreasonable to say that, cinematographically at least; he’s the equal of an Argento or Kubrick in their prime. Some people have perfect vocal pitch, Steve has perfect visual composition.”

I repeated the road-show tour concept we did for FIRECRACKER and released WATCH OUT theatrically in 2008 to sold-out audiences in the “Stop Turning Me On” world tour, to promote the self-distributed DVD release several months later, where it debuted at #24 on Amazon.com’s Top 100.

The third and final installment of the WAMEGO TRILOGY on DIY Filmmaking (WAMEGO: ULTIMATUM) chronicles how we did it.

Once I knew we could do it, I decided to raise the bar a bit more and experiment with a cast of all well-known actors.  The production would cost and be the same = the film would be shot in my new renegade style, without permits and in a secretive manner.  There would be no equipment trucks lining the street, no craft service table, no excessive lighting or camera gear, no substantial crews, or anything to attract attention.  The cast and crew would resemble tourists, which would give the production the freedom to do whatever we wanted, whenever we wanted.

With no make-up or costume person the cast would be required to do their own make-up, take care of their own costumes.  We’d all be staying in people’s homes, not hotels, and would have to accept there would be no cash per diem.

I approached several stars, some I’d worked with before, and others I hadn’t, and to my astonishment, they all agreed.

That project, my fourth film, became STUCK!

When I called SAG to ask them if they had special deals for projects under $50,000 they laughed at me and said, “It’s impossible to make a feature-length film for less than $50,000.”  They also said I “needed to seek professional help.”  Actual words.

But, they were wrong.  I had just proven it was possible with WATCH OUT.  I thought about telling them, but decided that they were just like those insecure filmmakers who needed all that phony “stuff” for passers-by.  Trying to educate SAG on the reality of the world was going to be a waste of time.

(To be continued next week)

HOW DISTRIBUTION CHANGED FILM: Part 2 of 4

Click here to read PART ONE.

By that point the industry had changed so dramatically I wasn’t sure what was happening.  HD Cameras were becoming technically more advanced.  They were finally beginning to have the look and feel of celluloid.  Shooting on actual film was becoming obsolete.

Then I got an idea to do a documentary on the life of my friend—Los Angeles icon, writer/poet, and punk rock royalty Pleasant Gehman (aka universally celebrated belly dance star Princess Farhana).  Traveling with her, and filming her for a year, really helped put my career path in perspective.  Why was I making movies to begin with?

I didn’t need to have fancy equipment trucks lining the streets so it would “look” like I was making a movie to passers by.  I didn’t want the phony photograph with hoards of crew people posed behind me while I stood nose-to-the-sky next to the 35mm Arriflex (or today’s version: The RED).  I know those kinds of filmmakers and that isn’t the kind I aspire to be.  My desire is about what’s on screen.  What is there for the viewer, regardless of the format.

When a person is watching a movie they can’t see what kinds of snacks are on the craft service table, or if any of the actors had personal make-up trailers.  So why should I waste the money on frivolous stuff that doesn’t enhance the image?  Why worry about it?

I realize that many aspiring filmmakers out there try to mask the fact they don’t know what they’re doing by “playing the part” of Director.  To passers by, so long as they “look like” a director, they will feel like a director.  And the equipment, crew, cash, and drama of the “production” become props in their disguise.  And without those props they would feel amateurish and worthless.  And they will often talk down to the ones who don’t follow in their footsteps.

During this time, I learned David Lynch was planning to downsize from celluloid to video with a project called INLAND EMPIRE.  Getting rid of all the “production” associated with film and moving to digital has tremendous cost savings.  By omitting shooting on celluloid, we filmmakers would omit having to house and feed 42 people.  We also omit the excessive equipment rental costs and several hundred thousand dollars of unneeded expenses associated with a project shot on film.

I started thinking really seriously about the way Kubrick shot his movies.  And the way Cassevetes liked to work.

They preferred a kind of intimate production.  One where the crew was made up of just a few people: they did their own camera work, had just one or two people on the crew (sound, lighting) and a few actors.  Why, it would be no different than a few friends shooting in their backyards like we all did in film school.  It would appear to passers by to be exactly the same.  Amateurish.  Except that each person in that small group would be respecting their craft.  I realized that so long as there is a respect for what you’re doing, the appearance to passers by is totally irrelevant.

