Filmmaking

March of the Swivelheaded Ant Man

sonnyboo — Mon, 04 Aug 2008 21:47:48 +0000

Let’s start with the mystery of my opinion of THE DARK KNIGHT, since I last left off before seeing it. I dug it. It rocked. Yes, they clearly used HEAT (1995) as a basis of the overall plot structure, which was a good thing. If the idea was to make Batman ™ seem “realistic” they took that ever further in this one than BATMAN BEGINS (2005). I’m seeing it again soon in IMAX™ and I have since read the script. There are some subtle details in the words, but mostly I’m enthralled with the very well written dialogue. Very natural and something filmmakers should bear in mind.

Well, we just did another INDIE GATHERING in Cleveland this past weekend. They are always fun. I set up a booth, sell some DVD’s, give away CD’s and hand out for upcoming events. Of course, I sell more DVD’s and books when My Sexy Fiancé Veronica ™ sits at the booth by herself. How odd that the pretty girl sitting alone gets more and more convention boys to buy more product!

I did 5 panels on various aspects of film. I haven’t done much of this stuff lately, as my public appearances have voluntarily dwindled. The social and public coma I have been in for the past year has started to fade. As I prepare for the next few months, I’m already turning up the volume on what I’m doing.

On the way home, the magical MARIE’S PIZZA was had with a brief stop in Wadsworth Ohio where my arteries choked on the most blissful combination of tomato sauce and cheese on bread. Every time I’m within 50 miles, I stop off in my old home town to partake of the pizza I grew up on.

Cleveland fascinates me. They have so much more in the way of older buildings, gothic architecture, and MOM & POP stores. There’s a lot more identity to Cleveland than Columbus. I feel like if Columbus were to be defined, it would be a strip mall with an Applebee’s next to it. There are these tiny pockets of originality here and there, and I wish they could succeed and explode to drive away the corporate, test-market-y stains of retail that permeate everything else.

I cannot blame the giant anonymous “they” of the corporations. They are only 50% to blame. The other half is the people and consumers themselves that prefer this generic, uninteresting blah.

GOODNIGHT, CLEVELAND! has almost finished its sound mix. We’re on time for the Sept 11th premiere, but it has not been an easy road. Miguel Baldoni Olivencia has decided not to Alan Smithee the movie, and take credit. This pleases me immensely. It’s his movie, not ours, no matter how different the “intent” was during the shoot and the “result” from the edit. Micah Jenkins works his head off with these edits and smoothing of audio from 1996-1997 in the new digital realm. I often have to say, “We can’t make it good, only better”. That’s the mantra for a film this old.

THE COWTOWN FILM SERIES just got our big wish. For the Halloween screening on October 30th, I wanted a HORROR film, and specifically I wanted to screen Bob Kurtzman ’s THE RAGE. THE RAGE was shot here in Ohio after Bob Kurtzman
moved back here from LA. For those not in the Know, Bob Kurtzman is the “K” in KNB Effects. He worked on movies like EVIL DEAD, NIGHTMARE ON ELM STREET, TEXAS CHAINSAW MASSACRE, AUSTIN POWERS, & SCREAM. Rob is also the originator of FROM DUSK TILL DAWN, writing the story that Quentin Tarantino adapted into a screenplay and Robert Rodriguez directed, and he made his mark as the director of WISHMASTER, and more recently THE RAGE. What most people don’t know is that Bob Kurtzman came from Crestline Ohio, interestingly, the same place my entire mother’s side of the family came from. Bob has come back to the Midwest and planted a firm foot in the community and away from either coast. He’s started the studio PRECINCT 13 and setup shop doing visual FX for movies like Rob Zombie’s DEVIL’S REJECTS and more.

I might be losing friends as I turn down some shorts that have been offered to me for the whole series. I asked for a public call for entries, but not all of the pieces are up to snuff. I’d rather play fewer shorts of surpassing quality than let something go because I’m friends with someone. It’s a business and I’m sorry. Here’s an idea of what I’m doing with graphics/animation thanks to VideoCopilot.net’s tutorials.

