HOW TO BUILD A PRESS KIT

I think it’s fun to google press kits online.  It’s easy to find some for your favorite movies, TV shows, or product launches.  Making your own isn’t really that difficult, but it will take some time.

There are no rules to crafting a good press kit.  I’ve seen incredibly complicated press kits, three-dimensional designs, and short and concise press kits.  In ancient times, press kits were usually a package (or folder) with papers inside, photographs, and other bulky things used to promote the product.

These days, press kits are usually entirely online or easily shared via email.  Some might consist of audio/visual treats and be shared on a flash drive.  But, most everyone agrees that there’s no reason to spend money on something when you can achieve the same result for nothing.  So, I say, go with a simple PDF.  You don’t need to send a DVD or CD anymore.  A link to Vimeo works just great.

You’ll want to write a well-formed synopsis.  It’s often a good idea to include a medium-length synopsis and an even shorter one.  Keep in mind that you should make it sound exciting, as if you were writing a review.  Most often, journalists want to simply copy-n-paste what you’ve written so they don’t have to work so hard.  And in the process, when the Boston Globe (or whomever) writes that your movie is a “fast-paced gem” you can easily lift that quote from their article, quote the Boston Globe, and use it for promoting your movie.  Even though you were the one who wrote it.  So remember that.

Write biographies for your key cast and crew.  If you aren’t working with anyone notable in show business, write their bios full of excitement and wonder about the world those people live in.  If your lead actress was a former beauty queen, or if your DP was an escaped felon, or if your supporting actor was a hot dog eating champion—share that info!  Weird stories make for great media coverage.

You might want to consider incorporating a mock interview with yourself and other key players in your project.  Sometimes this acts as a showcase for the type of interesting interview you can do.  I like to make up a game of 20 Questions and keep them light and simple, and sometimes juicy and controversial.

You’ll want to include some stills from your film.  Some should be glossy shots of the actors that might be considered a scene from the film, or a portrait.  Other shots should be from behind-the-scenes, showing the camera and lighting set-ups, or certain “filming” moments.

You’ll definitely want to include a link to the trailer, and maybe even some clips from the film.  Some people with online or broadcast capabilities could run clips of your movie during their news segment.  (For an example, check out the opening 10-15 minutes of “WAMEGO: Making Movies Anywhere” which shows news stories about my movie PEP SQUAD as featured on television.)

Consider including other reviews or other third-party blurbs.  The world is incredibly lazy when it comes to independent thought.  By sharing that a dozen (hopefully influential) people love your movie, it sends the signal your movie is great.  “Why, if so-and-so loved it, it must be good!”

Keep in mind that at the end of the day, of course you want your project to speak for itself.  But, sometimes if you don’t tell people in the media what they’re looking at, they won’t know what to think.  So even if it sounds a little creepy, or pretentious, you’d better do it.  Or you might risk getting lost in the shuffle of all the people who are.

LOVE THE HATERS

If someone hates your movie, it’s a blessing.  Here’s how to tell.

If you love it or hate it, you have a strong emotion.  Most people believe they exist on opposite ends of the spectrum, in a line like this:

love-hate_1

But the truth is, that the emotions for LOVE and HATE exist very close together.  It takes very similar amount of effort to feel one or the other.  The complete opposite of that feeling is indifference.  Nothingness.  So, the reality is, this is what the spectrum looks like:

love-hate_2

So the next time you get a review and someone’s bashing your movie because they absolutely HATE it, give yourself a pat on the back.  Because that person has no idea how much emotion you caused them to feel, and how that alone is an accomplishment.

Embrace the haters.  Because you know that the only real bad review is when someone has no emotion at all.

DENNIS HOPPER’S HOUSE

Pulling up to his compound on a side-street in Venice Beach, California, not far from the beach, I was struck by the surreal corrugated metal façade.  If I hadn’t known he lived there, it would make sense that someone offbeat did.  And the white picket fence out front, planted firmly with tongue in cheek, was the perfect touch.