There would be no glamorous shoot, no luxuries, nor stylists applying make-up to actors in high-back chairs with their names stenciled on them.  It would be punk rock, baby.  We’d have to do our own work.  Lift our own camera case, do our own make-up and hair, bring our own lunch to the set.  Passers by wouldn’t stop.  They’d keep right on walking, paying us no mind at all.  We would be free of onlookers.  We would also be free of actors or crew people who placed more emphasis on the appearance of the set than they did their actual craft.

That possibility excited me to no end.

(To be continued next week.)

HOW DISTRIBUTION CHANGED FILM: Part 1 of 4

In 1997, I made my first film PEP SQUAD.  It was a campy, subversive satire on America that predicted what would become a string of school violence incidents.  It was shot on 35mm and cost roughly the GDP of Barbados.  It took six weeks to shoot with 40 people on the crew and with long, tiresome fourteen-hour days.  In 2000 after the controversy surrounding American school violence had calmed down it was released on VHS.  YES!  VHS!  See, in addition to the yet-to-be universally accepted “world wide web,” DVDs were not established yet.  Can those of you under 30 even imagine?

2010 marked PEP SQUAD’s 10-year anniversary with a special Blu-ray release from Lloyd Kaufman’s Troma.  Critics have called it the best B-Movie ever made and it has become a cult classic.

In 2003, I made my second feature.  It was called FIRECRACKER, shot on Super 35mm, and also cost roughly the GDP of Barbados.  Preeminent film critic Roger Ebert gave it a special jury award on his list of 2005’s Best Films.  It was a demanding production: eight shooting weeks, six days per week, fourteen hour days, 42 people on the crew, hundreds of thousands of dollars spent on camera and lighting equipment rentals, housing and feeding people, costumes, sets, equipment trucks, cables, generators, and on and on.

When it came time for FIRECRACKER to be released, the rules of the film industry were rapidly changing.  The Internet had caught on, everyone had email, DVDs had replaced VHS, and certain companies weren’t buying movies the way they had a few years prior.  The exclusive independent film deals from Hollywood Video, etc., were nonexistent.  The top-tier film festivals were becoming “owned” by sponsors who dictated which movies they could screen (often these movies were also funded by said sponsor), industry “buyers” were offering less and less upfront payment for distribution rights, and even if you did make a sale (like we did) they would likely never pay you (fairly, or at all).

Domestic companies didn’t understand our movie.  I encouraged them to market it to Mike Patton’s fan base but they didn’t know who he was.  I showed them our website stats, where the fans were coming from, and they still didn’t get it.  It was as if they simply didn’t believe me.

So I decided to release the film in theaters on my own.

I took the film on the road in a first-ever DIY kind of deal with Landmark Cinemas.  It was the “Freak Show Tour” which I modeled after the kinds of tours a musician would take.  We screened in a dozen or so major cities across the USA, having some of the stars appear at the screenings for extra media attention.  And it was a massive success.  Not only did we sell out all of the shows, but suddenly, because of the media attention and critical acclaim, domestic distribution companies were all over us.

We struck a distribution deal with two companies: one for domestic and one for international.  Internationally, the rights for FIRECRACKER were sold to companies in Greece, Germany, Australia, Thailand, the Middle East, the UK, Scandinavia, South Africa, among other countries.  As of December 31, 2009, the foreign sales receipts added up to $97,240.

FIRECRACKER was also released in the USA.  AEC One Stop, Baker & Taylor, Blockbuster, DVD Empire, Hollywood Video, Ingram Entertainment, NetFlix, among other re-sellers.  As of March 2007 (our domestic distribution company refuses to send us additional reports) the total domestic sales receipts added up to about $159,468.

Did we ever see that money?  No.  With all their so-called “marketing” expenses—First-Class flights to festivals and markets in Milan, Cannes, Berlin, five-star hotel rooms, and other useless fees—it was clear to me that we would likely never see anything.

Then there came a story on the front page of the New York Times about the producers from the Oscar-winning film CRASH not yet receiving any money from their distributor.  Turned out we had the same distribution company.  No joke.

