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YTS.MX
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(Guillermo) Making movies is beautiful.
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Prepping them,
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raising the money,
selling them is horrible. Horrible.
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And I think I can make movies
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the rest of my life.
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Selling them, you grow impatient.
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You see it for what it is
more and more with every year.
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(Justin) 'It's been said that there are
three things you should never do
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'when making a film.
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'Make a film about yourself,
make a film about filmmaking
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'or open the film with a quote.'
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And... test.
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Record. Yes.
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OK.
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Here goes.
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I'm Justin McConnell and, uh...
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Welcome to the documentary
currently entitled, um...
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See, you can tell it's a current...
a working title,
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because the name doesn't jump to my mind
the second I have to say it,
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but right now it's called
Slate and Gain.
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No, Slate and Game.
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See? It's gonna have...
It's gonna need a title change.
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'I wanted to make films
since I was very young,
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'but not since I was a little kid.
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'At first, I wanted to be a paleontologist
or a criminologist,
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'but eventually I realized
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'I just loved Jurassic Park
and Silence of the Lambs.
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'I absorbed everything
I could get my hands on,
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'and aside from a few stop-motion
experiments with toys...'
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(Whirring)
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'...I started seriously making
my own movies at the age of 15.
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'Documentaries for class at first.'
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Have you ever wondered
what it would be like to make a movie?
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Well, in this video,
I'm gonna tell you
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what the roles of screenwriters
and directors are,
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from big to small budget,
from commercials to major films.
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'Then short films
and even my first feature
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'when I was still in high school.'
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- (Cocks gun)
- Open the fucking cash register!
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(Justin) 'Consumer video tech
was just then cheap enough
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'that I could save up and buy a Handycam
that wasn't great on quality,
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'but served its purpose.'
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Just a question here.
How do you expect to get away with this?
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(Justin) 'Growing up in the '90s,
my generation of filmmakers
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'were raised in the wake
of the independent film movement.
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'The working-class success story,
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'the self-made kid who worked
inside the system and then broke in,
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'the Sundance darling,
the director as a rock star.
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'So I grew up dreaming
of when I might get the big break,
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'that moment I made a film that would break
into the public consciousness
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'in a way that my career would be set.
The dream of making it.
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'A dream worth working toward,
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- 'for that one day when lightning strikes.'
- (Gunshot)
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'But who was I,
and what chance do I really have?
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'I came from a small town in Canada,
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'starting with zero contacts in the business
and just a dream.
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'Now, it's over twenty years later
since the dream was born,
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'and the business is not
what you dream it'll be.
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'The industry is not the same
as the hope,
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'the reality does not match up
to the dream. How could it?'
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OK. Mm-hmm.
Uh, OK.
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'Film has always felt like the most
important part of my life, my whole identity.
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'My family and friends
matter to me greatly,
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'but for most of my life,
I've had this feeling
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'that if film was stripped away,
I wouldn't be much of a person.
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'I'd be a rudderless ship
drifting in open seas
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'with no hope of direction.
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'But I can't deny that it's taken its toll
in more ways than I can count.
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'A few years ago,
when I was at my lowest point,
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'I began to question
why I'm even trying.
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'The doubt began to creep in.
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'I had tragically lost my best friend
and writing partner of a decade,
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'the co-architect of my strategy
for breaking in,
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'and it hit a big reset button.
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'I gained weight
and hit nearly 300 pounds.
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'None of the projects I was trying to get made
were getting off the ground.
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'I'd had a no-budget feature horror movie
released around the world
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'that while some people really enjoyed,
enough people hated it
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'that I started to really doubt
my own abilities.
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'I was in a slump, and the business
didn't seem to be doing any better.'
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I find myself second-guessing
myself a lot, lately.
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It sort of feels like
opportunities happen for other people
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way more than they happen for me,
and I'm wondering...
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I'm always wondering why that is.
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I question it sometimes.
I question my place in a business
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that is tough enough
to get into on its own
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and even more difficult
when people have written you off.
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'The film business
that existed when I was growing up,
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'the one that I dreamed
of working on is long dead.
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'It died before I had a chance
to even get to the proverbial locked door,
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'much less walk through it.
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'In its place is a Wild West
of competing ideologies,
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'a greater gulf between mainstream
and independent cinema than ever before,
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'more product than
the population can handle,
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'and more new types
of media entertainment
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'to compete with film
than the business can sustain.
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'The possibility of having a career
actually creating content is there,
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'but the competition is fierce.
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'The market's oversaturated,
only the very best break through.
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'But in that,
there's hope, I think.
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'There is a reason to keep trying,
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'and there's more reason than ever before
to try and become a self-made creator.
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'The doors to getting your work seen
are wide open now.
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'The ability to make money
off your work
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'is what's much more difficult,
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'which means, as I've learned
the hard way countless of times,
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'you have to be smart.
You have to keep learning.
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'You have to work hard enough
and survive long enough to get your chance
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'and know that your chance,
your lightning strike moment, may never come
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'and you have to be OK with that.
That's a form of insanity, isn't it?
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'I think it might be to be a dreamer,
to live for a dream,
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'but it's a form of insanity
everyone trying to be a filmmaker shares
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'and somehow I take comfort in that.'
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I decided to make this doc,
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because I've been
working in the film industry now for 15 years
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in an actual
somewhat professional capacity,
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but I also don't want to show
a biased opinion of who I am,
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because I'm not really anybody yet.
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'I moved to Toronto in the year 2000,
just a fan with a dream.
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'Slowly built a career
in post-production,
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'made a bunch of short films
and music videos,
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'amassed a lot of debt,
made a lot of mistakes.
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'The first film I made that did
any sort of real distribution,
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'the documentary
Working Class Rock Star,
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'I made zero money on
after being conned
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'by a predatory producer's rep,
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'having one distributor go bankrupt
before I was paid out
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'and another's releases
get lost in the shuffle
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'when their sub-distributor
sold to a bigger company.
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'I made a horror film called The Collapsed
on basically pocket change,
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'but sold to 13 territories
and some sizable companies,
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'and made a tidy profit.
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'And then another documentary,
Skull World,
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'which has a few distributors on board,
but was partially self-distributed,
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'and not very profitable.
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'Around 2009, I started trying to get a bigger
feature, The Eternal, made with little luck.
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'Despite having a really cool attached
cast of people who I grew up watching,
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'the recession and a lot of bad luck
led to that one going on the shelf.
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'But in 2012, that project and my client
who worked for Anchor Bay
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'connected me with a prolific producer,
Avi Federgreen,
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'who I joined forces with to continue
the development of my slate
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'and help his distribution company
IndieCan Entertainment.
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'In 2013, I started working as a film festival
programmer at Toronto After Dark
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'and in various capacities
for a bunch of distributors.
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'I am really not anybody,
you've probably never even heard of me.
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'I’m one of thousands of people
trying to do this,
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'but I do think my experiences
are a good jumping-off point
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'to examine the business further,
to try and understand it more,
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'and figure out how to keep a career building
in the modern film industry.
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'But there's no point in going it alone,
so I’ve gradually collected the opinions
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'of dozens of knowledgeable figures
from across the industry
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'who've graciously given their time
to offer collective insight
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'into such a complicated business.'
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To be successful as a filmmaker,
you have to be a fucking masochist.
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(Laughing)
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You have to be a little bit insane.
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Independent film
has never been something
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that you go into to get rich.
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I mean, I guess
in a sense in the '90s,
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when people were getting rich
off the Sundance sales etc.,
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it created this illusion
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that there was this world out there
that you could get rich making art.
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00:08:03,525 --> 00:08:06,445
You know, I think that was always
kind of a bullshit assumption.
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If you are entering this business
in order to be rich and famous,
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you're in the wrong place.
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If you can get distribution,
most of that comes after the fact
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after you've made your movie.
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I get so discouraged sometimes,
I go, "I'm gonna quit", you know?
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At least twice during the last months
right before we're green-lit,
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and it's so hard,
and it's just not coming together,
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and you get a piece, but you lose a piece,
and you're... "Oh, my God."
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To be honest, I don't think
the situation in Japan is that great
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for movies at the moment.
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Compared to before,
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I feel that the value of each movie
is steadily decreasing.
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Fewer people are going
to the cinema,
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and young people are used to seeing
them on the internet or on YouTube.
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So they're losing the desire
to actually watch movies.
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The problem we now have
is we have a tsunami of product.
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We have much more product
than it is possible to watch.
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(Jordan Fields) There are definitely
more films made today than ever before,
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completely saturated.
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It just makes a job like mine
a little harder,
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because I have to weed through so much
to find the gems.
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Nobody complained when there were
thousands of paintings and drawings
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and comic book illustrations.
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Why should anyone complain
about too many movies?
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The problem is there are too many
great movies that nobody gets to see.
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I mean, you can make a wonderful film,
and it never gets seen.
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That's the problem today.
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I mean, that's happened to me several times,
even with the studios.
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I’m finding now if you're
really active on social media,
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00:09:46,587 --> 00:09:49,423
getting a big following,
that actually helps your chances.
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It's all about money.
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That's why you get
the Aliens 1, 2, 3, 4, 5, 6.
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00:09:53,343 --> 00:09:55,095
Terminator
1, 2, 3, 4, 5, 6.
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00:09:55,220 --> 00:09:57,139
Fast and the Furious
1, 2, 3, 4, 5, 6.
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(Guillermo) It's very telling,
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00:09:58,599 --> 00:10:03,687
the fact that people now use the terms
"content" and "pipeline"
202
00:10:03,812 --> 00:10:05,981
to describe stories.
203
00:10:06,106 --> 00:10:08,191
We need a content
to feed our pipeline.
204
00:10:09,067 --> 00:10:13,155
That's sewage language
or oil language.
205
00:10:13,280 --> 00:10:14,698
It's flow.
206
00:10:14,823 --> 00:10:18,994
It's only content for as long as it lasts
in the pipeline
207
00:10:19,119 --> 00:10:23,624
and then it moves to the ocean
of forgiveness and forgetfulness,
208
00:10:23,749 --> 00:10:25,167
both, you know?