Work shows no sign of letting up. My head hurts. Very little sleep for me as the August heat destroys the equanimity of cool air distribution on the 2nd floor of Rossdonia. I have picked up a cheap futon for the basement so that I might get some proper sleep at night on various nights. The problem is removing the old family blue couch from the basement, along with it dolly, and dolly tracks, and even a ¾” deck for relocation to the Production Partners studio. This is more than a 2 person job. At least I can afford an El Cheapo futon with a decent pad.

target="_blank">

I once reposted a story about target="_blank">the great Stanley Kubrick
and how a London reporter got to go to his estate 2 years after his death and discovered all his boxes of research and information. It’s now a documentary and I found it hilarious and fascinating.

target="_blank">CLICK HERE to watch video

We upgraded our 2nd edit system (Edit “B”) here at work to the Matrox RTx2 system for real time HD editing. I am pleased that it works well with the other motherboard, as Matrox products are sticklers for compatibility. We’ve also increased our storage by 3.5 Terabytes at work, and I added 2.25 Terabytes of storage at home for My Sexy Fiancé Veronica ™ and her documentary. We have some progress. A rough cut is done, some graphics work is complete and now we have some archive footage from MARCH OF TIMES from the HBO Archives to go over what selects we’ll use & buy for the project.

We re-watched NO COUNTRY FOR OLD MEN in Blu-Ray™ last night. What strikes me best about this movie is the maturity of the filmmaking. Most people don’t grasp the concept of subtlety. Very little is spoken out loud in this film, so is not to beat the audience over the head with obvious or pointless dialogue. In a 3 minute film by John Whitney locally, “A FAMILY MATTER”, reminds me of that kind of mature filmmaking where the story is told visually with the words being spoken often telling you something other than the blatant plot points.

This was a big one, but I’m busy, so I gots ta G.O.

Peace out homies, and I hope the crazy people find peace in reading my blogs.

- Ross

THRICE UPON THE DOOR

sonnyboo — Fri, 18 Apr 2008 03:57:55 +0000

I have been busy again. I’ve been wrapping up a few projects, and nor Uncle Pete is on way hold for a short time while I finish up the paying work. Not the least of which placed upon hold will be the continuation of work on my next feature. We’re only a few weeks away from the big trip to do the documentary on the weighty subject of the Holocaust and a survivor’s story. I’ve been plugging away finishing off the non-fiction book and I can say I’m floored. I’m gripped and to hear the real life person tell her tale will put my best foot forward.

In the world of UNCLE PETE, the big news is that I got featured on the main page twice in one day on Will Ferrell’s FUNNY OR DIE, and then the next day I got my notice that the first installment will be featured on their Verizon VCAST on the mobile devices. These are big scores and a boon for a comedy short.

One of the stipulations for getting selected for the mobile devices was that there must be no cursing, which lead me to the real meat of this blog entry.

I tend to go against having cursing in most of my movies. Early on, I had a few scripts and then movies that had a lot of cursing, but in the years since, I tend to tone it down to the point of nonexistence. I curse like a horny sailor in New Orleans Parish in real life, but not so much in my scripts. If I allow a curse word, it had better be pretty intense or appropriate. I’m a stickler for making my movies not only accessible, but curse words are a weapon and they have to be used sparingly and to effect.

At the very least use of profanity had better be perfectly in character for the person saying them, or the potency of the language is lost to minutiae. Some people have a character swear up and down and so the power of those words becomes meaningless, and there was no reason for that character to even use the bad words.

How many times have we seen a movie or video online and the people swear… and swear, and then you realize it’s almost every other word? It’s numbing to the point that you wonder if they have any clue how much they are using profanity. If the choice of words doesn’t emphasize anything, then where do you go with the language?