Could we have taken legal action?  Sure.  We probably still could.  But it would cost more money to fight them than any we’d get in a settlement.  If they are ripping off big-guy Oscar-winners, who do have access to the kinds of money to pay for legal fees, there is no way us little guys even have a chance.  And if we did fight them and win, we’d be broke in the end regardless.

So we saved our time, money and energy, and moved on.  Productively.

(To be continued next week)

ACTORS AND THE MEDIA

It always amuses me when actors pretend to get shy around the media.  Most of them, even if they deny it, are actors because they love and crave attention.  As children, they were the first to jump up in front of a group and “perform.”

Many actors are also pretty insecure people.  I mean, think about it.  They turn their life’s objective into avoiding their true selves in exchange for always being somebody else.  The good ones get paid for it.  Sometimes, actors find out there’s very little time left to be themselves, and some might even forget who they used to be all together.

Actors could also be called professional liars.  The good ones are so good at lying, that you actually believe what they’re saying and feeling.  Even though it’s totally fake.  I mean, it’s a movie, right!?  Someone wrote that for him or her to say.  And in some cases, this isn’t always exclusive to their performances on screen.  Sometimes the good actors can achieve amazing results in normal day-to-day life.

Anyway, if you’re a director or producer and you ever come upon an actor who is shy around the media, or afraid to do interviews with the press, you might need to pretend you understand them, and hold their hands, but know, deep down, by the time they get into the interview they’ll be all lit up, performing, doing what they do best.  And they always eat it up.  You’ll see.

Depending on the actor, it may be a good idea to give them a script to follow.  Some actors are brilliant at improvisation.  But many need a back-story, a character arc and a sheet of dialogue.  Or, at least, talking bullet points.

I like to supply my actors with a go-to bullet point list of topics to discuss about our movie.  Questions to answer in a precise way, using careful language.  Sometimes I’ll even include a list of topics to avoid, such as, giving away any plot secrets, or proprietary information.

Another idea I’ve advised other filmmakers in the past, is to be a kind of go-between with the media.  Have the interviewer send you the questions first, so you can look over them and make sure there’s nothing offensive asked, or anything that might cause the project harm.  And, likewise, maybe there’s a question asked the actor would otherwise not know how to answer—so you can tell the actor what to say.

Or, you could simply tell the interviewer you’ll pass along their email address or phone number to the actor and let the actor take it from there.  I guess it depends on which way make you more comfortable.  Some of the more famous actors don’t like having their email or number given out, so in most cases dealing with a celebrity of any kind, this will be the best avenue to take.

Actors are a funny bunch, and of course I was generalizing their personalities at the start of this article.  Not every actor acts like that, and not all of them are ruthless self-absorbed fame-hungry monsters.  Some of my greatest friends are amazing actors and their gifts and talent are greatly appreciated.  Without actors, there’s no such thing as a movie.  So we need them.  And we need to cherish them.  But, when it comes time to promote your movie, you might need to nudge them a little bit this way or that.

CASTING: JUST LIKE COOKING

Casting and crewing a movie is the most challenging aspect of making a movie, and one that many directors and producers should reevaluate.  By casting and crewing your movie correctly, you can avoid having conflicts on the set, maintain a healthy atmosphere, and construct a positive environment in which everyone can thrive.

When I’m casting or crewing a movie, I think of it like cooking.  The movie is the dish we’re about to make, and each element that goes into making that dish becomes an ingredient.  Different locations, props, costumes, and people, each have their own unique color, flavor, energy, and thus each has a unique ingredient.  Like saffron, ginger, or cucumber.

I think it’s very important to make sure that all the ingredients work well together, both on screen and off.  If everyone enjoys being around each other, the atmosphere will be free of conflict.  And if any conflict arises, people who enjoy each other tend to handle conflict in a healthy, mature way.

So, think of people like food.  Try it.  Go on.

Pick someone you know and imagine what kind of ingredient would they be.  Are they volatile, or spicy, like, say, cayenne?  Are they sweet and rounded, and ordinary, like, say, a Granny Smith apple?  Would you pair them up together in the same recipe?  And if so, how would you do it?  Or, what other ingredients would be needed in order for the right balance to happen?  Or, if you picked the Granny Smith apple person, is there another contender who embodies an ingredient that might work better?