209
00:10:25,292 --> 00:10:26,376
It's air.
210
00:10:26,501 --> 00:10:28,128
(Justin) 'At this point,
I was working with Avi
211
00:10:28,253 --> 00:10:29,921
'to try and get a horror film
called Tripped made.
212
00:10:30,047 --> 00:10:32,799
'I had just optioned the film rights
to a novel called Kane
213
00:10:32,924 --> 00:10:35,052
'and had a dozen or so
other projects on my slate.'
214
00:10:35,177 --> 00:10:38,430
I just got an email stating
that an actor I really respect,
215
00:10:38,555 --> 00:10:40,307
Michael Eklund,
216
00:10:40,432 --> 00:10:43,852
he wants to do Tripped, which is a movie
that I wrote with Kevin before he died.
217
00:10:43,977 --> 00:10:44,978
It's kind of about us.
218
00:10:45,103 --> 00:10:48,857
I always get excited whenever an actor
that I like wants to do one of my projects,
219
00:10:48,982 --> 00:10:51,443
which is great,
it's always great news,
220
00:10:51,568 --> 00:10:53,236
but I still have to get
the bloody movie made.
221
00:10:53,362 --> 00:10:56,907
I’ve been down this road before
while trying to get The Eternal made.
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00:10:57,032 --> 00:10:59,368
I’ll tell you what was uncomfortable
in your situation
223
00:10:59,493 --> 00:11:01,745
is that you faxed me a contract.
224
00:11:01,870 --> 00:11:03,080
(Justin) I faxed you an LOL...
225
00:11:03,205 --> 00:11:07,250
Well, but you know, when you get
to that point, it gets a little confusing.
226
00:11:07,376 --> 00:11:09,086
I mean, if you really wanna know,
227
00:11:09,211 --> 00:11:12,964
before you start talking about money
to any actor or anybody else,
228
00:11:13,090 --> 00:11:18,387
you really should wait until you actually have
cash or money in the bank
229
00:11:18,512 --> 00:11:23,892
or you have a production office
where you have some money.
230
00:11:24,017 --> 00:11:25,852
That doesn't mean
the film's gonna get made.
231
00:11:25,977 --> 00:11:28,980
it doesn't mean anything, but, you know,
you wanna wait as long as you can
232
00:11:29,106 --> 00:11:30,524
so that you can move quickly.
233
00:11:30,649 --> 00:11:32,484
(Michael) We never got to a point
where it was like,
234
00:11:32,609 --> 00:11:35,070
"OK, here's how much money
you're gonna make", and so on and so forth.
235
00:11:35,195 --> 00:11:36,863
I know you were just trying
to put it together,
236
00:11:36,988 --> 00:11:40,742
but I thought it was
an extremely well-written script.
237
00:11:40,867 --> 00:11:43,870
The action was just, like, fantastic,
238
00:11:43,995 --> 00:11:49,251
and if you ever had the time and money
to make that movie the way it's scripted,
239
00:11:49,376 --> 00:11:50,460
I think it would do very well.
240
00:11:50,585 --> 00:11:53,004
(Justin) Eklund is definitely interested.
He liked the script a lot.
241
00:11:53,130 --> 00:11:54,423
What do you think Tripped could get
242
00:11:54,548 --> 00:11:56,758
in terms of a Canada presale
with Eklund attached?
243
00:11:56,883 --> 00:11:58,051
Well, that was a promising call.
244
00:12:03,890 --> 00:12:06,685
So, the way it's working
is that we need cast attachment
245
00:12:06,810 --> 00:12:08,103
to be able to go to Super Channel,
246
00:12:08,228 --> 00:12:11,815
so that we can get a presale out of them
and a presale out of Anchor Bay,
247
00:12:11,940 --> 00:12:16,153
and go and finance the tax breaks
and that puts the movie together.
248
00:12:16,278 --> 00:12:17,612
But in order for that to happen,
249
00:12:17,738 --> 00:12:20,073
we need to get Michael Eklund
to sign a letter of intent to appear,
250
00:12:20,198 --> 00:12:24,035
which is a legally non-binding document
that just simply states,
251
00:12:24,161 --> 00:12:26,413
"I’m interested in this."
That's it.
252
00:12:26,538 --> 00:12:28,206
But they're not gonna
give us an LOL,
253
00:12:28,331 --> 00:12:30,459
and they said,
"We're really interested,
254
00:12:30,584 --> 00:12:33,962
"but we don't want you to come back
until it's a fully financed film
255
00:12:34,087 --> 00:12:35,672
"and there's an offer to be made",
256
00:12:35,797 --> 00:12:38,633
which to me is like... (Chuckles)
257
00:12:38,759 --> 00:12:41,303
It's like everything else.
You need to have the money first,
258
00:12:41,428 --> 00:12:43,722
but then in order to get the money,
you need everything else in place,
259
00:12:43,847 --> 00:12:45,724
but in order to get everything else in place,
you need the money,
260
00:12:45,849 --> 00:12:48,685
so in order to get the money,
you need to get everything else in place.
261
00:12:48,810 --> 00:12:51,062
And it's just this big
fucking circle of bullshit.
262
00:12:51,188 --> 00:12:54,733
And it just... it's endless.
It's absolutely fucking endless,
263
00:12:54,858 --> 00:12:57,360
and it seems like,
"How does anybody get anything made?"
264
00:12:57,486 --> 00:13:02,699
I spent ten fucking years
trying to figure out how this thing works.
265
00:13:02,824 --> 00:13:05,076
If somebody had just been able
to just walk down,
266
00:13:05,202 --> 00:13:09,206
"Oh, here's how you finance a movie.
You get this and then you go do this."
267
00:13:09,331 --> 00:13:10,916
You know, duh.
268
00:13:11,041 --> 00:13:12,584
You know,
instead of just sitting there, like...
269
00:13:12,709 --> 00:13:17,255
I think a lot of filmmakers,
before they've gotten the experience,
270
00:13:17,380 --> 00:13:20,050
think there's like... it's
Willy Wonka and the Chocolate Factory
271
00:13:20,175 --> 00:13:21,843
where you just get the golden ticket,
272
00:13:21,968 --> 00:13:24,471
and then you're making movies,
and that's not what it is.
273
00:13:24,596 --> 00:13:26,598
It's this business
that's pieced together
274
00:13:26,723 --> 00:13:30,018
by these very defined components
275
00:13:30,143 --> 00:13:32,896
and if you get an understanding
of how those components work together,
276
00:13:33,021 --> 00:13:36,817
and you get an understanding
of how to focus your energy,
277
00:13:36,942 --> 00:13:38,985
how to maximize the results from it,
278
00:13:39,110 --> 00:13:41,363
then it's much easier
to make a movie.
279
00:13:41,488 --> 00:13:43,114
It's not a mystery,
it's not a lottery,
280
00:13:43,240 --> 00:13:46,284
it's sort of a formula.
281
00:13:46,409 --> 00:13:47,661
(Daisy Hamilton)
When I look at a project,
282
00:13:47,786 --> 00:13:51,414
I analyze that as if I were investing
in real estate
283
00:13:51,540 --> 00:13:56,211
and I have to look at the package
and what assets are in place.
284
00:13:56,336 --> 00:13:59,798
Obviously, the first money in
is always the hardest to find,
285
00:13:59,923 --> 00:14:03,176
but it's so much easier if you have a director
that believes in your project
286
00:14:03,301 --> 00:14:04,761
and is willing to put his name on it
287
00:14:04,886 --> 00:14:07,681
or if you have a brand
that really loves it.
288
00:14:07,806 --> 00:14:12,310
And there are lots of different aspects
that are more approachable than others.
289
00:14:12,435 --> 00:14:14,729
So maybe don't start with talent,
cos that's a little scary
290
00:14:14,855 --> 00:14:17,607
and you wanna have some dollar signs
before you go out there,
291
00:14:17,732 --> 00:14:21,069
but definitely flesh your concept out,
292
00:14:21,194 --> 00:14:25,073
definitely... if it has any tie to a video game,
reach out to a video game.
293
00:14:25,198 --> 00:14:26,533
You know, all that you can do
294
00:14:26,658 --> 00:14:29,703
to bring in more players
and make it a more appealing asset.
295
00:14:29,828 --> 00:14:32,622
The old way, it used to be, you had
a good script, you had a good mood board,
296
00:14:32,747 --> 00:14:34,583
maybe you cut together,
like, a mood reel.
297
00:14:34,708 --> 00:14:36,084
Like, you would take footage
from other stuff,
298
00:14:36,209 --> 00:14:38,420
and you would put it together saying,
"It's gonna kind of feel like this."
299
00:14:38,545 --> 00:14:40,797
And that used to get it done.
That doesn't get it done anymore.
300
00:14:40,922 --> 00:14:44,843
You have to have a really great...
what people perceive as a great pitch.
301
00:14:44,968 --> 00:14:47,637
I mean, it is a bit unfortunate
that you kind of think,
302
00:14:47,762 --> 00:14:49,931
"Oh, I could just get really good actors
and it doesn't matter,
303
00:14:50,056 --> 00:14:52,017
"like it'll be an amazing film."
304
00:14:52,142 --> 00:14:56,271
But for people trying
to select good films
305
00:14:56,396 --> 00:14:58,106
and put them on a platform
where everyone can see them,
306
00:14:58,231 --> 00:15:01,276
it's like looking for a needle
in a haystack, like, so...
307
00:15:01,401 --> 00:15:04,487
It really helps to have, yeah,
a cast in your film.
308
00:15:04,613 --> 00:15:06,698
If you're doing this fully independently,
309
00:15:06,823 --> 00:15:09,242
you're working with people
who are even "recognizable",
310
00:15:09,367 --> 00:15:12,162
but not necessarily valuable names,
311
00:15:12,287 --> 00:15:15,206
the least amount of money
for the best quality product.
312
00:15:15,332 --> 00:15:19,210
(Jenn Wexler) The other thing that really
draws us in is when people have lookbooks,
313
00:15:19,336 --> 00:15:23,006
because just receiving a script is...
