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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

An Offer to Disgruntled Filmmakers Who Feel They Missed Out on a Cheap SCARLET....

hey Detlev - I love those films. I'm not saying anything about their quality, which is so obviously superior.

I'm just saying that it is actually easier to 1) find funding and 2) find sales representation, if you have immediate access points to those things.

The vast majority of us do not. Sofia Coppola's first "indie" budget for Lost in Translation was $4 million...in Hollywood, that IS a chump change indie budget. In Colorado, you're a film funding GOD at that price...oh, the things I could accomplish here with that kind of money!

as I keep harping on - making the film -- as hard as that actually is -- is the easiest part of making a movie and most filmmakers, since we are creatives, tend to be over-focused on it, to the detriment of the EVERYTHING ELSE, which is the point of my original post, to bring it full circle.
 
Meryem Ersoz said:
as I keep harping on - making the film -- as hard as that actually is -- is the easiest part of making a movie and most filmmakers, since we are creatives, tend to be over-focused on it, to the detriment of the EVERYTHING ELSE, which is the point of my original post, to bring it full circle.
Click to expand...

Yes, the hardest part being definitely the distribution of the movie...
 
Players, show your cards.

I think what Meryem (and many of you) are doing here is nothing short of incredible and refreshingl, kind. Offering support – either financial, gear, crew, services, etc. – to someone looking to create something special is definitely inspiring.

I want to throw myself and my (hopefully, our) project into the ring for consideration.

A little background: I currently live and work out of Denver, CO where my wife and I moved from Chicago. I went to film school at Columbia College Chicago – a good school in many respects but one known, in particular, for it’s cinematography program (alums Janusz Kaminski, Maurio Fiore, etc). I mention that only because we’re on a camera thread. While earning my MFA at CCC, I was nominated for an MTV movie award as the best filmmaker on campus for my short films. Prior to CCC, I studied Drama (MA) at Washington University in St. Louis where I truly learned how to direct, design, and breakdown dramatic material and, before that, I was a chemical engineer where I was taught discipline and problem solving.

In other words, it’s taken awhile to get where I am today.

My short films have won awards and played in film festivals all over in the world. They’re are currently distributed by Shorts International, via iTunes and a previous script of mine was a finalist for the Sundance Screenwriters Lab. I could prattle on but you can read more about me at seanjsjourdan.com.

I’m here because it’s time for me to produce/direct my first feature film and I have a project, "Teddy Boy," which is worthy of your support.

It’s a highly visual psychological thriller. In essence, a rising tennis star becomes entangled in a savage charade with a grieving middle-aged couple while staying in their picturesque mountain home.

On the one-year anniversary of their son’s passing, Jakob and Helene’s quiet suburban life is completely turned upside down with the arrival of James, a young tennis player who mistakenly believes them to be his host family for a local tennis tournament. James is more than the disarming stranger he seems, however, and he seeks more than lodging. Male egos clash as Helene invites him into their home, and perilously, into their lives. Ripping open the past and awakening memories and sexual urges long suppressed, James is the stone thrown carelessly into a still forest pond. As their behavior spirals out of control salvation appears in the form of compassion. By supporting one another the husband and wife confront the past and, possibly, change – there’s hope.

Betrayal ultimately becomes its own redemption.

Inspired, in part, by a number of films (i.e. Polanski’s “Knife in the Water,” Haneke’s “Funny Games,” or the odd duck in the Woody Allen canon, “Match Point”, among others) Teddy Boy modestly focuses on a handful of characters and rural locations but with plenty of action. There is high stakes tennis, sailing on a magnificent mountain lake, forbidden sex, a dangerous mountain lion, and a climatic brawl that sends their now, surrogate, son fleeing into the night. Though it explores, in emotional depth, the underlying issues that have both caused and contributed to the loss of their son, it is also a thriller. There is a market for this genre – and it could be done on an indie budget.

Some already received awards/recognition for the screenplay:
3rd Place, Screenplay Competition (Thriller): Woods Hole Film Festival
Semifinalist: Cinestory
Finalist: Beverly Hills Film Festival
Finalist, Screenplay Competition: Big Bear Lake Film Festival

My wife and I have saved up a little bit of our own money to make this happen and I plan on shooting June/July 2012. A business plan has been completed and I’ve already begun to pound the pavement looking at locations and scouting crew/talent. Indiegogo and kickstarter are on the horizon.

