Indie filmmakers: The Kind Side

I know we're in show business, but is it so bad to just want to work with genuinely nice people, too? It reminds me of the question Dr. Wayne Dyer proposed, when contemplating something you have to do, ask yourself this, "Is it going to be easy or hard?" If you aren't 100% certain it'll be hard, just choose easy!! The situation might surprise you (I know it has me!).

I feel that way about working with nice people. If I have a choice - I'm going to choose nice (not to be confused with people who let others run all over them!). None of us can afford to do that in this biz. ;)

For example, have you ever had a less than desirable situation arise and been surprised at how someone responded or handled it with grace, style, and respect? And then had a similar situation occur where someone responded defensively and nasty? As Dyer also suggests - Whatever is inside, is what comes out.

Do you respond out of fear, or anxiety?

We've all been guilty of this on occasion.. we've all been insecure.. but I think there's no better time than the present to learn from it, grow, and quite frankly - grow up.

No better time than to take the high road.

I thought about this for a while yesterday, since I've recently experienced certain 'attitudes,' differences of opinions, had to adapt to changes, and see our producer, Lorie make some tough decisions, too.

Let me preface this (long post!) by saying that I don't expect to be good friends with everyone I do business with. Now, I welcome new, genuine friendships always, and understand that some business friends might turn out to be my best friends! But some I will simply adore/respect while we're working together on set, and others are just synergistic connections to get the job done - nothing wrong with that! It works both ways, btw! I'm not trying to befriend every actor/filmmaker I come across, hoping they'll be in my picture or like me. Networking is great and fine, (I know, a must, a must!) but I don't have the energy to pretend anything or to accompany manipulation of any kind.

There's a lot of talented folk (I know because I work with them everyday!) who are just good, honestly nice, easy people to get along with and those are who I want to surround myself with - always. And I find myself wondering, is this something to base a BIG decision off of? Well, I look at the Duplass Brothers (if you read my blog you know I'm a long-time fan of theirs) as a perfect example. I knew Jay 15 years ago, and although we've only worked on one little short film (way back when), I could still email him today and get a warm response. That's what I'm talking about - nice!!! And Kat Candler, another fellow filmmaker of mine, is simply the kindest person I've ever met. This is how I want to operate in this vast, crazy business, and never forget/underestimate the beauty of. This business is hard enough, without the cold (unnecessary) drama, egos, or big attitudes.

I'll never forget meeting Kat one day to ask her about something (film-related) and offering to buy her a coffee... she declined, saying she only wanted my 'friendship.' That was an honest, special moment for me, realizing that this business, too, can be what we make it - real, genuine, and gratifying.

Just because you're not a shark, doesn't mean you're a minno (so yeah, I kinda stole that from Grey's but it so applies here!).

And while I'm talking about sharks, what's up with various people wanting producer's credit when they haven't done anything? It blows my mind, and seems really egotistical, no? I'm not naive to the fact that it happens, especially when films can't pay a lot, and I'm really not easily offended, so I struggle with not being offended with this one. :)

I recently read a q&a with an indie filmmaker who worked with Andy Garcia.. he said that sometimes actors will ask for additional credit (i.e. producer, executive producer, etc.) without wanting to 'do' anything. But he said Andy was different.. helping produce everything! Cool! I remember meeting an indie producer last time I was in LA who was venting about her friend wanting to be an associate producer. She was going on about how she didn't think he knew the amount of work it took to deserve that title and it frustrated her. Having worked on helping produce Lost In Sunshine for the last 2 years now, I can finally say (as Leonardo Dicaprio in Catch Me If You Can) "I concur!"

Producers do everything. They are the mother's and father's of sometimes 30+ unruly big kids. When something's not working, they have to emotionally 'deal with it.' Sometimes they have to step in and be the 'bad cop.' They have to be competent, diligent, ambitious, committed, (for sometimes next to no $) tough, smart, informed, a good sales person, and know how to juggle, and speak 10 languages that aren't in the dictionary. RESPECT, Lorie - respect!!!

AND, it doesn't matter what size project you're working on, it's not cool or nice to ask for a specific 'credit' unless you are prepared to walk the walk.

If anyone feels differently, please, feel free to chime in!

Thanks for reading, and be sure to check out our additional Lost In Sunshine filmmaking blogs, too!

Peace and love,
Jentri

ps. for all you Celebrity Fit Club fans out there! An oldie but goodie!

Do you love the script of the movie you're working on?

What's in it for you? What's in it for me? What's in it for US?

I ask these questions, not to summon ego and attitude, but to summon awareness.

We all know we take some jobs just for money. Us indie filmmakers have to pay bills, too!! Those are not the jobs I'm talking about today.