It's a little bland,
314
00:15:23,131 --> 00:15:26,301
and from a producing perspective
it's just like,
315
00:15:26,426 --> 00:15:30,263
"Oh, I have so many things to do
and now, like, reading this script."
316
00:15:30,388 --> 00:15:32,390
But if a script is accompanied
by a lookbook,
317
00:15:32,515 --> 00:15:35,727
then you're like, "Oh wow, I’m pulled in
by this aesthetic, this is so cool."
318
00:15:35,852 --> 00:15:39,814
Are we meeting about Tripped or are we
discussing the option of a bigger film?
319
00:15:40,941 --> 00:15:43,735
(Plato Fountidakis) 'We're meeting about
Tripped, but could it be a bigger budget?'
320
00:15:43,860 --> 00:15:46,988
Have they specifically said that
they're interested in making Tripped?
321
00:15:47,113 --> 00:15:51,284
'No, they're interested in making Tripped.
They are totally interested in making it.'
322
00:15:51,409 --> 00:15:55,413
I’m really shitty at the financial end of movies,
of moviemaking, you know?
323
00:15:55,538 --> 00:15:58,041
I’ve been fortunate
that most of the work I’ve done
324
00:15:58,166 --> 00:16:01,086
has either been network
or studio or... you know, things.
325
00:16:01,211 --> 00:16:03,129
Even my original stuff
has been done
326
00:16:03,254 --> 00:16:05,548
within a system
that funds itself.
327
00:16:05,674 --> 00:16:09,094
I have done some
independent film work, and I'm...
328
00:16:09,219 --> 00:16:11,846
It's... I think
it's more difficult than ever
329
00:16:11,972 --> 00:16:16,267
to find funding if you're not doing
something entirely on your own
330
00:16:16,393 --> 00:16:20,480
because it's so much more difficult
to make a profit at this.
331
00:16:20,605 --> 00:16:22,357
So getting the funding to do a film
332
00:16:22,482 --> 00:16:26,277
that requires more than just
homemade guerrilla filmmaking
333
00:16:26,403 --> 00:16:30,198
is excruciating, and I wouldn't have a clue
how to do it, you know,
334
00:16:30,323 --> 00:16:32,951
other than going through
production companies
335
00:16:33,076 --> 00:16:35,412
or through agents or managers,
things like that.
336
00:16:35,537 --> 00:16:38,456
Apparently, the investors here he's talking to
are actually really interested,
337
00:16:38,581 --> 00:16:39,833
and they wanna raise the budget.
338
00:16:39,958 --> 00:16:42,961
ls there anything dishonorable about that,
cos I’m already also talking to Eric.
339
00:16:43,086 --> 00:16:44,754
(Avi) 'No, because nobody
has said yes to anything yet.'
340
00:16:44,879 --> 00:16:47,590
OK, alright. I just...
I wouldn't want Eric to get pissed,
341
00:16:47,716 --> 00:16:49,634
cos I’m talking
to someone else, too.
342
00:16:49,759 --> 00:16:52,721
'No, no, no. He must know that you've been
talking to other people before.
343
00:16:52,846 --> 00:16:54,556
- 'So what's the difference?'
- Yeah. Yeah, exactly.
344
00:16:54,681 --> 00:16:56,224
It's the game, right?
It's the way it's played.
345
00:16:56,349 --> 00:16:57,475
- 'Exactly.'
- Alright.
346
00:16:57,600 --> 00:17:00,979
'And if he doesn't get on board,
and misses out because of it, that's his fault.'
347
00:17:01,104 --> 00:17:02,105
Yeah, exactly.
348
00:17:02,230 --> 00:17:04,107
Alright. Uh... OK, then.
349
00:17:04,232 --> 00:17:06,359
Well, still seems
promising on either end.
350
00:17:06,484 --> 00:17:09,154
(Mike Mendez) It's always an adventure
when it comes to financing, you know?
351
00:17:09,279 --> 00:17:12,282
A, how you're gonna finance the movie
is always a different thing.
352
00:17:12,407 --> 00:17:16,369
Currently, I’m in a project that was supposed
to shoot six, seven months ago,
353
00:17:16,494 --> 00:17:18,455
well, honestly three years ago.
354
00:17:18,580 --> 00:17:22,167
But lately, we were supposed to do it
seven months ago, and it...
355
00:17:22,292 --> 00:17:25,420
You know, the money wasn't closed
when we were on set, and it had to collapse.
356
00:17:25,545 --> 00:17:27,964
I’m supposed to leave
at the end of next week.
357
00:17:28,089 --> 00:17:29,382
I don't know if I'm going.
358
00:17:29,507 --> 00:17:35,388
I never feel good when someone says,
"We almost have the money."
359
00:17:35,513 --> 00:17:37,515
"Next week,
the money should be closing."
360
00:17:37,640 --> 00:17:39,267
I have never had a good experience.
361
00:17:39,392 --> 00:17:41,436
That is never followed
by something positive.
362
00:17:41,561 --> 00:17:42,812
It's tough enough to find money,
363
00:17:42,937 --> 00:17:47,108
but to certainly find money
that's not gonna weigh you down,
364
00:17:47,233 --> 00:17:48,568
you have 16 producers.
365
00:17:48,693 --> 00:17:52,197
I mean, look at movies,
certainly at film festivals now,
366
00:17:52,322 --> 00:17:55,575
there's usually a whole list of credits
of producers.
367
00:17:55,700 --> 00:17:57,327
12 different executive producers.
368
00:17:57,452 --> 00:17:59,079
And that's where
money starts to get expensive.
369
00:17:59,204 --> 00:18:03,666
It's like, well, for every one of those people,
they have their own needs,
370
00:18:03,792 --> 00:18:07,212
they want to pump up the budget,
but with that comes their perk package,
371
00:18:07,337 --> 00:18:10,131
and with it comes their wife
that needs to be in the movie.
372
00:18:10,256 --> 00:18:12,383
I mean, it's a really...
it can be a complicated process.
373
00:18:12,509 --> 00:18:18,556
My strategy is, get a job, work,
save your money,
374
00:18:18,681 --> 00:18:23,770
get a nice little, like, nest egg of cash,
and then produce your movie yourself.
375
00:18:23,895 --> 00:18:28,691
Keep it simple, keep your movie small,
get your own budget,
376
00:18:28,817 --> 00:18:30,401
and just keep it...
377
00:18:30,527 --> 00:18:33,738
The more insular you can keep
your production, I think, the better.
378
00:18:33,863 --> 00:18:38,409
I’m supposed to do the entire movie,
initially based on plan for $275,000,
379
00:18:38,535 --> 00:18:41,871
which is really low for how many effects
and how big a movie it is.
380
00:18:41,996 --> 00:18:46,626
And luckily, these guys,
they're more talking like 1 to 1.5 million.
381
00:18:46,751 --> 00:18:49,087
And I’ve never seen Tripped
as a big film.
382
00:18:49,212 --> 00:18:50,672
I have to choose the right partners
383
00:18:50,797 --> 00:18:53,424
and I have to make sure, like,
384
00:18:53,550 --> 00:18:56,177
they're not gonna sign it and then
immediately replace me as director,
385
00:18:56,302 --> 00:18:57,595
which is not what I want.
386
00:18:57,720 --> 00:19:00,557
Or, you know,
no matter what I need to be...
387
00:19:00,682 --> 00:19:02,642
I need to have some creative control
on the project
388
00:19:02,767 --> 00:19:05,645
and if that means that I do it for cheaper,
then so be it.
389
00:19:05,770 --> 00:19:08,982
Don't go into it going,
"Here's the movie I wanna make.
390
00:19:09,107 --> 00:19:11,442
"Here's the movie I wanna make.
Here's the movie I wanna make."
391
00:19:11,568 --> 00:19:15,572
The first question should be,
"What are the movies you're looking for?"
392
00:19:15,697 --> 00:19:18,533
You know? And ask that question
to as many people as possible
393
00:19:18,658 --> 00:19:21,995
who are in a position to release movies,
finance movies,
394
00:19:22,120 --> 00:19:23,830
you know, fellow producers.
395
00:19:23,955 --> 00:19:28,293
Just listen and get a sense of
what type of material works for them.
396
00:19:28,418 --> 00:19:29,711
It's tough, right?
397
00:19:29,836 --> 00:19:32,755
You're building yourself, building your name,
and building who you are,
398
00:19:32,881 --> 00:19:35,216
and you don't really have a lot of
bargaining power at this point in your career.
399
00:19:35,341 --> 00:19:37,594
This is the hardest business,
all aspects of this,
400
00:19:37,719 --> 00:19:41,306
and it's not good enough
to just be one thing anymore.
401
00:19:41,431 --> 00:19:45,560
I’m a writer, I’m a director,
I’m a producer.
402
00:19:45,685 --> 00:19:49,272
No, not good enough.
I need you to be more than that.
403
00:19:49,397 --> 00:19:51,107
I need you to be all of those things,
404
00:19:51,232 --> 00:19:53,484
and I need you to have legal skills,
405
00:19:53,610 --> 00:19:55,612
I need you to understand
what legal jargon means,
406
00:19:55,737 --> 00:19:59,157
you need to know how to use QuickBooks,
how to file your taxes properly.
407
00:19:59,282 --> 00:20:02,577
You cannot just say,
"Well, I’m a director." Fuck you!
408
00:20:02,702 --> 00:20:05,747
I think this is a year
where I start to grow the fuck up.
409
00:20:05,872 --> 00:20:08,875
A time for me to realize that I might not know
as much as I think I do
410
00:20:09,000 --> 00:20:12,295
and that's the first step towards
learning the things I need to know,
411
00:20:12,420 --> 00:20:14,214
to really survive in this business.
412
00:20:14,339 --> 00:20:17,675
I’m not as effective a producer
as I think I want... I am.
413
00:20:17,800 --> 00:20:19,510
I mean, I'm still pretty green
in a lot of ways.
414
00:20:19,636 --> 00:20:22,305
I’ve always kind of done it myself,
everything...