My dad, Clark, was with me.  We were ushered in the front door and navigated a seemingly endless row of classic cars, luxury cars and more cars.  At the end of the parking area we climbed a flight of stairs that was open to the second floor, with an enormous ceiling probably 20 feet high.  As we climbed it became brighter and brighter, and I took notice of the original Warhols, Basquiats, and other incredible pieces of modern art.  (Later I would learn that his collection was vast, valued at $10 million.)

My favorite lesson was finding out Dennis shot two bullet holes through an Andy Warhol portrait of Mao Zedong.  And, instead of Warhol freaking out about it, he called Hopper “a collaborator.”

At the top of the staircase I was surprised at how plain his house was.  Just one big space with dining area on one side and sitting area on the next, kitchen beyond, and a doorway to the bedrooms.  Hopper’s then wife Victoria was in the kitchen and greeted us as Hopper came in from the back wearing sweats and a hoodie.

I’d brought him a gift.  A coffee table book of photographs called BACKYARD VISIONARIES.  Dennis grew up in Kansas, down the street from my grandmother’s home in Dodge City.  He loved the book.

The first thing he told us was that he thought FIRECRACKER was one of the best scripts he’d ever read.  I presented him with my storyboards of every shot of the entire film.  He carefully read it, commenting how amazing this film would be.

He proposed coming to Kansas for five days to play the character FRANK, and then we settled back and spoke about life and other interests.  Dennis had been in negotiations with Lehman Brothers (the former global financial services firm) to produce 10 feature films for $10 million each.  Lehman would bankroll the venture for $100 million and Hopper would be in charge of the slate.  Hopper asked if we could use FIRECRACKER as the first of these projects.  I was over the moon.  “Of course we could,” I said.  And we shook hands.

(Eventually the Lehman deal fell through.  Lehman changed their offer to Hopper and said they only wanted to put up $50 million, telling Hopper he had to come up with the other $50 million.  He told them to forget it.)

At some point during the discussion Victoria turned on the television and we watched in horror as reports came in that the Concorde had crashed on take off in France.  My sister and I had flown the Concorde back from the Cannes Film festival when my film PEP SQUAD had premiered.  We talked about how incredibly small it was inside and how anyone over six feet tall couldn’t stand up straight walking down the aisle.

Dennis Hopper was a fascinating man and a super nice guy.  He was complimentary of my work and gave me some damn good advice.  It’s a shame we didn’t have the chance to work together before he became ill.  When I learned of his passing, I took a moment to remember the Backyard Visionary he was when he started out making art and movies, and I smiled.

Dennis Hopper's house

Dennis Hopper’s house

My First Review: DECEIVED

When I was asked if I would write a monthly film column for Aftertaste magazine, I jumped at the chance.  What could be better than having a real platform (as opposed to my non-public living room) where I’m invited to share my experiences, joke about my enlightenments and make a fuss of my frustrations!  But then the inevitable happened – the months just kept coming, one after the other.  Sooner than planned.

Last week I attempted to turn on my computer and it simply did not go on.  After two and a half unpleasant hours of tech support, I learned that my hard drive had failed.  It was gone.  Dead.  And there was nothing I could do about it.  They would gladly ship me another one, but unless I had any back-up discs, everything on the hard drive had been killed.

I began to panic and rapidly search for ways to somehow see if any of my previously unpublished articles, unread screenplays, storyboards, poems, or recipes could be salvaged.  Maybe I could get back my address book, expense report, emails, or find out if all my FIRECRACKER marketing materials were still alive.  But on Tuesday, my outlook changed.

After lunch, I began to feel an overwhelming sense of relief.  Perhaps I’d only been hungry, but it felt like a total burden had been lifted.  So I elected to just get rid of it altogether and order a new computer.  I didn’t care if all of my documents were lost!  I was suddenly hungry for a new beginning!  I chose DELL because I don’t like the cult over at the other place – where people think they are better than others.  Plus, DELL has better customer service.

Then I thought – if starting fresh feels this incredible – I might as well throw everything away!  I gathered a bunch of big black trash bags and got to work.  I only had a couple of days before my new computer would arrive – so there was no time to waste!  Out went the folders, the papers, the pictures!  Away with the demos, the tapes and the discs!  I did keep some items of value, however.  The Plez Letters got their own box, but everything else was history.  My history. And there was no reason to keep any of it.  I still have my memory!  When I’m old and lose my mind it won’t matter anyway!