We’d be honored to be considered and, if anyone of you find it worthy of support, I can promise you you’ll be proud of the final product. We hope to take on the big players with something homegrown, like Polanski did with his first feature – “Knife in the Water,” and could certainly use your help.

But if you decide to pass, no worries – we’re going to press forward, regardless, and make the best possible film with the resources that are available (and we’re definitely not above shooting on a 5D or 7D).

The script has been pared down to allow for a low page count/day so we can take time making the movie look good but pre-production is where a film is made (via rehearsal, design meetings, shot listing, etc. etc.) and it’s my favorite part. I’m looking forward putting my (sizable) nose to the grindstone and getting this project off the ground.

Let’s make a movie we can all be proud of.
 
Don't worry, Sean, you didn't kill the thread! Thanks for sharing your story.

The thread waxes and wanes with activity from day to day.

To update - I have 3 projects submitted that are front-runners. Honestly - I'm actually surprised that I found 3 good projects this fast. I thought I'd be lucky to find one, at all. As I said, my ratio of finding good stuff is about 300:1 - but I think the reduser base helps to thin out the people with just a screenplay and bring forward people who are serious about making something special.

With these numbers, I'm gonna say that I'll keep receiving new projects through the end of this month, then I'm going to push this thing forward, by having more direct conversations with the finalists, with the goal of finding the best fit....

I hope I can help push something special forward - it's humbling, moving, and inspiring to see all of the goodwill and resources offered here. I wonder if Jarred would consider a SERVICES EXCHANGE section, to help indie filmmakers find ways to keep budgets under control by swapping services. It seems like a good option for helping to push projects forward.
 
Meryem Ersoz said:
To update - I have 3 projects submitted that are front-runners. Honestly - I'm actually surprised that I found 3 good projects this fast. I thought I'd be lucky to find one, at all. As I said, my ratio of finding good stuff is about 300:1 - but I think the reduser base helps to thin out the people with just a screenplay and bring forward people who are serious about making something special.
Click to expand...

I don't understand, Meryem. Do those 3 people have just a screenplay or do they come with all the rest too (budget, crew+cast, insurance, business plan, etc...), like you requested ?
 
Mark, Kristin, and all -

I think you guys are half on the mark with your criticisms, but it's a bit of a simplistic view.

Meryems thread has created that most important thing an indie filmmaker needs: Someone else to believe in them.

I think what Sean, myself, and others have said about having not only a story idea, but a PLAN is paramount to a successful idea. Instead of being a lone person with a one paragraph idea that sounds great, I hope Meryem is finding people with stong ideas that are also:

- Sellable

- Well Written

- Have a real plan around it

- Visual

- Achievable on a small budget, but look bigger than their cost

Like Sean, I have raised a good chunk of money towards my project, and with this threads awesome offers, my project could take on a larger scope, while having it's costs reduced, and will liklely be much better thanks to all the talented and experienced people on here. Imagine the advice that the lucky filmmaker will have access to!

I think something like this is maybe even MORE realistic than most funding type contests, because it expects the filmmaker to have already laid the ground work, and to do most of the work. So strong people will rise up, and then be supported by great people!



Of course, I mean no disrespect or anything. I just think that, when you are in the isolated wasteland that is "Aspiring Filmmaker", having someone validate your vision is a miracle.


Can't wait to see what comes of this!
 
Tom Hamilton said:
My underwater reel from 2010, audio disabled because the only piece I wanted for it, is owned by one of the most famous Italian composers on the planet.

Nevertheless, this is part of what I do;

http://vimeo.com/31756139
Click to expand...

Your underwater work is amazing, good sir! As the keeper of a coral reef aquarium, I love seeing sea life on this scale (as apposed to my usual 120gal scale ;-)). I also have to admit that the school of hammerheads at about 1:10 would've intimidated the heck out of me!
 
Meryem just want to say again thanks for reading the script.
 
my pleasure, Brian - let me just say to anyone whose project didn't make the initial cut -

it doesn't mean anything.

all it means is that it didn't strike a nerve with me, personally, and I am not necessarily the most mainstream filmmaker out there.

collaboration is a big part of bringing a film to life, and everyone needs to find like-minded people who vibe with them, to make the film happen.

that's why there are 400 sales agents who show up hawking a variety of products at AFM, and not just one.

all kinds of films for all kinds of filmmakers.
 
Jeffrey T. Morgan said:
Mark, Kristin, and all -

I think you guys are half on the mark with your criticisms, but it's a bit of a simplistic view.
Click to expand...