Yesterday, Lorie and I were in a meeting with Beaux, someone we hope will be our go-to man for our 'behind the scenes' stuff. She asked a good question, one I learned from, and I hope you do too. She said, (and I'm paraphrasing) "What do you want to get out of this besides money?" She asked this question, because she knew there had to be something else that would motivate/inspire any individual in terms of longevity, and she wanted to know what it was. Primarily, so we can help achieve it, and both of us are happy!

It's not just about US directors/producers making OUR movie. It's about ALL OF US working TOGETHER to make something beautiful we can all be proud of. We are getting something more out of the experience personally, and think you should too.

Let me preface this by saying LIS is a paying project. We are still working on securing all of our funds, but we will have it! And if you work indie, you know that we can't afford to wait until all the funds are secured before lifting a finger. You take a leap of faith with a project.. on something that feeds your creative soul. That's what Lorie and I have been doing the last year together with LIS.

I've worked for free before, and had others work for free for me, too, in the past (which I'll address in a bit). But we're an indie project. And indie usually means you get paid enough to make it that month, but it's not going to afford you the ability to take off for 6 mo. while you look for your next project, like some multi-million dollar ones might.

The reason I thought this question was so genius was because it was so honest and relevant to today's tough times. Everyone, and I mean everyone, has a selfish motive for being involved in a film project... especially an indie one.. and especially if it's little or no pay. We, indie filmmakers, need to find out what that is.

Let me give you an example, based on my previous experiences. When I was working on my first short comedy, and paying out of my own pocket, I needed people to work for free in order for the film to get made - period. But guess what, since I was paying, that meant others got to be a part of a fun project - free - if they were looking to expand their portfolio, too!

Side note: Free doesn't mean entirely free. You must pay to FEED your people well, and especially if you want them to return the next day. Food goes a long way. Supplying well balanced meals says, "I APPRECIATE YOU!"

In addition, you'll most likely have to pay for some sort of equipment rental (unless you own everything).

So nothing is ever really free!

Each person who was a part of that film had something to gain, other than money & food, too. Perhaps it was a credit on IMDB for acting they wanted.. to legitimize themselves as actors. Perhaps they wanted to meet new people in the industry, or intern for credit at UT.

My second short narrative film, I knew I couldn't just call on 'free' favors again from the same people just 'cause, but I was diggin' outta the same pocketbook. So, I had to look for new hungry people. Perhaps they wanted to be in an HD film project because they knew I wouldn't let them down (from working with me before) or perhaps they wanted to be a part of its debut at a big local art festival.. perhaps they wanted to be the 'key' person on set for once. You get my drift?

Working with LIS was a different ball game. I knew there'd be money... eventually. But how do we get people on board without it? That was the big conundrum for me to face.

Well, I knew (or thought, and still do!) that I had a solid script, one I had worked so hard for 3 years to perfect. I had a verbally attached TV actress, just coming back from an exciting trip to LA. And shortly after, I had an experienced producer on board! Things were moving. And I had no time for shakin.'

Now I had to use my tools to find the perfect crew. Would they love the script? Could they connect to it somehow.. find something that inspired them to want to create for it? The fact that I had other people willing to 'commit' to it first helped. But I knew that's not why these savvy, artistic visionaries would singularly want to take on this project.

The people who really connected to the material, and me, are still the people that are on board today. Those types of connections are stronger than any motive for money. That's why relationships that marry for money don't usually last. And that's why I was inspired to share this with you today. :)

Remember, just like with actors, we're casting relationships. Ask yourself: Do I get along with the crew members on a 'personal' level? Do I feel comfortable expressing my opinions and asking questions without judgement (especially since I'm a first-time filmmaker)? Do I simply like their energy?

Bottom line, everyone has something else to gain besides money. Find out what it is and help them achieve that, too.

Dating motels

Today, I did a little 'motel' scouting in Dripping Springs for LIS. Met with a lovely lady that Lorie introduced me to, Laurie, who's going to be my DS connection, too. So excited about that!

After many scouting trips with my gals, Ia and Iskra, this is a motel in Austin we're deeply contemplating. Question is, can my art goddess, Ia (I know she can) transform this place to match my vision, and under our budgetary restrictions? We shall see.. tomorrow.. as we venture over together.

I feel like I've been dating motels over the last several months. I found this little gem several months ago, but I was holding off..waiting on something 'better' to come along.. now I'm thinking this is the 'better' I've been looking for.

If Ia can work her magic, Iskra agrees, and they're 'film friendly' (have an idea they will be) and available for us, then this could be an option.

Ia presented me with another list of motels to check out tonight (thank you, Ia!) but I'm crossing my fingers that this one works out.. for something. ;)

Have a happy HUMPday, folks.
Jentri

Blindsided and Recovering.