I couldn’t believe all the crap I had.  And it was all crap I thought was important!  Did I really need to keep the screenplay to a film I’ve already made?  Did I really think I would listen to those unsolicited CDs?  They’ve sat there unheard for over a year!  When I’m eighty, will I really want to sort through that box of high school memorabilia?  Who in their right mind really *needs* that unsightly stack of FLAUNT magazines?  They didn’t review the “Wamego” documentary anyway – so fuck ‘em!

When I finally made it through all the crap in my office, I decided the furniture needed to go next.  Out to the curb.  Then I decided to get a much better set of storage units.  I found some inexpensive systems at TARGET and spent another day assembling them.  Re-storing, organizing and shelving only the important crap felt great.  And by the time I finished getting the office back together again – the new computer arrived.  It’s awesome. Jet black – really fast – with a big flat-panel monitor.  Delicious!

I am now a firm believer that all seemingly horrible events are only truly horrible if we want them to be.  And in the end, if we want to turn them into positives, we can if we choose to.  Though no one ever does, it seems to me.  Usually people are so trapped in their misery that they never want to escape it.

Which brings me to DECEIVED with Goldie Hawn.  This woman (Adrienne Saunders) really reminds me of one of my family members.  She’s direct, unafraid of confrontation, and honest.  It’s a refreshing version of the typical woman-finds-out-her-husband-isn’t-really-her-husband movie.  What’s this version like?  Well-crafted and smart.

Maybe it’s just the clever way Goldie Hawn plays the role – but I sensed that there was little that could provoke her to curl up in the corner and shake with fear.  No matter what happened (the guy at the museum is dead, there’s some Egyptian necklace causing all this commotion, her apartment is broken into, her life is a total wreck, her dead husband really isn’t dead, etc.) she never cowered.  This woman was upset because she’d been lied to.

In a scene with John Heard, who plays her husband, she asks, “Why didn’t you just tell me?”  It was the way she said it that gave me the idea if he’d been honest with her from the beginning – she might have even helped him!  But he lied to her and seemed more interested in denial.  Big mistake.  Sure, it isn’t ethical to participate in jewelry fraud, murder, and pretending to be someone else – but the bigger problem is hiding it.  In the same scene (I think) he asks her, “Wasn’t I a good husband? Didn’t you feel loved?”  Clearly, he had parents and neighbors who taught him it was more important to look the part of Happy American than it was to actually be one.  Like there is some sort of shame associated with being anything else.  Sound familiar?  (Not familiar to films like this. I meant, familiar to our entire culture.)

I must make special mention to Thomas Newman about his score: Please, Mr. Newman, get off that goddamn xylophone or whatever the hell it is.  The theme for “Six Feet Under” is fine – but not every movie needs to sound exactly the same.  (Obviously “Six Feet Under” was scored years later – but still.  You scored DECEIVED over twelve years ago.  Enough is enough!)

On my street we believe it’s always better to be honest about something than it is to deny it.  No matter what it is.  Because it will – mark my words – come up at some point.

If you’ve killed someone, stolen some priceless treasure, faked your own death, and have problems with your mother – just get over yourself and be honest about it.  There are people who can help you.  Maybe not the 95% who will judge you, condemn you, or blame you for not living up to their expectations – I’m talking about the other 5% who will be supportive and understanding.  (This is the same 5%, it seems, who favor the separation of Church and State.)  If you make the choice, however, to deny it and pretend nothing happened – well, you will have a miserable life and die unhappy.

If you feel like the whole world is against you, or your life changes dramatically, simply eat something spicy and you’ll be fine.  You might even find the courage to do away with all that crap and move on.

(Originally published in Aftertaste Magazine, 2004)

A Chair is a Chair is a Chair

Have you ever heard someone comment, “My, that’s a bad chair!”?  I doubt it, for there really is no such thing as a ‘bad’ chair or a ‘good’ chair.  There are simply different levels of craftsmanship involved in making a chair, and, of course, a variety of finishing techniques and overall aesthetics.  Some chairs are spit out on an assembly line by the thousands, while other chairs are made by hand.  Some chairs have cushions, some have armrests, and others even have accessories (i.e. little cup holders, rocking abilities, foot rests, etc.).  In any case, it remains a chair.  The purpose of which is to be sat upon.