I’m not against the use of profanity in movies, just against their OVERUSE. I cannot emphasize enough the potency of WORDS…

That leads to nudity in film. I have always maintained that at the stage where I’m at, and have been at, that it would be a failure if I had to resort to nudity to sell a movie I’m doing. Again, I’m not against nudity in film, and have no problem with other people using sex to sell their own movies. Anyone else can do whatever they want and my respect level doesn’t raise or lower – I can only put this mandate on myself and my own movies.

It was suggested in my first feature, HORRORS OF WAR in case you didn’t know the name, that we have a nude scene… in a World War II Sci-Fi-Horror-Action movie. Sure, that’s the kind of movie that has a gratuitous sex scene in it. This set my mind ablaze. I was dead set against it, but knew it might effect whether or not we get the money and distribution, so I decided I would give them their nudity and sex scene all right… but I made it a rape scene. The cliché in horror films is a gratuitous and plotless sex scene, so I made it a plot important, and unsexy, unappealing rape scene. No one will watch this and jerk off, and I placated the nudity mandate, and I got to deal with weighty, dramatic fodder. It was the hardest thing I’ve ever directed and the emotional repercussions weighed in on me.

Nudity in film is fine. I have no problems with it when other directors or films have them, but for myself, I can only use it if it’s truly essential to story, character, or plot. In movies like THE ENGLISH PATIENT or hell even PORKY’S, nudity and sex were used eloquently in their respective genres and films, but I’m not ready to make a film like that yet. Maybe, even soon perhaps, I might have a tasteful sex scene, or a shot of a naked person, but I’m still in the learning phase of filmmaking. I don’t want to use something like nudity as a crutch or titillating sellable element until I know it’s something I can control the situation and work very very very comfortably with the actors with a great deal of discretion, maturity, and sensitivity – none of which am I capable of yet.

Am I still raising the bar on myself as a filmmaker?

Both elements, cursing and nudity also relate directly to marketability. In the realm of short films, if I have a single curse word, or even the slightest edge of a nipple, I can kiss several opportunities for distribution or exhibition goodbye. There are several far “better”, or funnier shorts on FUNNYORDIE.COM, but why did Uncle Pete get selected to be on their Verizon VCAST? Because it was “clean”. I was aware of those elements as a producer, and as a director, I found it more challenging to make a dark, intense, very adult series without cursing. No one really wanted to see George nude, except maybe Micah, but still… I am making the choice to sparingly use profanity and not use nudity as artistic decisions, actually challenges to myself, but they have the side benefit for marketability.

I can’t speak for anyone else, nor am I passing judgment on anyone else’s films, choices. Believe me, I could not have made it through puberty without some of the finest Cinemax movies on after 11:00PM. God bless Shannon Tweed and Andrew Stevens!

Something should also be said about filmmakers waiving around Non Disclosure Agreements as if their ideas are sacred and have such value that they are desperate to keep a lid on it.... then have their cast/crew already telling everyone about specifics. It's a waste of time to do NDA's if you don't have any significant money involved in the process. Who will really be scared by a contract if the filmmakers can't afford to pay anyone $5 a day or $10 a day to participate? Then they obviously can't sue anyone and the NDA is worth less than the paper it was ink jet printed on.

Come on kids! If you aren’t investing money in an attorney to draft the specific Non Disclosure Agreement and you’re using the free one from SONNYBOO.COM (your source for free paperwork for filmmakers), then it’s very much the fodder for giggles behind your back. What can you do about it if someone breaches the contract? Write a blog about them? That’s about as intense as the retribution can possibly be when you have NO MONEY.

Seriously, if no one has ever paid you for your ideas or movies, then you can pretty much be assured, they aren’t actually worth anything… YET. That’s not to say that you won’t later need one, but not when making a DV short that has made no money and probably won’t. No reason to get ahead of yourself and pretend to be someone and somewhere you are not. When you have an investment that goes beyond buying people a few pizza’s to be on set, like maybe when you get beyond the tens of dollars and into the tens of thousands of dollars, the Non Disclosure Agreement might be a good idea, and make sure that a real attorney makes revisions specific to your needs. If you can’t afford an attorney, then do NOT waive a NDA in front of an actor with an ounce of experience and expect them to take it or you seriously.