415
00:20:22,430 --> 00:20:25,350
a lot of the jobs myself,
a lot of the work.
416
00:20:25,475 --> 00:20:28,645
I put on multiple hats
just to save money,
417
00:20:28,770 --> 00:20:30,605
but I need to learn
how to work with a team.
418
00:20:31,314 --> 00:20:34,359
I’m currently working
on the script for Kane,
419
00:20:34,484 --> 00:20:36,778
which Serena Whitney and I
are co-writing.
420
00:20:36,903 --> 00:20:39,781
'Around the same time I met Avi,
I also met Serena Whitney,
421
00:20:39,906 --> 00:20:42,116
'a writer who was working
for Dread Central at the time,
422
00:20:42,242 --> 00:20:44,160
'but quickly displayed a real talent
for screenwriting.
423
00:20:44,285 --> 00:20:47,372
'We became friends and started
working together on a couple of projects.'
424
00:20:47,497 --> 00:20:50,208
Kane was something I discovered
when I was 12 years old.
425
00:20:50,333 --> 00:20:54,128
it was on my mom's bookshelf,
and I decided to read it one night,
426
00:20:54,254 --> 00:20:58,341
and I actually read it an entire night,
because it was terrifying.
427
00:20:58,466 --> 00:21:01,469
I told myself, "By 30 I would try
to get the rights to it."
428
00:21:01,594 --> 00:21:04,264
And that's when we got
the rights to the film.
429
00:21:04,764 --> 00:21:07,767
(Justin) Having a female writing partner's
pretty cool, because... (Chuckles)
430
00:21:07,892 --> 00:21:11,604
I’ve been criticized in the past
for not writing great female characters,
431
00:21:11,729 --> 00:21:12,939
and I’ll be the first to admit
432
00:21:13,064 --> 00:21:14,899
that was the case
for The Collapsed, for sure.
433
00:21:15,024 --> 00:21:16,025
Hey, Dad?
434
00:21:17,193 --> 00:21:19,320
- Yes, Rebecca.
- Can I head off for a bit?
435
00:21:19,445 --> 00:21:21,030
I, uh... need some privacy.
436
00:21:21,155 --> 00:21:22,198
(Justin) 'Yeah...
437
00:21:22,323 --> 00:21:25,285
'I’m distinctly aware of how stupid
this scene is during the apocalypse.'
438
00:21:25,410 --> 00:21:30,206
In this case, we've got this really tough task
of taking this big-ass book
439
00:21:30,331 --> 00:21:35,378
and turning it into a movie that's tight
and still is true to the book
440
00:21:35,503 --> 00:21:36,963
and people will like.
441
00:21:37,088 --> 00:21:38,965
The press went out last week first
442
00:21:39,090 --> 00:21:41,718
that we optioned that book Kane
by Douglas Borton.
443
00:21:41,843 --> 00:21:43,052
You know, we released the press,
444
00:21:43,177 --> 00:21:45,263
and obviously they talk about
the team's last projects,
445
00:21:45,388 --> 00:21:48,224
and I guess my last one
was The Collapsed,
446
00:21:48,349 --> 00:21:49,726
which was about 50/50 split.
447
00:21:49,851 --> 00:21:51,352
Half the people hated it,
half the people liked it,
448
00:21:51,477 --> 00:21:53,563
But immediately,
as soon as the new press comes out,
449
00:21:53,688 --> 00:21:56,274
you've got people commenting and saying
things like, "The Collapsed sucked."
450
00:21:56,399 --> 00:21:57,775
I always hate going into a project
451
00:21:57,900 --> 00:22:00,695
with a feeling like I have to win back
the public or win back the audience,
452
00:22:00,820 --> 00:22:04,490
when the difference between
a movie that costs $40,000 to make
453
00:22:04,615 --> 00:22:05,783
that we wrote in three weeks
454
00:22:05,908 --> 00:22:09,662
and the difference between a movie that's
probably gonna cost 1 million, 1.5 million,
455
00:22:09,787 --> 00:22:12,790
that's based on a book
that was written 25 years ago,
456
00:22:12,915 --> 00:22:14,584
that is a solid fucking book
457
00:22:14,709 --> 00:22:16,044
is night and day.
458
00:22:16,169 --> 00:22:20,715
(Steve) I love reading
the Amazon reviews for Manborg,
459
00:22:20,840 --> 00:22:24,010
because one of them...
a guy actually says,
460
00:22:24,135 --> 00:22:27,889
"This director should quit filmmaking,
never make a movie again."
461
00:22:28,014 --> 00:22:30,391
The fact that any movie
ever gets made is a miracle.
462
00:22:30,516 --> 00:22:33,436
So even, like, whatever
piece of garbage movie
463
00:22:33,561 --> 00:22:36,606
you think is, like, the worst piece of shit
you've ever seen in your life,
464
00:22:36,731 --> 00:22:39,609
that was somebody's life
for, like, many years,
465
00:22:39,734 --> 00:22:42,904
and they worked really hard
to make it.
466
00:22:43,029 --> 00:22:47,200
And it was really hard
just to get it in front of you,
467
00:22:47,325 --> 00:22:49,452
and so I find that there's
468
00:22:49,577 --> 00:22:53,581
a certain amount of respect for the filmmaker
that you can afford them
469
00:22:53,706 --> 00:22:55,500
that's just finding
something good about it.
470
00:22:55,625 --> 00:22:59,087
(Steve) Reading stuff like that
makes me feel really horrible,
471
00:22:59,212 --> 00:23:03,633
but at the same time it makes you
wanna work hard and do a better job.
472
00:23:03,758 --> 00:23:07,804
If you get discouraged when people tell you
that something isn't up to snuff
473
00:23:07,929 --> 00:23:12,683
or they don't believe in you or support you
early out, then... (Chuckles)
474
00:23:12,809 --> 00:23:17,563
...you might as well just give up,
cos there's no point in living a life
475
00:23:17,688 --> 00:23:20,358
where you always feel like
you're less than worthy.
476
00:23:20,483 --> 00:23:21,818
All of us suck.
477
00:23:21,943 --> 00:23:23,945
(Chuckling) You know,
like, we're all bad,
478
00:23:24,070 --> 00:23:26,781
and the minute you think
you're good, you should quit.
479
00:23:26,906 --> 00:23:28,825
You know what I mean?
I'm sure Spielberg sits there
480
00:23:28,950 --> 00:23:32,995
and he's like, "I suck! I could be better.
I can make better."
481
00:23:33,121 --> 00:23:37,667
You need that doubt so you can hopefully
improve on the next project.
482
00:23:37,792 --> 00:23:40,586
And some of it's just fun
to laugh at, too, cos, like,
483
00:23:40,711 --> 00:23:43,339
seriously internet commenters
are just ridiculous.
484
00:23:43,464 --> 00:23:48,386
(David) It's definitely more of a
"it's awesome or it's shit" world now.
485
00:23:48,511 --> 00:23:51,931
It's definitely more of a star-rating world now
than it used to be.
486
00:23:52,056 --> 00:23:55,226
But it's definitely more
democratized as well.
487
00:23:55,351 --> 00:24:02,191
I mean, everybody can have an opinion
and influence the way people see movies,
488
00:24:02,316 --> 00:24:05,236
influence the movies that people
want to see, I should say.
489
00:24:05,361 --> 00:24:08,030
Take it with a grain of salt,
cos people are nasty.
490
00:24:08,156 --> 00:24:10,783
It's one of the reasons
why I don't like social media.
491
00:24:10,908 --> 00:24:14,203
They will, you know,
they're just hiding behind their keyboards,
492
00:24:14,328 --> 00:24:16,539
so they're gonna say
whatever they wanna say.
493
00:24:16,664 --> 00:24:20,168
(Dave) People do not act
in a civil or polite manner often
494
00:24:20,293 --> 00:24:22,086
if it's in a virtual world.
495
00:24:22,211 --> 00:24:24,297
There's no reason to act like that.
496
00:24:24,422 --> 00:24:27,800
You wouldn't act like that if we were
sitting in a room having a conversation,
497
00:24:27,925 --> 00:24:30,970
so why the fuck do you think it's OK
that you can act like that online?
498
00:24:31,095 --> 00:24:34,348
(Zack) Criticism is, um...
It's part of the business.
499
00:24:34,474 --> 00:24:37,602
No matter what, it'll happen.
500
00:24:37,727 --> 00:24:39,395
I think you have to have a thick skin.
501
00:24:39,520 --> 00:24:44,942
A film critic/reviewer is gonna look at a film
the way that they're gonna look at it,
502
00:24:45,067 --> 00:24:48,654
and I think the best thing we can do
is just sort of let it go.
503
00:24:48,779 --> 00:24:50,156
In some cases I got savage reviews,
504
00:24:50,281 --> 00:24:52,825
but there was always good ones
intermixed with it,
505
00:24:52,950 --> 00:24:54,494
but it all changes.
506
00:24:54,619 --> 00:24:56,496
It's strange how, um...
507
00:24:57,872 --> 00:25:02,502
...a decade or two makes the difference
of how people see your work,
508
00:25:02,627 --> 00:25:04,378
and stuff that was...
509
00:25:04,504 --> 00:25:06,255
(Sighs)...like a film
like Frankenhooker was,
510
00:25:06,380 --> 00:25:07,965
"Oh my God, it's just tits and ass.
511
00:25:08,090 --> 00:25:11,177
"I mean, there's nothing there.
It's not a horror film, just tits and ass."
512
00:25:11,302 --> 00:25:16,474
Now, I read these reviews that say,
"Oh my God, it was so ahead of its time."
513
00:25:16,599 --> 00:25:19,477
Well, which is right?
Which review was right?
514
00:25:19,602 --> 00:25:21,687
The contemporary review
or the review today?
515
00:25:21,812 --> 00:25:24,065
I mean, the answer is, "None of it."
516
00:25:24,190 --> 00:25:27,443
(Justin) Last week, we had a meeting
for getting Tripped made.
517
00:25:27,568 --> 00:25:29,779
they said they'd have
a contract to us on Monday.