The people who sit on chairs all share the same activity.  They sit.  Sure, some people have poor posture, but in general, I can’t see how someone could be a ‘good’ sitter or a ‘bad’ sitter.  Never do people go to a dinner party and loudly complain, “Francis, look at the way you’re sitting in that chair!  It’s bad!  Just awful!”  In fact, it makes me wonder, how, exactly, could Francis be sitting badly?  His rear end is fixated on the seat!  Both feet are on the floor!  Sure, he’s got a bad back, which makes him lean a little to the left, but nevertheless, Francis *is* sitting in the chair.  The only way, from my point of view, Francis could fail in his sitting, is if he weren’t sitting at all!  It would seem to me that only when one stands is it appropriate to attack their ability or talent to sit.  “Francis, you’re NOT sitting!”  Perhaps those few people who, in their attempt to sit, miss the chair completely and plummet to the floor, are guilty of poor sitting, but the indignity of missing the chair would seem to be punishment enough, without adding insult to injury by bringing their failure to their attention.

Like the people who fail to sit in chairs, I believe it’s only acceptable to attack an actor when he or she has failed to appear in a film.  Michelle Pfieffer, for instance, is bad for failing to appear in THE SILENCE OF THE LAMBS. Likewise, so are Whoopie Goldberg, Demi Moore, Madonna, Nicole Kidman, Susan Sarandon and all the other actresses who didn’t appear in that film.  Shame on them.

Don’t get me wrong – some actors look great in any movie, while others do not.  Jodie Foster, for instance, looks equally as great sitting in a plush sofa from Eddie Bauer as she does swiveling on an Eames with black leather ottoman.  Other people, like Ned Beatty, for instance, aren’t necessarily the best looking sitters.  There are some people, without a doubt, that should avoid sitting on certain chairs.  But that is all about looks, not general sitting ability.

Movies, it can be argued, like chairs, are not ‘good’ or ‘bad’ – they simply have different levels of craftsmanship.  What’s the difference in how Thomasville, Broyhill, or Ethan Allen chairs are made?  Very little that I can see.  Sure, the shapes and textures differ, but they seem to be built in the same fashion.  Much like films made by committee, they seem safely appealing to most, and, I agree, manufactured with skill (read: they aren’t going to fall apart).  Ron Howard’s movies are like these.  So are Martin Scorsese’s for that matter.  There is nothing more or less exceptional about either.

Some chairs, like those sold at Pottery Barn or Crate & Barrel, are constructed with equal skill, but have aesthetics (and prices) that appeal to a different buyer.  Alexander Payne makes this kind of work.  Clint Eastwood reminds me of Eddie Bauer.  And don’t get me started on Robert Redford and his overpriced Sundance clothing line!

Marketing and selling a motion picture is just like marketing and selling furniture.  Pottery Barn needs to sell thousands, if not millions, whereas Eames is happy to sell a few hundred.  BLAIR WITCH, while poorly made, still sold millions.  That movie in particular is just like furniture sold at Wal-mart.  And in retrospect, the people who buy furniture at Wal-mart are, probably, not going to buy an Eames.  And, like an Eames, EYES WIDE SHUT, while one of the best-crafted motion pictures ever made, didn’t appeal to the masses.

Within all of these examples lies genre.  The genre of Pier 1 furniture is a very different genre than that of Broyhill.  Quentin Tarantino films, which resemble Pier 1 (read: often made with cheap components), tend to fall apart a lot sooner than, say, a Broyhill nightstand, which has the solid construction of a Francis Ford Coppola film.

You can tell what kinds of films people like by taking a look around their living room. What kinds of furniture do they have?  Do they prefer to sit upon a chair made of plastic, mesh, wood or steel?  Do they sleep on an air bed or a top of the line Sealy?  Where do they eat dinner – on the floor, on the sofa, or at a solid oak dining table?