Sometimes this is very difficult to explain to other producers, actors, and directors.  Especially those who have been programmed into doing it the traditional way.  But, I’m telling you, this works.  It’s about understanding chemistry and really understanding a person.  It’s possible even to understand it, and use this information, without ever being in the same room with the person.  It’s also very handy tool to use when casting people together that need certain chemistry.

Some people use astrology in a similar way.  I understand that for the most part, people might not like this because it’s stereotyping.  Fitting everyone else into a box.  But, so long as it keeps working, I don’t care.  The goal is to cast and crew a movie, and to end up with a group of people who get along and shine on screen.

Even if a person is the best in their field, or the greatest performer, they might not be right for the particular dish we’re assembling.  It’s incredibly important to select the right combination of people to create the ideal environment off screen as much as on screen.  When people are living together in such close proximity to each other, and work and play morph together, it is imperative that each personality work well together—like creating the perfect recipe—each ingredient matters or could throw off the whole thing.

Would you rather be working for three weeks with a bunch of talented people who hate each other, or a bunch of talented people who enjoy each other?

In addition to taking a look at someone’s skills and talent, it’s also a good idea to look at how they see the world; interact with others, and how their unique ingredient might give flavor to the ultimate dish.

Ponder your own combinations.

Figs go well on their own, with fresh crisp foods, and even meat but I wouldn’t eat a bulb of garlic at the same time.  Some might, though.  That’s fine.

Got a fresh peach, or a plum, and a bossy steak?  Try them together, the fruit works surprisingly well on top of the steak.

Roasted beets taste like sweet corn, which is also great with arugula.  But I’d avoid pairing them up with gummy worms.

The Wamego Trilogy

To celebrate the 10-year anniversary of its initial release, I am making the WAMEGO TRILOGY available for FREE on Vimeo.  Spread the word and share these documentaries with every filmmaker (aspiring or professional) you know.

“Dreams are made of this stuff… Missing here are power-lunches and power-trips. Which is a breath of that fresh Kansas air.” – AFTERTASTE MAGAZINE

“Perfect! If you’re an aspiring filmmaker, you’d be a complete fool not to watch all the docs in this trilogy… There’s a lesson to be learned from the Baldersons.”
FILM THREAT

“Hollywood should be jealous.” – ICON MAGAZINE

“Literally thousands of miles away from the world of red carpets, cocaine nose-jobs and botoxed to the bone, anorexic 40-year-old women pretending to be 21, Wamego is a world full of cinematic dreams and devoid of pretension.”
HOFSTRA CHRONICLE

“Steve Balderson’s approach to his work is not just a breath of fresh air – it is a gale-force wind that just may huff and puff and blow that famous Hollywood sign down right before the film industry’s eyes.”
OREGON DAILY EMERALD

“A constant reminder to never give up or give in…”
ALL ABOUT TOWN MAGAZINE

“WAMEGO is a testament to the hard work ethic of the Midwest. It proves that with determination, anything is possible – even making a feature film by yourself, in the middle of nowhere!”
LAWRENCE JOURNAL-WORLD

“What was ‘Lost in La Mancha’ could easily be ‘Found in Wamego’ … A warmfelt, honest lesson how to realize your dream without sharing a bed with the devil.”
PLANB MAGAZINE, NORWAY

“Balderson serves a fat slice of humble pie to his Hollywood peers. A reality-check to inspire indie artists worldwide!”
THE BLACKSMOKE ORGANISATION, UK

“Those who have filmmaking ambitions of their own will get a little more…”
MICRO-FILM MAGAZINE

“WAMEGO will have a league of moviemakers clicking their heels to be transported to the Kansan, Do-It-Yourself state of mind.”
BRAD JEWELL

“It’s fascinating, entertaining, inspiring.”
PLAYLOUDER, UK

“The documentary, more than any other movie-in-process film, actually demonstrates how to make a movie. It’s not a tedious and silly art school exercise, but a deep look into the thinking, perspective and determination that a filmmaker has to have in order to get a vision on the screen. Wamego is good story telling… A rich tale with fully developed characters, a well-developed plot and layers of conflict… Wamego is recommended viewing… Shows those professionals from LA how things should be done.”
DISCOVERY PUBLICATIONS