The whole point of the Non Disclosure Agreement is that it represents consequences if the contract gets broken. If you can’t do anything to anyone that breaches the contract, then all you are doing is masturbating to your own ingenuity for having an NDA, but then everyone will blab anyway, long before your epic DV short gets on YouTube.

Who are you protecting the idea from? Other DV wannabes? Stop acting a fool! Get over yourself. Who are these idea thieves wanting the incredibly valuable movie ideas from unknown filmmakers that have never made anyone, anywhere a penny? If you can’t sell anyone the idea for your movie, then no one is stealing the idea and making it themselves. Spend these precious moments on an aspect of the film that might actually mean something… like investors, or a post production workflow, or casting or anything else that might be of more use than a Non Disclosure Agreement that has no teeth.

-=-=-=-=-=-=

Well my droogies, the Boo must rest. He hits the gym early in the A.M. I’m sustaining my 4 times a week at the gym and I haven’t failed to maintain, so I intend to keep at it. I only have 51 pounds to lose till I am happy. That sounds like a lot, but it’s really even more than it sounds. It feels more like 100 pounds, and looks like 150.

Peace and harmony, plus a side order of ham!
Peter John Ross

Cinema History?

sonnyboo — Wed, 27 Feb 2008 21:48:32 +0000

How important is knowing any kind of cinema
history? I don't feel it's necessary, but I do feel strongly that I
benefit greatly by comprehending the importance of contributions by
Edwin S. Porter, D.W. Griffith, Orson Welles, etc.

The French New Wave movement came from film critics, who deeply
understood what was done before them and they pioneered a film movement
by taking what was done before and turning it sideways. They had a deep
understanding of what was done in the past and re-wrote the book. None
of them were ignorant of what was the norm and the standards.

The American film renaissance of the late 1960's starting with Easy
Rider opened the door for people like Martin Scorsese, Francis Coppola,
Spielberg, etc. and shaped films into a new age of "realistic"
portrayals. Large sets were replaced by all location shooting and
method acting.

The benefit of knowing cinema history is understanding it's impact on
the audience. Having the ideas of what have worked for over 100 years
to effect a viewer is like having a rubber band versus a shot gun.

Dreams

EternalSkyChaz — Sun, 10 Feb 2008 15:39:21 +0000

Who have you always dreamed of becoming? What have you always dreamed of doing? How have you always dreamed of living?

There are dreams, and then there are dreams. There are dreams which are merely fantasies and then there are the ones you actually bring to life with your time, your effort and your commitment. The dreams you bring to life are the dreams that have the power to change your life and to change the whole world for the better.

How much life are you giving to your dreams? How much energy do you put into living life on your own terms, into fulfilling the special possibilities that are yours and yours alone?

Take the time and listen to your heart. Invest your time and energy in following your highest and best dreams. They are yours for a reason. Follow your dreams. In so doing you'll bring out your best while contributing to life, and the world around you, in your own special way.

Ralph Marston

Our Movie on Count Gore De Vol's Show

frightymcgee — Sat, 09 Feb 2008 17:50:57 +0000

Hey, some super cool news for everyone involved in A Thousand Words: Bloodline. I found out this morning that the movie was picked up by Count Gore De Vol for his internet showcase. For all those who have not gotten a chance to see the movie, for a time you can check it out online at http://www.countgore.com/NewBlood.ht... including intro and wrap-up by Count Gore himself. By the things he wrote on the site and in the bookend segments he did, he really liked it.

So please, if you haven't checked out the movie this is your chance. I'm not sure how long it will be up but I'm pretty sure it's only for a limited time. Head over to the Count's website and take a peek at the show!