On my street we understand movies are like pieces of furniture.  We know what separates a Horchow from an IKEA.  We acknowledge there are similarities and differences.  But whether it’s manufactured by the thousands or made one at a time, the bottom line is – it’s only a movie.

(Originally published in Aftertaste Magazine, 2004)

LET IT BREATHE

Great screenplays write themselves.  Great films shoot themselves.  Your job as a creator should be to never question a signal, or inspiration – just go with it.  And use your eyes, ears, and then, if you’ve appreciated and respected your creation, it’ll all be there.  The skill is to not interfere with it.  Give it some room to breathe.

A sentence like, “Listen to signs from the universe” might sound hokey but I’d still advise it.  If you’ve written a scene to take place inside a garage and no matter what you try, no one will let you film in their garage, simply change it.  If you fight it, the fight will wear down the natural flow and keep you from seeing what is truly supposed to be there.

When you’re writing a script and you hit a stumbling block, move on – go to another scene.  If you’ve outlined your story and developed a clear structure, you can simply skip around.  If you’ve foolishly started writing without a clear structure in place, stop whatever you’re doing and develop the structure before going any further.

If you’re a songwriter, and the lyrics just aren’t coming to you, put in some working sounds that may or may not even be actual words.  Maybe they’re just noises and sounds, vowels, that you can place words upon later.

Realists have a more difficult time than the rest of us, because they get bogged down with the laws they were raised with.  Or laws that have been pounded into them by society at large.  Water is wet.  The sky is blue.  Neither may be actually true, but we are taught they are.

Letting go of the trappings in the world around you and allowing yourself to FEEL what you feel is a really hard thing to do for most people.  But, I assure you, that once you get the hang of it, it’ll be easier and easier.

In my own work, I can see the differences between projects where I’ve opened myself up to the universe and let all the pieces fall into place, or on the projects where I’ve forced it to much.  It’s taken me a decade to finally tap into something I can’t understand, and which is hard to communicate.  But it’s there.

They say, “Write what you know.”  And likewise: film what you know, sing what you know, dance what you know and paint what you know.  Of course that’s wonderful and always enjoyable but it’s also fun to push yourself a bit into an area you don’t know.

People ask me what inspires me to make a film.  The answer truly lands in what I’m interested in learning next.  I’ve never made a proper horror film.  Or a western.  Learning how to do that is exciting to me.  I’ve never made an erotic film.  Having to learn about what makes eroticism work is a challenge.  Especially if it’s a kind of sexuality I know nothing about.

I consider myself as a mad scientist in a way.  Wanting to combine different genres, or starting a movie off in one tone and then ending in another.  Like CASSEROLE CLUB, where we began with tongues planted in cheeks, then half-way through twisted the tone and moved into something serious, heavy and utterly devastating.  I also love movies that stick in the same tone throughout, like FIRECRACKER, or OCCUPYING ED.

But regardless what story you’re telling, my advice is to be open to letting the creation have its own life force.  Give it some room to morph, grow, and breathe.  You might just find that it grows into its own amazing being.

Works of art are like children.  And as a parent, it’s most responsible to let your children develop into who THEY are.  It’s irresponsible for you to make them who you want them to be.  Take a step back, and open yourself up to the possibility that they just might have their own voices and their own energies.  And if you can learn to respect them, you might be surprised at what they become.

DESIGNING MOVIE POSTERS

When it comes to design, there are no rules.  But there is such a thing as bad taste.  Bad taste on purpose can be a great way to communicate your product—especially if it’s a campy satire.  But if you’ve made a gothic horror or character drama, you don’t want to have crappy looking artwork.

There’s a tendency in the movie business to create Key Art that looks like the latest hit.  There’s also a tendency in the movie business to create Key Art that is totally misleading, just so that company can make a buck when the film is released.

My film FIRECRACKER could be cataloged as a Gothic horror.  But it is far from a horror film.  But the distribution company had the idea of marketing it as a horror film, with blood dripping off the letters and so forth.  That was a horrible idea.  I fought them, and got them to release the film with the Key Art I had designed, which communicated more honestly about the atmosphere and tone of the film.