518
00:25:29,904 --> 00:25:31,989
Nothing came on Monday,
nothing came on Tuesday,
519
00:25:32,114 --> 00:25:34,742
it's Friday now, so I enquired to Plato,
"What's up?"
520
00:25:34,867 --> 00:25:36,911
And it sounds like
they don't want to proceed.
521
00:25:37,036 --> 00:25:39,247
(TV) 'Now I’ve laid out our mission.
522
00:25:39,372 --> 00:25:41,123
'I expect you to fall in line.'
523
00:25:41,249 --> 00:25:43,543
- (Ringtone)
- (Justin) Hey, Plato.
524
00:25:43,668 --> 00:25:48,005
(Plato) 'And then I basically told them
that I'd still want you to be onboard
525
00:25:48,130 --> 00:25:50,800
'as a creative producer
on it regardless. Right?'
526
00:25:50,925 --> 00:25:52,134
Right.
527
00:25:52,260 --> 00:25:54,512
'And I don't think
they were happy with that.
528
00:25:54,637 --> 00:25:57,139
'So, they said we're just
going to go with someone else.'
529
00:25:57,265 --> 00:25:58,975
(Chuckles)
So it did come down to me.
530
00:25:59,100 --> 00:26:03,938
You know, I’ve only ever produced
at the bare minimum of a budget, like ever.
531
00:26:04,063 --> 00:26:05,064
Ever.
532
00:26:05,189 --> 00:26:07,108
Except that one Video Fact video,
533
00:26:07,233 --> 00:26:10,736
but mostly everything I’ve ever done
was really, really, really little budget
534
00:26:10,861 --> 00:26:16,867
and it's part of the reason, you know,
I don't have footage that looks like Scorsese.
535
00:26:16,993 --> 00:26:18,578
Today, you can take a camera
536
00:26:18,703 --> 00:26:20,580
and go out and shoot,
make a movie for no money.
537
00:26:20,705 --> 00:26:23,124
Now, it may suck,
it may not be a good movie,
538
00:26:23,249 --> 00:26:25,209
but you can actually look at it
and project it,
539
00:26:25,334 --> 00:26:27,253
and it looks pretty damn good
in HD quality,
540
00:26:27,378 --> 00:26:29,880
and you can manufacture a disc,
and put a little wrap on it,
541
00:26:30,006 --> 00:26:31,591
and look, "Hey, I got a movie."
542
00:26:31,716 --> 00:26:33,634
And that works until people
have to sit and watch it.
543
00:26:33,759 --> 00:26:35,928
Then that plan usually falls apart.
544
00:26:36,053 --> 00:26:38,222
There's lots of people
more talented than me,
545
00:26:38,347 --> 00:26:40,349
and there's lots of people
less talented than me,
546
00:26:40,474 --> 00:26:42,351
and I’ve seen less talented
get more successful,
547
00:26:42,476 --> 00:26:44,312
and I’ve seen more talented
get successful,
548
00:26:44,437 --> 00:26:46,897
and they all get there
for different reasons,
549
00:26:47,023 --> 00:26:49,191
and they all get their finance together
for different reasons,
550
00:26:49,317 --> 00:26:51,193
but at the end of the day,
551
00:26:51,319 --> 00:26:55,323
I have just as much chance
as anyone else, I believe.
552
00:26:55,448 --> 00:26:58,409
There are millions of footnotes
in the history of Hollywood
553
00:26:58,534 --> 00:27:01,245
of projects that someone said,
554
00:27:01,370 --> 00:27:06,709
"You know, I would rather
put this in a drawer than, say, sell it."
555
00:27:06,834 --> 00:27:10,171
But at the same time,
when you think about it, if someone...
556
00:27:10,296 --> 00:27:12,214
You know, you hear these stories
about someone saying,
557
00:27:12,340 --> 00:27:15,718
"Oh, they offered me all this money
if I walked away as the director."
558
00:27:15,843 --> 00:27:18,804
And I think if that were a client,
559
00:27:18,929 --> 00:27:23,934
or even if I were that writer
or that filmmaker,
560
00:27:24,060 --> 00:27:27,688
I would think, "If somebody's willing
to offer me money to walk away,
561
00:27:27,813 --> 00:27:31,942
"I can find somebody
to offer me money to stay as well.
562
00:27:32,068 --> 00:27:35,821
"If I’m getting this kind of interest
in the material, now I know.
563
00:27:35,946 --> 00:27:38,616
"Right? Now, the material's
being validated.
564
00:27:38,741 --> 00:27:42,036
"This story that I want to tell
is being validated."
565
00:27:42,161 --> 00:27:45,373
(Guillermo) The only way
that you do it is,
566
00:27:45,498 --> 00:27:47,458
you try to stay faithful to yourself
567
00:27:47,583 --> 00:27:50,086
and do movies
that really need to be made.
568
00:27:50,670 --> 00:27:53,297
That really you think...
for whatever reason.
569
00:27:53,422 --> 00:27:55,341
It doesn't matter
if it's an intimate little story
570
00:27:55,466 --> 00:27:57,426
or giant robots
and giant monsters.
571
00:27:57,551 --> 00:27:59,845
A part of you
needs that story told.
572
00:27:59,970 --> 00:28:03,224
You know, my ten-year-old
with my Godzilla in one hand
573
00:28:03,349 --> 00:28:08,020
and my Iron Giant and my Iron Man
on the other are clashing.
574
00:28:08,145 --> 00:28:10,398
That's the guy that does Pacific Rim.
575
00:28:10,523 --> 00:28:14,193
The super-lonely melancholic kid
does Pan's Labyrinth,
576
00:28:14,318 --> 00:28:16,821
but it's both equally me.
577
00:28:16,946 --> 00:28:19,990
So, that's the only thing.
It just tells you...
578
00:28:20,116 --> 00:28:23,786
You wanna fight for the stuff
that is a lost cause.
579
00:28:23,911 --> 00:28:25,079
You know what I’m saying?
580
00:28:25,204 --> 00:28:27,373
A lost cause is the only one
worth fighting.
581
00:28:27,498 --> 00:28:29,959
It's cool, because
we're in the Frontières Market.
582
00:28:30,084 --> 00:28:31,585
- Oh my God, oh my God.
- (Justin) It's coming.
583
00:28:31,711 --> 00:28:33,254
- Oh, no!
- (Cork popping)
584
00:28:33,379 --> 00:28:35,047
- Yay! (Laughing)
- (Justin) Look at that. Look at that.
585
00:28:35,172 --> 00:28:37,842
Around the world,
over 100 projects are submitted,
586
00:28:37,967 --> 00:28:40,261
and usually they're all
pretty legitimate projects,
587
00:28:40,386 --> 00:28:42,722
because Frontières is not just...
588
00:28:42,847 --> 00:28:45,975
You can enter,
anyone can enter, but, um...
589
00:28:46,100 --> 00:28:48,853
You really gotta have your shit together
to even have a hope,
590
00:28:48,978 --> 00:28:52,189
and we were among the twenty chosen,
so that's awesome.
591
00:28:52,314 --> 00:28:53,941
'We set out
on a marathon of work
592
00:28:54,066 --> 00:28:55,526
'getting a draft of the Kane script ready
593
00:28:55,651 --> 00:28:57,486
'to show in less than a month
at the upcoming Market
594
00:28:57,611 --> 00:28:59,989
'with the help of our consulting producer
George Mihalka.'
595
00:29:00,114 --> 00:29:03,242
(Serena) It's exciting,
because I’ve never done something like this,
596
00:29:03,367 --> 00:29:07,329
I’ve never been a part of a film market,
it's kinda cool to be on the other side.
597
00:29:07,455 --> 00:29:09,206
This is where I’ve always wanted to be,
598
00:29:09,331 --> 00:29:13,461
not just reviewing films,
but to have my film reviewed,
599
00:29:13,586 --> 00:29:16,547
which is what you should want.
600
00:29:16,672 --> 00:29:18,549
So, yeah, I’m really excited.
601
00:29:18,674 --> 00:29:24,180
I feel like it's like
a lifelong dream coming true.
602
00:29:24,305 --> 00:29:27,183
(Justin) I know that Serena's really excited
and she's very optimistic.
603
00:29:27,308 --> 00:29:30,644
I’ve been down this road before
where I thought things were coming together
604
00:29:30,770 --> 00:29:34,064
and that the movie was gonna get made,
and I was ready to almost celebrate,
605
00:29:34,190 --> 00:29:35,649
and then it didn't happen.
606
00:29:35,775 --> 00:29:38,736
And I am somewhat concerned
that it's gonna...
607
00:29:38,861 --> 00:29:40,780
Development's
gonna take a long time,
608
00:29:40,905 --> 00:29:42,656
that's why you take
the rights for four years.
609
00:29:42,782 --> 00:29:48,746
The best thing you can hope for
is for some investors to buy,
610
00:29:48,871 --> 00:29:53,209
but that is not the primary reason
why I wanna go.
611
00:29:53,334 --> 00:29:57,755
It's to make the connections,
learn more about film markets,
612
00:29:57,880 --> 00:30:01,300
and hopefully have something to show for it
at the end of the day.
613
00:30:01,425 --> 00:30:03,469
Oh wow!
614
00:30:03,594 --> 00:30:06,222
Look at it. It's real.
615
00:30:06,347 --> 00:30:07,640
(Justin)
I think we're ready.
616
00:30:07,765 --> 00:30:09,141
I feel like we're ready.
617
00:30:09,266 --> 00:30:12,478
We put a lot of effort
into the package, into...
618
00:30:12,603 --> 00:30:15,856
We've got a package, then a lookbook,
then a printed lookbook,
619
00:30:15,981 --> 00:30:19,860
then flyers and the posters,
some concept art.
620
00:30:19,985 --> 00:30:23,489
We got the script to the point
where we were really happy with it.
621
00:30:23,614 --> 00:30:24,949
I guess we're ready.
622
00:30:25,074 --> 00:30:27,368
(Ross) I think film markets are great.
I think a big part of the job
623
00:30:27,493 --> 00:30:32,456
is to meet people that share similar interests,
but are from all over the world.
