Showings, Cycles and Selecting Ones Path

It is a beautiful afternoon here in Michigan. I had a good week overall despite going to two memorials for friends that had lost parents. Conversely, I just found out that a buddy of mine (Casey Sweaten) had a baby boy – well, not him…you understand. So the circle of life is in full motion this week with life and death. I guess this leads me into a few other thoughts I’ve had this week.

Directors/Storytellers

I know many directors out there. Many are doing short format to develop their style and learn how to communicate with crews and talent. Many of those aspiring will never make a full feature film. WHY? It’s hard work.  Anyone who has made a feature film can attest to this truth. To work with any real budget you must be a producer’s director. By this I mean able to work within the business limits set by the producer. This ability requires a responsibility by the director to stay on schedule and budget. It requires a self starter who is very motivated throughout the process. A film that has pre-signed distribution must be completed in a pre-determined timeframe. We work towards being tighter and tighter as a production unit because as we continue to enter a distributor/studio relationship we must maintain and improve that reputation of being a reliable source of content.

SUMMARY – Directors must be reliable and time motivated

I have director friends outside CDI whom I’ve done on-camera work with that still hasn’t seen the light of day.  (Some almost 15 years) Other’s have been grinding at post-production for years upon years. That’s their accountability to live with to their people. I feel an accountability to my cast and crew along with my investors. Those that do not see that accountability factor makes me sad. Sad because they likely will not work in a true business structure. Others will not thrive because they can’t see beyond personal ambition.

This is hard to grasp but is a secret to at least some of my success.

Let’s see if I can explain – actors tend to think that after years of struggling – once cast – the one film released will make them an instant star – that all the suffering is over. It DOES and CAN happen like that but someone also wins the daily double – daily. It is possible but not good enough odds to build a career from.  Actors may not connect with audiences until they get several films down the road. I’ve never had what I would call a home run. Oh, you’re the guy from THAT MOVIE (Home run) but I’ve been a steady base hitter. My market penetration has gotten greater and greater internationally with each film. People have connected/embraced certain roles and so thanks to all of them- I get paid to bring my version of a character to the screen. A major humbling reality from a dreaming kid with a VHS camera who was constantly told he had to grow up someday.

Say when;) That’s for you Tony.

Now directors don’t have as many opportunities as actors. Why? Just numbers. Many cast members and only one director’s chair. From there – quality opportunities are even more scarce. Funding even a quality opportunity is hard.  Look at any film school – a room full of directors. Not always true but many do have this desire. How many feature directors in that room? A few perhaps.

Facts I’ve often found to be true with directors

First – Only a few directors will ever actually direct a feature length film. Some may start one but for countless reasons – many don’t finish.

Those that have finished a feature film – they’re in a special club.

Now only a few of these directors who finished had a team behind them that created the quality worthy of distribution. What is that? If X distribution company values your film above and beyond the time and cost required to exploit revenue streams.

One Example for rejected films:

Actor Appreciation – If you view actors as just props and try to replace seasoned talent with volunteers – it will almost always show. If you spend it on cameras spend it on talent. Bad talent shot with a RED EPIC is anything but EPIC. I had to use that camera for the joke. Someone out there is correcting my joke that this or that camera is better…next.

Distributor likes it but do you have the business organization/releases to deliver a film. It can be a bitch – especially to a major studio.

Now pending the performance of their film in the distribution market – many directors will never direct a second feature film.

Why?

It can take a few years to put any clout behind a directors name. It will likely take a half dozen films realistically.

The director may just be unwilling to create product that distributors actually want. I do know of several directors that are just working on things they deeply enjoy. Like painting, drawing or any number of creative releases IF it’s just a hobby that’s cool. But you can’t complain about the system. The system is largely set by audiences. Business is catering to their tastes in order to sell them stories.

What happens often when it’s just starting to work –

Like a band – some production outfits start to get rolling and they change too much, too soon. Someone wants to explore their inner blues and Tommy really wanted to try drums. Two lead singers. Before they can establish themselves as a pattern of success – the band breaks up.

Why all this director talk?

We’ve been looking at directors with this slate of CDI films before us. In summary a director must prove himself to a producer’s director and execute product that we’ve identified as something the distributor wants. I like to use the example of a well established film director I know. Most of his films have been with 20th Century Fox. He initially had a film get accepted into Sundance. He got a behind-the-scenes directing gig for a big Hollywood name. Soon an opportunity to direct a studio film came up. He stayed on budget, schedule and people liked the film. He’s often given a choice between two or three projects that the studio has approved. He’s done a few smaller personal films and his clout has allowed that. I see directors who want to grow too fast or get stuck -and can’t take the self-inflicted frustration. They don’t ask themselves the hard questions and accept the real situations.  Directors like actors must earn the right to creative freedom in the non-hobby world. It’s not an entitlement that comes with the name tag. It’s a business. You want total freedom? 48 hour film challenges are all over the country. Giddy up:)

SUPPLY AND DEMAND or is that SUPPLY and COMMAND:)

Here at CDI we’re really getting into the business of working with distributors and cutting out the shopping aspect. That’s great for investors because the revenue stream starts sooner and we have financial guarantees from distributors to help protect our investors. This exists  because of what I was writing about earlier. Professional dependability and quality of our product is what creates the relationships we enjoy.