My film CASSEROLE CLUB could be cataloged as a drama, or character study.  It has some campy moments (it takes place in 1969, so the costumes and art direction lend itself to looking campy even if the subject matter isn’t funny at all), and might have some sexual situations, but there really isn’t anything “sexy” about it.  The distributors for that film wanted to market the film as a “sexy” and titillating soft-core exposé.  I thought that would be a horrible mistake as well because the people expecting to see a sexy and soft-core movie would be totally disappointed.  But why did they want to market it that way?  Because sex sells.  That’s why.

My thinking is: if you want me to make and then sell you “Babes & Bikini Bingo: Summer Camp” or “Haunted Carnival, Part 3” I’m happy to do so, but don’t do something dishonest by marketing a movie that isn’t the movie.

When you design your movie poster, it’s important to remember that although different fonts can sometimes look cool, they do not look cool when you place them all together at the same time.  I always cringe when I see a design that features more than two or three different fonts.  It’s a dead giveaway that the designer just discovered Photoshop when you get the sense they had an urge to use EVERY font they could find.

I try and keep fonts simple and usually only use two.  One font is used for the main title, and another for actors names, blurbs, and other copy.  I try and make sure that the font I use for the main title is not used anywhere else in the design.  Using it more than once diminishes the impact of the main title.  So I always find a complementary font to use for everything else.  Remember: less is more.

With regards to the image or visual art, think about a memorable moment in the film and use it.  Before someone sees your movie, they don’t know what that image means, but after they see your movie, next time they see the artwork, it’ll remind them of your movie.  I try and avoid showing something if it’s giving too much away.  Like, if your movie is a murder mystery you probably wouldn’t want to show the killer on the cover holding a knife, because it would ruin the viewing experience.  But maybe if you wanted to throw off the viewer, you would show each character holding a weapon—then the viewer won’t know whodunit.

Saul Bass was a great designer of movie posters.  You might want to look him up.  His designs were far from the traditional Key Art you see today.  But, in this world of the Black Market Punk Rock Film Distribution, Key Art that is actual Artwork might be the perfect idea.

IN WITH THE NEW

Each New Year’s Eve I try and be in bed as early as possible.  My favorite thing is to celebrate by having a great dinner and having a really nice sleep.  That way, I can wake up feeling refreshed and focused, ready to start the first day of the New Year in clarity.  It’s also quiet—no calls or emails to answer—because most everyone else stayed awake waiting for midnight to roll around, and are likely still asleep.  It’s really a wonderful way to start the year.

2013 was a wild ride, to say the least.

In January I produced and directed my 13th feature film – a romantic comedy from Jim Lair Beard’s acclaimed screenplay OCCUPYING ED.  It was a welcome diversion from the pain of being blind-sided, betrayed and abandoned by my partner of 14 years two months earlier.  I was dreading the new year, but with the help of a new film and some great new friends, I managed to repair the broken heart, keep my spirits up and navigate into a new future.

While I was producing the new film, I completed my previous movie, FAR FLUNG STAR, which was filmed in Hong Kong.  Critic Richard Uhlig calls it, “a Visually-stunning gem, a NORTH BY NORTHWEST for the digital age.  This caper film doesn’t let you rest for a second.”  What a compliment!  You can watch the film here: www.Vimeo.com/ondemand/farflungstar

FAR FLUNG STAR premiered at London’s Raindance Film Festival in September, where I met up with my mom’s cousins Karen and James Lowther.  Karen is an author (her amazing new book THE PERFECT CAPITAL is out now), and James is co-founder of M&C Saatchi, one of the world’s largest ad agencies.  The Lowthers invited me to stay at their country house called Holdenby.  It was magical.

While in London I also taught my first Masterclass on Maverick Filmmaking to actors and aspiring filmmakers.  Teaching is an inspirational experience and I’m looking forward to doing it more frequently.

I also traveled to Santa Barbara, the wilds of Maine, Paris France, and even down to Texas (where I spent a surreal weekend at a festival with my friend Jane Wiedlin, her man Travis, and Rutger Hauer and his wife).