This is probably the only time this movie will be online unless we trip into another cool situation like this.

Thanks,
Justin

http://www.countgore.com/NewBlood.ht...

Filmmaker Gathering - Columbus, OH

frightymcgee — Wed, 30 Jan 2008 16:28:42 +0000

We're having a filmmaker gathering here in Columbus. It's our 4th year holding the event. I'm letting everyone know about it now so that if they want to come out they can make plans to do so well in advance. The event is open to everyone and anyone (not just filmmakers and not just adults). Basically we (Columbus IndieClub) rent out an area in one of our metro parks and people (mostly filmmakers) come out to spend a day in the park cooking out, networking, playing games, etc. The whole point is to just get people together to have fun and socialize. It's been a great opportunity for everyone each year to get to know some of the Columbus film community and get us to know those who are not from the area or who want to get invovled. I know a lot of people here seem to travel a lot and figured if anyone is in the area around that time that I'd invite you all out to have some fun with us.

Here are the details:

Sunday July 13th 2008

4th Annual Columbus IndieClub Filmmaker Gathering - Blendon Woods Metro Park

Once again we will be gathering in the Blendon Woods Metro Park in the Hickory Grove Shelter area, this marks the fourth year for the event. As usual we will send out more reminders and information as we get closer to the date. If anyone would like to get together to organize some activities within the event we would really appreciate it. Please contact justin@temperedzealot.com if interested.

This event is for everyone (all friends and family welcome) from all over (not just Columbus or just Ohio), so please pass this info on to everyone you can think of who might enjoy a fun relaxing day of networking in the park. Pets are welcome as well but MUST BE ON A LEASH - park rules.

The event is also bring your own food, that's not to say there won't be plenty to share, but it helps if everyone brings a little something (though it is not required). ABSOLUTELY NO ALCOHOL - Park rules.

Capacity is 130 (80 inside and 50 outside). Shelter has electricity, 4 outside grills, 1 double-grill, drinking water, large wood burning fireplace, swings, volley ball court with net and balls, and restrooms.

MAP: http://www.metroparks.net/MapBlendon...

MORE INFO ON THE PARK: http://www.metroparks.net/ParksBlend...

4265 E. Dublin-Granville Road, Westerville, OH 43081 (northeastern Franklin County)

Project Breakout

frightymcgee — Fri, 14 Dec 2007 02:46:30 +0000

Just got this in my myspace inbox. Thought some people here might be interested. Seems like it would be worth checking out. Then again, could turn out to be another On The Lot or something. I didn't really read about it much, just saw the info and thought I would pass it on.

http://shortfilm.projectbreakout.com/

Here is their myspace profile:

http://www.myspace.com/thebreakoutfilmmaker

-J. Michael Lewis
www.temperedzealot.com
www.twindragonproductions.com

Statistical Perpetuity For the Misers

sonnyboo — Sun, 25 Nov 2007 20:21:16 +0000

Once again, Indieclub comes through for me. Not the local chapter, but the national/international forum with a suggestion from a fellow user who suggested I put my movies out to all the web video sites via a new service that tracks all your videos as well as lets you upload to 12 sites simultaneously. Now THAT is something that helps me out. I have a ton of videos, shorts, news clips, etc. so this service saves me a TON of time getting the videos all up in a single shot. Plus, the main purpose of this service is to track the views and statistics, so I get a twofer which I love.

Now for another short film update on the current stats on my experiment – HOW TO DEAL WITH TELEMARKETERS. On the site that it was made for, Sony Picture's CRACKLE.COM, I have not yet cracked the 5,000 views barrier. It may not make it for a few months at this rate. On Yahoo, part 02 has not cracked the 30,000 views ceiling, but this one seems to be a matter of days (possibly hours). Overall we're at a combined 42,260 views on Yahoo Video.