First, I'm not a guy, I am one the rare women of this forum. And everybody knows why they aren't any women on this forum ;-)

My opinion and "criticism" are based on my everyday experience. I'm not a cameraman. I'm not a post-production technician. I'm not an actor. I'm not a director. But I live with one ;-)

I'm a production manager and I work everyday on all kind of feature films projects. In France and not in the US. It's another world.

I think that, if you're a filmmaker who has already the script, the actors, the locations, most of the crew, insurance, business plan and distribution route, if you're in that case, you shouldn't have any problem finding a Red for a cheap price (by cheap I mean $2000 per month). And it would be more secured to pay a little bit.

In that case you would bring far more to Meryem than what Meryem could offer you : a camera and workflow expertise. So you shouldn't, in that case (which is the original request by Meryem), get selected by the cameraman ;-) It's an upside down situation.

But if you don't have all the above, of course, why not contacting Meryem ? Her offer is, in that case, very generous.
 
True, a producer/director should select the cameraman, not vice versa. But if we are to compare Meryem's offer, it is much like the Panavision program or various other programs out there that offer a free camera rental to projects they (as a company) deem worthy. In this case, it is not a company but an indvidual who is giving out a "grant" of a camera rental. As you point out Kristin, those individuals who need the financial assistance, could do well by this.

Personally as a director, I would never let a camera get in my way of choosing a good person. I would rather shoot with a GH2 DSLR with a person of my choice, then an EPIC with someone who I do not trust or work well with. That's why people in this industry often work on established relationships. At the same time, it is always good and refreshing to work with new people, and it behooves those who want to use a premier camera like the EPIC, to talk and meet with Meryem if she chooses their project.

Human capital is enormous. It serves well to meet and collaborate with as many people as you can (or as many people who will put up with you ;).


Kristin Stewart said:
But if you don't have all the above, of course, why not contacting Meryem ? Her offer is, in that case, very generous.
Click to expand...
 
Kristin Stewart said:
First, I'm not a guy, I am one the rare women of this forum. And everybody knows why they aren't any women on this forum ;-)

My opinion and "criticism" are based on my everyday experience. I'm not a cameraman. I'm not a post-production technician. I'm not an actor. I'm not a director. But I live with one ;-)

I'm a production manager and I work everyday on all kind of feature films projects. In France and not in the US. It's another world.

I think that, if you're a filmmaker who has already the script, the actors, the locations, most of the crew, insurance, business plan and distribution route, if you're in that case, you shouldn't have any problem finding a Red for a cheap price (by cheap I mean $2000 per month). And it would be more secured to pay a little bit.

In that case you would bring far more to Meryem than what Meryem could offer you : a camera and workflow expertise. So you shouldn't, in that case (which is the original request by Meryem), get selected by the cameraman ;-) It's an upside down situation.

But if you don't have all the above, of course, why not contacting Meryem ? Her offer is, in that case, very generous.
Click to expand...

Kristen, I'm trying to understand what is motivating your pessimism here? Do you think Meryem is trying to take advantage of people here?
 
No, Matt, not at all. I'm just trying to give another point of view : I know it's a camera forum, therefore all the opinions are camera-centric. I'm just trying to warn some indy filmmakers who could see this opportunity without seeing all the other aspects, in particular the risks they'll have to take working with volunteer people. You know, you can't ask the same things to your crew if they do you a favour or if they're paid, even little paid ;-)

You can call this pessimism, or realism ;-)
 
Kristin Stewart said:
F
In that case you would bring far more to Meryem than what Meryem could offer you : a camera and workflow expertise.
Click to expand...

In a slightly upside down way, Kristin is saying the same thing I was saying in the original post.

Although I would say that I can add a little bit more production value and experience than "just a camera" - at least to a filmmaker who has not yet hazed themselves by completing the process. And even more, now that all these lovely people unexpectedly stepped on board. I didn't see that one coming.

I disagree, however, that you can't get good work out of people who aren't paid. Even experienced people are hungry to make good films and to work on good projects - you have to be a pragmatist, to see the process through, but we are all creatives and artists, and our blood is fired by creativity, inspiration, and opportunities to do "something bigger" - whatever that means to you. When I say that I will work on your set for free, for the right project, you can bet I will be fully committed to making the project the best it can be. I know I'm not alone or exceptional in expressing that sentiment. This thread is also loaded with people who you can believe in.
 
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