2013 also brought the passing of my dear friend, the legendary Hollywood actress Karen Black.  Karen starred in several of my films and became a dear friend to me over the years.  While losing her to a rare cancer was heartbreaking, reflecting on her amazing life and career and the fun we had together has been inspiring.  Karen planned her own funeral, and it was the first funeral I’ve attended that was actually fun!  Sure, everyone was moved and in tears, but the stories we all shared were hilarious and everyone was laughing out loud.  To have known Karen, and to have had the privilege of being one of her “insider” friends, has made my life immeasurably richer.  Though I will miss her, the support and encouragement she gave me will live with me forever.

I come to the end of 2013 feeling renewed and invigorated.  What started off fairly depressing has ended with much hope for the future.  Between several new film projects, some commercial work with 502 Media Group, the new teaching gigs and a new editing suite featuring the latest in technology, I’m raring to hit the new year with gusto and with creativity cooking on all the burners.

Join me!  There is no better time to finally put that pen to paper and write that script you’ve always wanted to.  Start a new project!  Travel and see something magical and expand your horizons!  Eat a wonderful meal with friends and dare to dream the impossible.  There is proof all around you that those seemingly impossible things are just within reach.  So grab them.

WHAT WILL PEOPLE THINK? (Part 2 of 2)

Opinions of your film will run all over the place.  You’ll see.  It is important to remember that a person’s opinion isn’t actually communicating to you about your movie, but rather, that person is sharing something about their personal inner self.

If the acting in your film is fantastic, and someone tells you that the acting is horrible, what they’re really telling you is why they didn’t connect to it, or that there’s something about their lives which kept them from liking it.  Maybe it hit too close to home?  Maybe they have a similar history to those characters and those old emotions, buried so deep they can’t even see them anymore, are coming to the surface subconsciously and preventing them from letting those feelings escape.  So they hate the acting.

One person will say they hate the music while another will say they love it.  One person will say the flow of the movie is trance like, while another will say it’s jarring.  One person will say that the writing seems forced, while others will say it feels genuine.

There will be sales agents who say these things too.  It’s pretty common for Hollywood in general to always find something about your movie they hate.  You’ll see.  There will be distribution companies, reps, film festivals, anybody and everybody, who will insist their ideas and opinions are fact—and the funny thing is—they will all contradict each other.

That happens every time I get ready to sell a film or promote it at festivals.  Every time.  And it will likely happen every time for you, too.  So my advice is to somehow learn how to let it bounce off of you.  Keep going.  There will be someone, somewhere, who loves it.  Prepare yourself for an endless barrage of rejection one after the next.  Eventually it’ll all work out.  Keep going until the movie is shared publicly with as many people as possible.

You’ll learn that after gathering everyone’s opinions, you’ll be surprised to see that every element in the entire film will be loved at least once, and also, hated at least once.  For every person who likes this, there will be another who hates the same thing and loves something else, which was hated by the other guy.  This is just how life works.

Learning all that has helped me identify when a project becomes true to my vision and perfect for me.  And that is all I can do.  That’s all anyone can do.

When I share rough cuts of my films with professional editors in Los Angeles and NYC, and other filmmakers, and well-known actors who have worked with some of the greatest directors of our time, their opinions don’t change my own perspective.  I share it with them out of curiosity.  Some people need to hear other people’s points of views in order to help define their own.  I’m not like that.  It could be because I’m more visual, instead of verbal or auditory.  I’m pretty sure it’s all about how the brain works and how each person processes information.

The people who need to hear what other people think so they know what to think are usually the types who hear something negative and try to “fix” it.  But, if they did that every time a new opinion came in, there would be nothing left.  It would be a big black void with some credits playing.  Although, even that could end up gone if someone else didn’t like the font.

Of course, I’m always fascinated in hearing other people’s perspectives of any movie I make.  I’m so proud of a film when I complete it, of course it feels good to feel the pats on the back.  It’s exactly like being a parent.  When your kid makes a good grade or wins a contest, it feels good.  And, likewise, when that kid is bullied, it hurts.  But bullies are out there, and there’s nothing we can do about it as parents.

I’m also aware that, like food, some people may not like the way it tastes.  That’s okay.  Critiques don’t teach me how to be truer to my vision.  They only teach me how to better appeal to the critic.  If I’ve made a risotto with white truffles, and the person eating it doesn’t like Italian food, there’s no way I’ll win them over.  If my objective is to win that person over, I’ll have to make what they like.