Collaborations

If you are exclusively into your scripts – you must bring the money at risk with your story. If you accept this situation and want to turn out quality on schedule and budget maybe a collaboration with CDI is a worthy discussion. Raising the $ an undertaking is only the first big battle. Don’t go inexperienced into important endeavors. Be honest in your accessment of your team.

In-House

We’re making films that distributors want and that is the way it will remain. I’m getting too old for spec films/shopping and at higher budget that’s not a responsible action. (Filming without distribution)  So I’ve been sitting down with lots of filmmaker/directors. I was happy to sit down with another on Friday. A young man who is paying equal attention to SHOW and BIZ. He has completed his first feature and it has landed initial distribution. It was scary for him being out there facing the rejection. They had enough quality onscreen to pull it above the other films struggling for attention – and because of that, got a good starter deal.

We’ve got both types in CDI – directors with pet projects – that if they bring the bank we’ll make that film on schedule and on budget. Additionally CDI is picking/creating projects based on distribution/marketing meetings.

It is a tough game. We debate these things with ourselves where art and business meet. I enjoy bringing to life other people’s characters/stories. As a writer I love to see my own story brought forth but only if the product is in demand. We make collective art for the collective masses. I know several directors that only get excited by what they pen. If that becomes the routine you better keep writing and get it into development.  I think this is on my mind because I was asked twice about directing this week. I don’t “desire” to direct. I don’t want to take an experience and building opportunity from someone really trying to get ahead and would appreciate it beyond words. If you want to see my directing go to indieflix and watch the first three shows of “Supermodel Showdown” – enjoy:) I have enough hats and I’m not looking to direct.

Film Updates

DJ Perry as Donnie in ASHES OF EDEN

ASHES OF EDEN is holding on our domestic home video street date. We’re in negotiations on a TV deal and so we’re open to adjusting our release pattern. Additionally I’m told it is playing Oct. 17th and 18th at the Sun Theater in Grand Ledge, MI. Check online this week for times.

Funny thing – Also in Grand Ledge, MI  – on Oct 15th we’re kicking off a monthly art mixer at Sanctuary Spirits distillery. It’s $5 at the door-  starts at 6:00 and at 8:00 (sundown) we will be playing our smoky mountain western that was released by Lionsgate. Come watch  “Dean Teaster’s Ghost Town” and mingle- see some of you there!

On November 1st at THE WROUGHT IRON GRILL in Owosso, MI we will be showing BESTSELLER. Author Chris Wright/Johnathan Rand will attend. It will be a nice event at another cool venue brought to you with our friends at RED WHITE and BLUE Project. I’m trying to close on a run at the Alamo theaters in K-Zoo and we are working towards a Detroit area showing.

Sequels

I’ve been reviewing the KNIGHT CHILLS book that will release with a reissued film. All this is to prep for KNIGHT CHILLS 2 in development. The script is being actively worked on and casting talks have started.

We have kicked up development on CHASING THE STAR which is set to film in Feb 2016. Our talent initially approached thus far have loved the script. This is a follow up to “40 Nights” that is chugging down the post production line. We will be starting music on “40 Nights” soon. VFX work should be finalizing in a few short weeks and color correction can begin. It’s all very exciting. The 3rd film in this trilogy is about half way done. We will have a 1st draft by the end of the month.

I’m enjoying the fall immensely. Next week I will be making a batch of wine I will call RETURN OF THE GREEN GOBLIN. If you’ve been lucky enough to try the GREEN GOBLIN wine you’ll be excited by this news. I also have a new beer brew batch to mix up. I’m healing up nicely from a brutal soccer season. Acting – If the right acting project comes along great – but right now I’m just focusing on our end-of-the-year business and prep for 2016.

I’m going to wind this down but have a great weekend.

DJ

CDI’s Smoky Mountain Western released domestically by Lionsgate

October 10, 2015 | Categories: Blogroll | Tags: 20th Century Fox, 40 Nights, actors, Alamo Theaters, Ashes of Eden, audiences, baby, Bestseller, budgets, cast, casting, CDI, Chasing the star, Dean Teaster's Ghost Town, Detroit, director, distributors, feature, filmmakers, Grand Ledge, Green Goblin, Indieflix, investors, Johnathan Rand, Kalamazoo, knight chills, knight chills 2, Lionsgate, marketing, Michigan, music, Owosso, producers, red, Sanctuary Spirits, schedule, screen, scripts, studio, Sun Theater, Supermodel Showdown, VFX, White and Blue Project, Wrought Iron Grill | Leave a comment