Usually working with friends is WONDERFUL, but I had a minor setback this morning. So I'm now just trying to process it, invite in the peace, and productively move forward.

Was blindsided by a film-friend (also very close friend, I might add) who assumed they would have a certain position on LIS, without ever talking about it. Because we are such good friends, perhaps I should have made more of an effort to talk about where that person would fit in, because I do love the idea of helping my friends out... especially ones who are talented and have helped me before, and even for free. However, this person never expressed a specific interest in this particular position, so I didn't realize the importance of it.. I can't speak for the person, but I would've thought that he/she would've been more vocal prior to today (two months before we're supposed to shoot!).

I had actually mentioned to this person doing some other work for us that I knew was more flexible (since I know the person well, I know what type of living situation they have) but that didn't seem to be appealing. If it did, I missed the excitement in the voice. So, not wanting to be pushy, because I know our pay isn't crazy exciting, I didn't press the matter.

Again, not speaking for this person, but I really felt that if this was a specific goal, we would have had the BIG conversation sometime within the last 3 years.. and if it was so important, this person would have brought it to my attention, if I hadn't. Perhaps when we were talking about this other work, that would have been an opportune time...?

I'm a lot of things, but I'm not a mind reader.

Ya know, shit happens.. and just saying someone's wrong & you're right doesn't fix anything. I'm into fixing things... or trying. But it works both ways.

So what are the lessons in this?

I think it was a good lesson for me to toughen up. I tend to internalize a lot of other people's emotions, and it's not healthy (I'm working on it!). Especially being female in this business. Everything's not going to go perfect all the time, particularly on set, but I can't turn around on set and cry. Nor can I let my head get hot and bothered with mistakes I've made or things I can't control. I have to remain cool, and stick by the choices I make, both seemingly perfect and imperfect.

If I had intentionally excluded my friend, or my friend had mentioned it and I had ignored the consideration, then I would feel bad. But all I can feel, since it was an honest oversight (I guess) is sad. I'm sad that a friendship completely depends on my ability to aid them in their dreams coming true. We all try to help each other when we can, or at least I do! I'd be stupid to not know that, and live by it. It takes an army to make a movie, not one free-spirited, happy-go-lucky artist!

If you want the job - ASK FOR IT. SCREAM THE LOUDEST. SHOW SOMEONE YOU GIVE A FXCK ABOUT THAT PROJECT. TALK ABOUT IDEAS FOR IT. BE EXCITED. DON'T WAIT FOR THE $ TO COME IN TO REALIZE IT'S REAL. That's my only advice for the other party.

The friendship will heal, I think, but right now I'm just trying to focus on lessons learned. I think another lesson is that we can't control how people, even close friends, will perceive things. All we can control is how we perceive them, and be ready to live with whatever decisions we make. If we make them honestly, then we can sleep at night.

And I like to sleep, so there ya go. :)

It helps to have such a bad ass producer, who's also a therapist when she has to be, to help put everything into a calmer, brighter picture. Thanks, Lorie!!

Casting our lead male, BOB

The interesting thing about one's perception of actors is that as you acquire more knowledge, speak to a casting director, learn more about actor's agencies, and have some personal experiences with prima donnas, as well as unexpected wonderful talent, your views begin to shift. Visions you had for a particular character shift as well. Being a flexible writer-director in this department helps. I've found that we should be married to our partner, not our idea of an actor, or it's easy to miss your treasure, often buried in the sand. Not being glued to a 'said vision' enables us to see the character's world through a multitude of faces. Some worse. Some better than you could have ever imagined. And better's what we're going for, right?

We're now in the phase of casting our lead male, Bob. Bob's always remained a steady vision for me, for the most part. There were actually two versions of him that I entertained. Ultimately, it was decided that he be the first - a little 'older,' but not necessarily wiser. We felt that this made him more interesting.. more accessibly complicated as a grown-up fuck-up. We didn't want the audience to feel like it was just a 20-something crisis he was experiencing.. but that he's been around the block a few times.. weathered.. disheveled.. he means well, but never seems to say the right thing. He tries too hard. Talks too fast. And there you have Bob, in a nut shell. Well, a big nutshell. He's as lost and complex as a man can get. Yet, he's lovable, too.

The top 5 guys we considered 5 months ago are not even in the top hand today. So many factors became considerations...

Ya see.. We're not just casting an actor. We're casting a relationship, chemistry. One, between the characters. And two, between myself and the actor. We're casting an attitude.. is he "cool"? Is there mutual respect? Does he have range? Does he have presence? Is he capable of delivering the dialog in a fresh, honest, colorful way?