If my objective is to have the best Italian restaurant on the block, I need to focus on making the best Italian I can and be true to my vision, instead of worrying about the people who don’t like Italian and would rather eat Chinese.  And, likewise, if my intention is to create a New Wave Italian, classic Italian purists might not like it.

Be true to your own perspective.  And, keep going.

KAREN BLACK

I first met the actress Karen Black in 2001 when I stopped by her house to try and persuade her to star in my film FIRECRACKER.  She knew I was coming, so she let me in.  I was instantly hooked on watching her body movements and facial expressions.  There was something about her entire being that reminded me of a wild cat… like a panther or a jaguar.

She seemed to float on the air, feet never touching the ground.  I would later remember this and encourage the Oscar-winning sound designer Paul N. J. Ottosson to remove Karen Black’s foley from one of her characters in FIRECRACKER so she would appear to subconsciously float, otherworldly through the film.

Karen eventually agreed to star in FIRECRACKER and we went about making the film.  She was an incredible trooper on set.  One of my favorite scenes is when her character Sandra leans out of her gypsy wagon to talk to the young boy.  During filming, when it was time to reverse the camera and get the kid’s shot, it was nearly 5 AM and we’d been filming since long before sunset.  Several people on the crew were worried about getting Karen back to her room so she could sleep but she stood firm, and refused to go.  She wanted to stay and be there to act with the kid who was being filmed.  She was a total pro.

In the years after FIRECRACKER came out, Karen and I remained good friends and I’d look her up every time I was in Los Angeles.  We always daydreamed of another project and when we would be able to work together again.

In 2008, Karen was being honored at the Macon Film Festival and they were to show my film FIRECRACKER, so I was flown in to present it with her.  It was such a lovely town, we decided to make a movie there.  Screenwriter Frankie Krainz had just finished his ode to film noir women in prison movies, and Karen said, “I’ve always wanted to be in a women’s prison movie and no one’s ever asked me to be in one.  Isn’t that peculiar?”  So we decided to make STUCK! together.

At first I’d thought of casting John Waters’ muse Mink Stole as the part of the Next Door Neighbor Lady, and Karen as the bible-beating shooter on death row for gunning down an entire fleet of tax collectors.  Karen really wanted the part I had in mind for Mink, and eventually I convinced Mink to take the part I’d originally had in mind for Karen.  It ended up being a great switch, and both women were perfect in their roles.

One of my favorite moments during the filming of STUCK! came when we were shooting a scene near the end of the film, where Karen’s character is riddled with guilt.  In that room, on the set, we turned to each other after a take and looked around.  It was just the three of us.  Karen, me, and my sound guy.  I made the comment about how amazing this was, this experience.  How intimate and real and honest.  She smiled and said, “THIS is filmmaking.”

I am so very lucky to have been able to work with her and to be her friend.

Last week Karen Black passed away after a long battle with ampullary cancer, a rare form similar to pancreatic cancer.

The days leading up to her death were filled with lovely texts and email exchanges.  One night, I sent her this text:

“I had a cry for you today.  In your honor.  I was sitting in my editing room, which is the same room you loved, on the second floor, with the North facing windows.  And I smiled.  And felt your love and support.  And I hope you can feel mine for you.  You are a treasure.  After work I like to go outside in my yard and look up at trees, see the leaves and the branches.  All those shapes and lines.  You once taught me its important to do that after sitting at a computer.  You also have taught me the gift of collaboration.  I shall never forget those incredible moments creating with you.  I love you with all my heart.  Now.  Next.  And then some.  Cheers, my dear.  To YOU!”

She replied with kisses and was eager to hear about what I was working on next.  It was such a blessing to have had the chance to say farewell to her personally.  And it was so lovely to just keep on going.

Please, everyone.  Take a moment and watch this clip of Karen’s most memorable films.

Our film FIRECRACKER is now streaming on demand.

Dear Karen:  Know that you are loved and will be missed.  Thank you for being one of my collaborators, one of my cohorts and my friend.