624
00:30:32,581 --> 00:30:36,836
It gives you an idea of what your peers
are doing and what's coming up,
625
00:30:36,961 --> 00:30:40,381
and, you know, just kind of keeps you fresh
and keeps it competitive.
626
00:30:40,506 --> 00:30:43,342
(Justin) 'If you were in our shoes
and doing these meetings,
627
00:30:43,467 --> 00:30:46,095
'how would you...
how would you approach them?
628
00:30:46,220 --> 00:30:49,181
'Like from a creative perspective?
What would they rather hear?
629
00:30:49,306 --> 00:30:51,183
'Do they wanna hear about
the money they're gonna make,
630
00:30:51,308 --> 00:30:54,436
'or do they want to hear about
this great vision we've got?'
631
00:30:54,562 --> 00:30:56,480
(Avi) 'They know how to do their job.
632
00:30:56,605 --> 00:31:00,901
'They wanna know on the creative side
what it looks, what it feels like,
633
00:31:01,026 --> 00:31:02,862
'what would you compare it to?
634
00:31:02,987 --> 00:31:05,656
'Because then once
they hear all those things,
635
00:31:05,781 --> 00:31:07,741
'they wrap their heads
around that and go,
636
00:31:07,867 --> 00:31:10,828
"'OK, yeah, so I remember
how successful that movie was.
637
00:31:10,953 --> 00:31:13,455
"'If this is gonna be like that,
then we can make X amount of money,
638
00:31:13,581 --> 00:31:16,208
"'and we can market it in an X sort of way,
and all that kind of stuff."'
639
00:31:16,333 --> 00:31:17,918
- (Justin) 'Yeah, alright '
- (Avi) 'Talk soon, guys.'
640
00:31:18,043 --> 00:31:19,503
- (Justin) 'Take care. OK'
- (Avi) 'Bye.'
641
00:31:19,628 --> 00:31:25,301
(Stephanie) Over the years, we saw
how the community aspect of Fantasia
642
00:31:25,426 --> 00:31:29,805
was really important
and was actually getting new films made.
643
00:31:29,930 --> 00:31:31,348
Filmmakers would meet.
644
00:31:31,473 --> 00:31:34,810
Creating the market at Fantasia
was an extension of that,
645
00:31:34,935 --> 00:31:37,479
but making it real,
making it serious,
646
00:31:37,605 --> 00:31:43,611
and it went from 220 to 280,
to 350 participants straight away,
647
00:31:43,736 --> 00:31:48,490
and people from top production
companies, sales agencies...
648
00:31:48,616 --> 00:31:50,618
(Lindsay) In contrast
to some of the larger markets,
649
00:31:50,743 --> 00:31:53,996
we know that one of the key
qualities of Frontières
650
00:31:54,121 --> 00:31:57,625
is the fact that we create a relatively small
intimate atmosphere
651
00:31:57,750 --> 00:31:59,960
that actually allows people
to get to know each other.
652
00:32:00,085 --> 00:32:02,171
(Peter Kuplowsky) I think
after going through a co-production market
653
00:32:02,296 --> 00:32:04,256
or any kind of production
sort of marketplace,
654
00:32:04,381 --> 00:32:06,842
you're able to better assess
the movie you're making.
655
00:32:06,967 --> 00:32:11,138
So, I’ve had a project, which after going
through meetings at a co-production market,
656
00:32:11,263 --> 00:32:15,225
I’ve then realized maybe this isn't
the right project for this marketplace,
657
00:32:15,351 --> 00:32:18,979
because I’ve spoken to distributors
and exhibitors and producers,
658
00:32:19,104 --> 00:32:22,733
and I’ve realized this isn't the kind of movie
that people are making right now,
659
00:32:22,858 --> 00:32:27,696
and so maybe this is movie 2, not movie 1
for this particular filmmaker.
660
00:32:27,821 --> 00:32:31,867
(Annick) Having all these people together
in one room for four days is really amazing,
661
00:32:31,992 --> 00:32:35,412
because you get all these ideas
of how they would do the things off...
662
00:32:35,537 --> 00:32:40,209
or maybe you might meet someone
who has a project but does not, you know...
663
00:32:40,334 --> 00:32:41,877
he lacks funds and someone will say,
664
00:32:42,002 --> 00:32:44,505
"Well, this is great, you know,
I can help you with the fundings"
665
00:32:44,630 --> 00:32:46,548
or someone, you know,
could help with post-production.
666
00:32:46,674 --> 00:32:49,343
(Julian Richards) You know,
they give you the opportunity to talk to people
667
00:32:49,468 --> 00:32:53,305
in a relaxed,
informal kind of environment
668
00:32:53,430 --> 00:32:58,686
and that's really
what this kind of event is all about.
669
00:32:58,811 --> 00:33:02,898
Otherwise, when you're
back out in the big bad world,
670
00:33:03,023 --> 00:33:06,151
you need your lawyers, and your managers,
and your agents to open those doors for you.
671
00:33:06,276 --> 00:33:08,904
(Justin) We currently have thirty meetings
definitely on the books,
672
00:33:09,029 --> 00:33:11,073
but there could be more,
there should be more,
673
00:33:11,198 --> 00:33:14,243
and hopefully we get some traction
with Mark of Kane.
674
00:33:14,368 --> 00:33:15,786
I’m cautiously optimistic.
675
00:33:15,911 --> 00:33:20,666
I think it's important to attend if you're
interested in kind of going for that world
676
00:33:20,791 --> 00:33:22,751
and to be aware
of who all the players are,
677
00:33:22,876 --> 00:33:25,587
and what each company is, like,
really there to do, you know?
678
00:33:25,713 --> 00:33:28,215
Are you talking to
a financing production company,
679
00:33:28,340 --> 00:33:31,301
or are you talking to, you know,
this distributor,
680
00:33:31,427 --> 00:33:33,679
and a lot of it is just communication,
following up,
681
00:33:33,804 --> 00:33:39,309
and figuring out how to match your project
with the best collaborators
682
00:33:39,435 --> 00:33:42,229
that's gonna really get you
what you want.
683
00:33:42,354 --> 00:33:43,856
When you look at an artist,
you're like,
684
00:33:43,981 --> 00:33:47,234
"Can I be making movies with this person
for the next 15, 20 years?"
685
00:33:47,359 --> 00:33:50,029
It's just too much effort
to just do a one-off.
686
00:33:50,154 --> 00:33:53,574
It's too much effort
if this is that person's one story
687
00:33:53,699 --> 00:33:55,909
and once they're done with that,
they might just be done with film.
688
00:33:56,035 --> 00:33:59,830
I need someone who's going to be a director
that needs me just as much as a producer
689
00:33:59,955 --> 00:34:03,250
and we're gonna spend our career
making films with each other
690
00:34:03,375 --> 00:34:06,587
and that's what you look for in someone
you wanna collaborate with, you see a future.
691
00:34:06,712 --> 00:34:10,424
(Bryan Brucks) The biggest
first-time filmmaker mistake
692
00:34:10,549 --> 00:34:16,555
is someone trashing that uh...
executive producer's movies.
693
00:34:16,680 --> 00:34:19,850
You know, the first thing you should do is look
on the wall, see the movies they produced,
694
00:34:19,975 --> 00:34:21,894
and, you know, don't shit on 'em.
695
00:34:22,019 --> 00:34:25,064
(Mette-Marie) If you're talking
about being a filmmaker...
696
00:34:26,023 --> 00:34:29,818
deciding which producer or financier
or sales agent to work with,
697
00:34:29,943 --> 00:34:32,654
I mean, I'd say meet with them,
see what your chemistry is,
698
00:34:32,780 --> 00:34:36,075
and then do some due diligence.
Ask around.
699
00:34:36,200 --> 00:34:38,452
Do you know anybody
that's done business with them?
700
00:34:38,577 --> 00:34:41,747
Do you know anybody that has
any experiences with these people?
701
00:34:41,872 --> 00:34:45,542
If they've been around, chances are
people will have worked with them,
702
00:34:45,667 --> 00:34:47,961
and they'll have opinions.
703
00:34:48,087 --> 00:34:50,839
(Serena) I think it...
I think it really went well, the Market.
704
00:34:51,507 --> 00:34:54,635
I think we were all really prepared,
705
00:34:54,760 --> 00:34:56,637
and that was one of the notes
that we received,
706
00:34:56,762 --> 00:34:58,889
that we were really prepared,
707
00:34:59,014 --> 00:35:02,976
and that was a good feeling
to know that we could have stood out.
708
00:35:03,102 --> 00:35:06,855
We met with people that I never thought
I'd get a meeting with
709
00:35:06,980 --> 00:35:08,482
at this stage of the game.
710
00:35:08,607 --> 00:35:12,111
The producers of Drive
and Only God Forgives, the Weinsteins.
711
00:35:12,236 --> 00:35:16,156
'I know, I know, but nobody was talking about
that particular scandal when I recorded this.'
712
00:35:16,281 --> 00:35:19,368
I’ve got a lot of hope at this point.
I hope that's the... I'm gonna knock on wood.
713
00:35:19,493 --> 00:35:21,912
- (Knocking)
- Knocking on wood big time,
714
00:35:22,037 --> 00:35:24,289
cos you never know...
you never know till you know,
715
00:35:24,414 --> 00:35:26,542
but holy fucking shit!
716
00:35:26,667 --> 00:35:29,711
'The fallout from the Market ended up
being good in terms of building a network,
717
00:35:29,837 --> 00:35:32,840
'learning some new things,
and meeting potential future collaborators,
718
00:35:32,965 --> 00:35:35,300
'but the response to Mark of Kane
wasn't as immediate as we'd hoped,
719
00:35:35,425 --> 00:35:37,219
'so development continued.
720
00:35:37,344 --> 00:35:39,221
'I filled my fall that year
with client work
721
00:35:39,346 --> 00:35:42,015
'and shot a zero-budget comedy short
for fun called Damned Selfie,
722
00:35:42,141 --> 00:35:43,433
'but something was weighing on me.