When I last checked in on these statistics I made mention that one of the more interesting problems is that the series HOW TO DEAL WITH TELEMARKETERS is so popular it's being stolen, as in literally the files themselves are being re-uploaded on multiple sites, including the ones they are already on – and getting sometimes more views. Someone uploaded them to a site called THATVIDEOSITE.COM where someone had uploaded the movie in Windows Media and allowed everyone else to download it as such and distribute all over the video sharing sites in the world. I have mixed feelings about this, as I don't like losing control, but hot damn a lot of people liked the movie and wanted to share it.

The major coup that was done for me by "Anonymous" was to Ebaum's World. Part 02 has gotten 110,134 views on this site alone in less than a month. Whoa. That's heavy and luckily they didn't shave off the Sonnyboo.com at the end either.

That puts my total at over 200,000 combined views of all the segments from every site playing them as of today. There might even be more with the uploads by the "anonymous" users out there.

The BEST OF SONNYBOO DVD has been released on Amazon.com. That makes my 4th product to be released on their site and not as an "Amazon Advantage" where I set up an eStore. This is via Amazon.com's own limited run service. This was presents a new way to get small runs of books & DVD's out there to the peeps. I don't have any idea how many will sell if any at all. I've already been selling the 'Best of Sonnyboo' DVD for a few years, so most people who would want it already have it.

Why do I feel like I haven't accomplished enough yet? Because I'm motivated to try harder, I want more. I have not achieved all of my goals yet. I reach the small plateaus, but I'm still on my way to Everest. I think with making movies, I will never feel "done". With music, I did reach certain goals, and I achieved what I set out to do in some respects. I stopped "feeling" it, stopped being hungry.

I came across a VHS tape whilst making a cleaning overhaul in my basement. It was a compilation of video material from my first two years in high school with some friends. They were really awful attempts at making short films that I forgot existed. A flood of memories came together when I saw this footage. I recalled pulling everyone together to do this and had ideas on how to cheat with editing by using cognitive reasoning, so one actor that was a good guy, via editing, also played the bad guy. We cut it together with two conventional VCR's.

I remembered being very pleased with the result at the time, but I never tried anything like that again until 2000… Why not? I put music first. I tried that for as long as I could and where I failed miserably with music was not being able to effectively communicate my ideas to any audience. With movies, right out of the gate, no matter what technical problems there were – I could get my ideas across far more clearly. That is why I made the switch from songwriter to moviemaker. Seeing what I did when I was 14 years old shocked me into a realization that I should have listened to the muse more clearly then.

What does my muse tell me today? Never mind the bullocks, naysayers, and stalkers – just keep doing what you are doing. That's what I feel today. With all my heart, I know I'm doing what I am supposed to do. Ne'er does a doubt creep in. Ne'er doth negativity get through the shield of support I have from friends and family. I never dreamed I could have the support I have at this point.

I backed up a bunch of DV shorts on DVCAM master tapes. I had been tinkering with old short films, so I liked to have a tape backup instead of just files on a hard drive that may or may not crash. Better to have hard copy back ups on tape – and DVCAM is a great mastering format for standard definition video.

That's all I have for now, my droogies.

Keep on keeping on, I know I will.

- Peter John Ross

Tonight on KarmaCritic Radio: Sonnyboo and HORRORS OF WAR

FableForge — Sun, 25 Nov 2007 12:00:12 +0000

Its gonna be Indie night tonight with a double feature:

First the KarmaCritique will have our own ED reviewing HORRORS OF WAR, and then we have one of its makers, our own Sonnyboo as guest telling us how he did it, and how you too, if you're determined, can go from dream to screen to a distribution deal! (Sounds so nice, isnt it?)

So tune in, and call our guest with questions! The number: (347) 215-8713

FAST & SLOW CUTTING - a moviemaking technique

sonnyboo — Sun, 25 Nov 2007 02:06:20 +0000

Here's another video for the noobs. If you're just starting out making movies, here is a demonstration on how the rate at which you cut form one shot to another has an effect on the viewers.

Dig it, please.