What's his astrological sign? sorry... I wish I were kidding!!! ;)

I love the idea that some of these actors write, too. Taking into consideration we may improvise from time to time, I think that living in the world of writers (yes, we have our own world!) offers its own set of tools.. being able to dissect why the scene's not working, or moving forward... come up with moments of organic seeds that grow, and serve as additives.. so it can bloom into something more beautiful.. yet being able to stay 'in the moment.' And not because it's ever the actor's job to figure these things out, but all egos aside, it's sure nice to know they cradle that vernacular.

Boy, I'm glad I'm not an actor!!! But I sure do love working with them. They have the super huge job of committing to strange characters, and allowing us to sit back, and just feel. The best movies, in my opinion, are ones that make you still.. the ones you sink into, without ever knowing you sank. You forget that there's doggies, and people running around in the room - completely immersed in the experience of simply watching these moving pictures.. faces.. listening to what these people have to say, while suspending your disbelief.. hanging on their every word.. wanting more.. not because you started it or you're in a theater and now you feel you have to, but because you want to.

We've finally decided on who we'll be approaching in the next week to fill the charmingly worn shoes of BOB.. First, our casting director, Vicky Boone, must check his availability. In the meantime, I'm working on a letter to Mr. Right, while our assistant editor, David, is kindly putting a reel together for me this week, particularly for the agency. It helps that our producer, Lorie, has co-produced such a fine feature, jumping off bridges, too. And that our DP, Iskra, is something to write home about, with her beautiful body of poetry she's created through light.

So, some of you may be wondering what a letter to an actor is supposed to say? Lorie had this brilliant advice for me. It seemed clear, and right on, so I thought I'd share it with you!

Lorie's advice: "... imagine you're sitting with him and talking to him about Bob. Who Bob is, and why he's so important to this story. And, why we're excited about the possibility of him being Bob."

If you're out there, Mr. (I can't say your name), please come work with us. I adore you, and think you'd make this person (yes, he's a person to me) sparkle like Smokey's eyes.

More on this process, soon... kindly cross your fingers for us, and visit our official Lost In Sunshine website often to show your support! We love to hear from YOU!

Did you know that we post NEW information/quotes/blogs each week? ;) Jentri

Storyboarding, Love, & the Aether

I don't like the "s" word, so I'll just say I've been 'under the weather' this week. :) I'm still not up to full speed, but nothing gets me out of bed and on my feet faster than thinking about  Lost In Sunshine. 

After a couple of hours of storyboarding with Ia and Iskra this AM, we began to find our rhythm - our cadence. It was a miraculous experience for me - so wonderful.  What began as a bothersome, anxiously awaited activity, turned into a beautiful, magical process. What can I say... "they complete me!" Ok, that was cornsville, but I do LOVE my gals. They f'ing ROCK!!!

Before we began the process, I conveyed my thoughts to Iskra (DP) of illustrating the character's POV's through the lenses, what that meant technically, and how that would change through the course of the film. How would their worlds be reflected through this method? It was lovely to be able to implement those techniques visually on paper - a great lesson for me with angles, composition, thoughts of lighting - yet another way to TELL the story - emphasize the details of that which you want to enhance or negate. Thanks, ladies!!

Then Iskra and I started chatting about the tone of the film, saturation levels, aspect ratios (what's that? ha. no really...235?) and what camera might best suit our needs. Lately, RED has been all the talk. Now we're throwing 35mm into the bowl of possibilities. So many things are still TBD, but that's the value of early prep-work - there's time to entertain ideas, move, weave, & make the best decision possible for your film!  

We were talking cranes, dollies and steadicams, too. Our film will hold a certain fluidness - little to no hand held action. Then Iskra reminds me that we must not forget stillness. Oh yes, it has a place too.  And thank goodness Ia can draw it. I'm afraid I'll need to reference that later. ;)

Still trying to figure out if we will shoot one or two days in "Sunshine" this Dec. If only one, then we're contemplating shooting "POV driving shots" to capture the essence of fall, if possible. After all, we have found Lyn's car (main character) that we have access to, and I'm VERY excited. This little beauty is a character all on its own. Perfectly imperfect. MUAH.

And with all the great LIS stuff circulating around me, I find even more excitement in the air with the Aether Paranormal documentaries I've been producing with Paranormal Productions. Things are looking unusually optimistic for some network action, so we're keeping our fingers crossed. Things move fast in LA. That's why we reside here. We like to sleep in and stay up late! 

So after a GREAT session with the ladies, and a long, productive phone meeting this afternoon with my kick ass producer, Lorie, followed by some much needed good news regarding the Aether team, I feel elated... yet still under the weather.  What can I say... It's hard to be down with so many loving, uplifting things going on! 

Thanks for reading, and have a beautiful weekend!

ps. LIS official website launch still on for end of October - yeah! 

Love, Jentri