723
00:35:43,559 --> 00:35:45,853
'Despite some added interest
that hadn't paid off,
724
00:35:45,978 --> 00:35:48,814
'I started to realize I've been hitting
a brick wall trying to get Tripped made.
725
00:35:48,939 --> 00:35:50,983
'The decision was made
to put it on the back burner
726
00:35:51,108 --> 00:35:52,568
'and focus on a lower-budget project
727
00:35:52,693 --> 00:35:54,736
'that has more chance
of getting to camera sooner.'
728
00:35:54,862 --> 00:35:57,406
Maybe I suffer from having
too much of a split focus,
729
00:35:57,531 --> 00:36:01,034
but I find that when one thing stalls,
730
00:36:01,160 --> 00:36:02,953
it's good to have
something else to do.
731
00:36:03,078 --> 00:36:08,959
Every day, I am trying to move the pieces
on my board forward, you know?
732
00:36:09,084 --> 00:36:11,378
It's an eternal chess game
733
00:36:11,503 --> 00:36:16,049
and so I have a few knights,
a couple of bishops,
734
00:36:16,175 --> 00:36:17,885
and many pawns,
735
00:36:18,010 --> 00:36:19,845
and occasionally a pawn
can become a queen.
736
00:36:19,970 --> 00:36:24,391
(Andrew) I am obsessed
with doing work and, um...
737
00:36:24,516 --> 00:36:27,603
I love family, I love my personal time
when I'm not working,
738
00:36:27,728 --> 00:36:34,610
but, you know, I’ve always been somebody
who has felt the need to do my own thing,
739
00:36:34,735 --> 00:36:36,904
so I don't work a nine-to-five.
740
00:36:37,029 --> 00:36:40,073
I always say working for yourself
is like working 24/7,
741
00:36:40,199 --> 00:36:46,079
because your hours are basically
what dictate your output
742
00:36:46,205 --> 00:36:48,123
and what you end up accomplishing.
743
00:36:48,248 --> 00:36:51,043
You push as many things forward
as you can,
744
00:36:51,168 --> 00:36:55,255
and, well, as they say, you throw
as much mud at the wall and see what sticks.
745
00:36:55,380 --> 00:36:57,633
I’ve been trying to figure out
an idea for a low-budget feature,
746
00:36:57,758 --> 00:37:00,469
something I could do
for Collapsed money or cheaper.
747
00:37:00,594 --> 00:37:02,012
50 grand would be ideal.
748
00:37:02,137 --> 00:37:04,890
So I had this idea a while back
I was gonna call Shifter,
749
00:37:05,015 --> 00:37:08,018
and it was just gonna be basically, uh...
750
00:37:08,143 --> 00:37:11,313
Vaguely, it was about a shapeshifter,
someone who takes on a new face
751
00:37:11,438 --> 00:37:13,982
every little bit of time.
752
00:37:14,107 --> 00:37:15,484
And they are the same character,
753
00:37:15,609 --> 00:37:17,694
but someone else is playing the character
throughout the movie.
754
00:37:17,819 --> 00:37:20,447
Now, I’m making
a much more simple idea.
755
00:37:20,572 --> 00:37:22,950
I’m gonna call it Lifechanger
instead of Shifter,
756
00:37:23,075 --> 00:37:24,952
cos Shifter has been taken
a ton of times.
757
00:37:25,077 --> 00:37:27,621
'I would worry that this movie
wouldn't make its money back
758
00:37:27,746 --> 00:37:32,918
'because even with the gore
and the tension,
759
00:37:33,043 --> 00:37:37,214
'if it's not going to stick to a concept,
it's going to be so unclear.
760
00:37:37,339 --> 00:37:39,508
'And no matter what you do
to try and clarify it,
761
00:37:39,633 --> 00:37:42,010
'it won't be clear until you have
a setup that works.'
762
00:37:42,135 --> 00:37:45,264
(Justin) Are there character flaws
that I have that you could point out,
763
00:37:45,389 --> 00:37:49,017
things that might have pulled me back
or things that I’ve had to overcome?
764
00:37:49,142 --> 00:37:52,354
If you had an idea in your head,
it was right,
765
00:37:52,479 --> 00:37:54,564
you wouldn't take criticism very well.
766
00:37:54,690 --> 00:37:58,110
- 'He could just go find somebody else.'
- Nope.
767
00:37:58,235 --> 00:38:01,530
The rule, the basic rules
of the transformation is,
768
00:38:01,655 --> 00:38:06,201
it can't use its power, it can't transform
until it starts deteriorating.
769
00:38:06,326 --> 00:38:12,499
If we thought maybe it was something else
or something you could do better,
770
00:38:12,624 --> 00:38:16,586
you really sort of got mad about it,
you know?
771
00:38:16,712 --> 00:38:19,423
That's just the way you were...
or are.
772
00:38:19,548 --> 00:38:22,259
- You probably are the same way right now.
- (Justin chuckling) I know!
773
00:38:22,384 --> 00:38:26,013
But, yeah, you have to take criticism,
you have to. Only way to learn.
774
00:38:26,138 --> 00:38:27,306
(Justin) 'My parents are right.
775
00:38:27,431 --> 00:38:29,683
'I need to learn
how to take criticism better,
776
00:38:29,808 --> 00:38:31,101
'something to work on.'
777
00:38:31,226 --> 00:38:34,646
So that's why it's able to touch people,
like, normally when it's...
778
00:38:34,771 --> 00:38:36,815
'That feels like...
779
00:38:36,940 --> 00:38:41,987
'What you just said to me feels like
it's a contrivance to help your story,
780
00:38:42,112 --> 00:38:43,530
'but I don't think it makes sense.'
781
00:38:43,655 --> 00:38:45,991
If you are established,
a successful writer,
782
00:38:46,116 --> 00:38:50,662
yeah, you have, you know,
justification to kind of push back.
783
00:38:50,787 --> 00:38:55,625
But if you're just starting out,
I mean, be open, hear out, you know?
784
00:38:55,751 --> 00:38:59,004
Think about it, mull it over,
785
00:38:59,129 --> 00:39:01,173
because the last thing
you want to have happen
786
00:39:01,298 --> 00:39:04,343
is basically the movie gets made as is,
your vision,
787
00:39:04,468 --> 00:39:06,470
and then you just read in the reviews
all the notes.
788
00:39:06,595 --> 00:39:11,600
Suck up your ego for a second
and understand that, like, generally...
789
00:39:13,060 --> 00:39:15,270
all somebody's trying to do is help you.
790
00:39:15,395 --> 00:39:18,982
You don't ever have to agree
with whatever anybody is saying,
791
00:39:19,107 --> 00:39:23,862
but it's very important, I think,
to pay that person proper respect
792
00:39:23,987 --> 00:39:25,614
in terms of listening to it.
793
00:39:25,739 --> 00:39:27,824
In terms of applying those notes
to the movie,
794
00:39:27,949 --> 00:39:30,285
I mean it just depends
on who they're coming from.
795
00:39:30,410 --> 00:39:32,579
(Justin) I really have to start
drafting Lifechanger.
796
00:39:32,704 --> 00:39:34,915
I’ve got to start writing that script.
797
00:39:35,040 --> 00:39:37,042
Title page is laid out.
798
00:39:38,377 --> 00:39:41,046
So now,
here's the first location.
799
00:39:41,797 --> 00:39:44,257
(Mick Garris) The script
is by far the most important thing.
800
00:39:44,383 --> 00:39:49,262
I would rather see a well-written,
well-acted story about interesting characters
801
00:39:49,388 --> 00:39:53,100
that looked shitty or cheap
or undistinguished
802
00:39:53,225 --> 00:39:58,188
than a big extravaganza
with special effects and beautiful shots
803
00:39:58,313 --> 00:39:59,940
that was empty and nothing.
804
00:40:00,065 --> 00:40:02,067
You can make it look gorgeous,
805
00:40:02,192 --> 00:40:04,403
you can get it acted brilliantly,
806
00:40:04,528 --> 00:40:06,238
you can get really cool shots,
807
00:40:06,363 --> 00:40:09,950
but if it's just a weak story
or it's boring, like...
808
00:40:11,410 --> 00:40:12,911
it's hard to fix that.
809
00:40:13,036 --> 00:40:14,246
I need to write.
810
00:40:14,371 --> 00:40:16,289
I need to turn around
the first draft of Lifechanger
811
00:40:16,415 --> 00:40:18,542
if I hope to hit the plan
that I wanna hit
812
00:40:18,667 --> 00:40:21,878
of shooting by March,
early April at the latest kind of thing.
813
00:40:22,003 --> 00:40:24,047
If you don't have a deadline,
you tend to go on forever.
814
00:40:24,172 --> 00:40:25,632
I know I certainly do.
815
00:40:25,757 --> 00:40:28,510
So in a lot of ways having a deadline
is an extremely useful thing,
816
00:40:28,635 --> 00:40:30,303
because creativity, I mean...
817
00:40:30,429 --> 00:40:32,973
the kind of mystery
of where creativity comes from is a...
818
00:40:33,098 --> 00:40:34,641
you know,
I can't answer that question.
819
00:40:34,766 --> 00:40:39,187
And in terms of feeling inspired
when you're under pressure,
820
00:40:39,312 --> 00:40:43,275
I find there's a lot more pressure
that comes out of not having a deadline.
821
00:40:43,400 --> 00:40:46,736
The hard and fast rule is...
I don't know who came up with this.
822
00:40:46,862 --> 00:40:49,781
Where I saw it was on
Warren P. Sonoda's Facebook wall.
823
00:40:49,906 --> 00:40:52,617
When I’m writing and when I’m trying
to come up with stories,
824
00:40:52,742 --> 00:40:55,912
I have a saying
that I keep trying to hammer home,
825
00:40:56,037 --> 00:40:59,875
"Don't get it right, get it written.
Get it right in the rewrites."
826
00:41:00,000 --> 00:41:01,751
Which makes total sense to me.
827
00:41:01,877 --> 00:41:04,045
You get it down and then you...
828
00:41:04,171 --> 00:41:06,590
I’ve got scripts that
I’m on my eighth or ninth draft.
829
00:41:06,715 --> 00:41:08,133
You know,
the first draft is the easy one.
830
00:41:08,258 --> 00:41:11,052
I used to think,
"Boy, wouldn't my work be great
831
00:41:11,178 --> 00:41:13,346
"if it took me six months
to write a script?"
832
00:41:13,472 --> 00:41:16,641
No, it would be labored and shitty
is what I discovered.
833
00:41:16,766 --> 00:41:21,021
So, I would much rather just sit down
and write a script
834
00:41:21,146 --> 00:41:26,276
then outline it, and pitch it,
and do all those things, and go through...
835
00:41:26,401 --> 00:41:28,028
That to me is agonizing.
836
00:41:28,153 --> 00:41:32,199
The writing process is exhilarating
and exciting and fun to me.
837
00:41:32,324 --> 00:41:35,660
Yesterday, I finished the first draft
of Lifechanger,
838
00:41:35,785 --> 00:41:38,038
which is a pretty good accomplishment.
839
00:41:38,163 --> 00:41:40,790
I worked my butt off on it
over the holidays.
840
00:41:40,916 --> 00:41:44,377
I used to look at life where I would think,
"This is the year for me.
841
00:41:44,503 --> 00:41:46,421
"This is the year it's gonna hit,
842
00:41:46,546 --> 00:41:50,383
"This is the year where I’m gonna break out
and my career's gonna explode",
843
00:41:50,509 --> 00:41:52,052
and you know all this.
844
00:41:52,177 --> 00:41:54,054
And I’ve stopped looking at life that way.
845
00:41:54,179 --> 00:41:55,388
I’m now looking at it more like,
846
00:41:55,514 --> 00:41:58,892
"This is another year where I’m gonna
put more bricks on the wall
847
00:41:59,017 --> 00:42:01,937
"that will support my career"
or you know, lame...
848
00:42:02,062 --> 00:42:03,813
Whatever metaphor
you wanna use, you know,
849
00:42:03,939 --> 00:42:08,568
"plant the seeds", you know, whatever -
"climb the ladder", you know?
850
00:42:08,693 --> 00:42:14,032
I now look at it as a process
as opposed to, like, a big bang.
851
00:42:14,157 --> 00:42:15,742
Here's to next year.
852
00:42:25,669 --> 00:42:29,297
It's incredibly important
to fail in one's business.
853
00:42:29,422 --> 00:42:33,218
People that have had very little failure
in their lives, I don't trust them.
854
00:42:33,343 --> 00:42:37,722
I just made an update
to the Facebook page of The Eternal
855
00:42:37,847 --> 00:42:39,266
and The Eternal official site
856
00:42:39,391 --> 00:42:42,602
basically stating that
the film is officially shelved.
857
00:42:42,727 --> 00:42:45,188
At a certain point,
I just started to realize
858
00:42:45,313 --> 00:42:47,357
that, you know,
this thing is not getting made,
859
00:42:47,482 --> 00:42:49,526
and it's not getting made
with me as the director,
860
00:42:49,651 --> 00:42:53,655
and I think the main reason is
that I haven't really proved myself yet.
861
00:42:53,780 --> 00:42:58,368
At least not to the point where people
are taking a risk on a larger budget for me.
862
00:42:58,493 --> 00:43:01,329
I never used to have backlog of scripts,
but now, I finally do,
863
00:43:01,454 --> 00:43:04,833
and it's very sad, they sit there saying,
"What's wrong with me?"
864
00:43:04,958 --> 00:43:09,045
And then, I’ve also tried for many filmmakers
to get their movies made,
865
00:43:09,170 --> 00:43:13,091
and though we do have a roster of films,
I have a whole, uh...
866
00:43:13,216 --> 00:43:17,762
It's a graveyard of sad, beautiful movies
that lived in my mind
867
00:43:17,887 --> 00:43:21,600
and that we over drinks would be like,
"This one's gonna be great."
868
00:43:21,725 --> 00:43:25,854
So it's really a tiny percent gets made.
It's one of the great tragedies.
869
00:43:25,979 --> 00:43:28,857
If you're a shoemaker,
you make the frickin' shoes,
870
00:43:28,982 --> 00:43:31,318
if you're a filmmaker,
you dream about the shoes.
871
00:43:31,443 --> 00:43:33,320
It's just a sad state of affairs, really.
872
00:43:33,445 --> 00:43:35,697
I always thought I was
a reasonably smart person,
873
00:43:35,822 --> 00:43:38,158
and I’m good at figuring out
how things work,
874
00:43:38,283 --> 00:43:39,909
and I’ve been making films
for almost 30 years,
875
00:43:40,035 --> 00:43:41,411
and I still don't know
how they get made.
876
00:43:41,536 --> 00:43:44,789
I mean, you know... by fate.
877
00:43:44,914 --> 00:43:46,625
(Paul Schrader)
I wouldn't want to do it all over again,
878
00:43:46,750 --> 00:43:48,960
because I don't think I would get
as lucky a second time.
879
00:43:49,753 --> 00:43:53,423
(Chuckles) You know?
And then luck
880
00:43:53,548 --> 00:43:57,927
has played a large part in this.
881
00:43:58,053 --> 00:44:00,764
You know, obviously life only happens
to the prepared,
882
00:44:00,889 --> 00:44:03,058
but you can be prepared
and not lucky.
883
00:44:03,183 --> 00:44:09,939
And so, you have to have
some fortuitous things happen.
884
00:44:14,027 --> 00:44:17,781
(Justin) I applied to the Producers Network
at Cannes, which is essentially...
885
00:44:17,906 --> 00:44:22,035
Each year they select or they allow in
300 producers from around the world.
886
00:44:22,160 --> 00:44:23,703
They cap it at 300.
887
00:44:23,828 --> 00:44:25,747
Um... I got in.
888
00:44:25,872 --> 00:44:28,792
I decided, like a couple of months ago,
I was gonna go to Brussels
889
00:44:28,917 --> 00:44:33,129
for the Frontières Market there,
because we were in last summer's one.
890
00:44:33,254 --> 00:44:36,633
They have one in Brussels,
one in Montréal each year,
891
00:44:36,758 --> 00:44:40,428
where I’m allowed to go to the Brussels one
and get free accreditation and take meetings.
892
00:44:40,553 --> 00:44:42,681
These two trips
are gonna cost me a fair bit,
893
00:44:42,806 --> 00:44:45,517
but I found online accommodation,
I booked all my flights,
894
00:44:45,642 --> 00:44:46,685
and I’m good to go.
895
00:44:46,810 --> 00:44:48,853
(Indistinct chatter)
896
00:44:48,978 --> 00:44:50,730
(Annick)
What Frontières achieved, really,
897
00:44:50,855 --> 00:44:55,985
is the fact that you have this gathering
of professionals of the industry
898
00:44:56,111 --> 00:44:58,988
who concentrate on genre film,
and who know what they're talking about,
899
00:44:59,114 --> 00:45:03,118
and who constantly have to try to find
new ways of financing genre film,
900
00:45:03,243 --> 00:45:05,412
because it's really not
something that is easy,
901
00:45:05,537 --> 00:45:07,664
it's not easy in the US,
it's not easy in Canada,
902
00:45:07,789 --> 00:45:09,749
and it's not easy in Europe.
903
00:45:23,179 --> 00:45:26,725
I’m alone in a canal boat
in Amsterdam right now.
904
00:45:26,850 --> 00:45:30,603
Baked out of my mind after being
at this coffee shop called "BABA".
905
00:45:30,729 --> 00:45:32,272
It's been an amazing trip.
906
00:45:32,397 --> 00:45:37,652
And I think it was the absolute right choice
for a lot of different reasons.
907
00:45:37,777 --> 00:45:43,116
And I met lots of people
that are potentially gonna be allies
908
00:45:43,241 --> 00:45:47,245
in the path to getting these movies made,
people that can make 'em happen.
909
00:45:47,370 --> 00:45:49,038
So, we'll see what happens.
910
00:45:49,164 --> 00:45:51,958
I’ve never been to
the Cannes Film Festival before
911
00:45:52,083 --> 00:45:54,461
or the Marché Du Film,
the Cannes market,
912
00:45:54,586 --> 00:45:56,504
which is why I’m going.
913
00:45:56,629 --> 00:46:01,301
It's a flea market of film
at the end of the day.
914
00:46:01,426 --> 00:46:02,844
It's a bunch of little booths.
915
00:46:02,969 --> 00:46:04,512
You go booth to booth,
to booth, to booth,
916
00:46:04,637 --> 00:46:07,223
and buyers can walk around
and see what the new product is,
917
00:46:07,348 --> 00:46:10,143
and just make deals right on the spot.
A whole bunch of deals get made.
918
00:46:10,268 --> 00:46:11,561
(Avi) This is the biggest game in town.
919
00:46:11,686 --> 00:46:13,146
There is nothing bigger than Cannes.
920
00:46:13,271 --> 00:46:17,609
Sales world is EFM,
Berlinale and Cannes,
921
00:46:17,734 --> 00:46:19,444
and Cannes is most
where the sales agents...
922
00:46:19,569 --> 00:46:22,322
50% of their global business
is made there.
923
00:46:22,447 --> 00:46:24,908
What you can get done
in a day in Cannes,
924
00:46:25,033 --> 00:46:27,535
would take you two years
to get done in Toronto.
925
00:46:27,660 --> 00:46:30,121
(Corey Moosa) It's a place
for sales agents
926
00:46:30,246 --> 00:46:33,958
to basically try and sell
Pre-sales on their film
927
00:46:34,083 --> 00:46:38,254
and to gauge interest
from different foreign territories.
928
00:46:38,379 --> 00:46:41,841
(Brian Yuzna) When I first saw
the first film market,
929
00:46:41,966 --> 00:46:44,093
my eyes opened and I thought,
930
00:46:44,219 --> 00:46:46,137
"Oh, so you make the movie,
931
00:46:46,262 --> 00:46:48,765
"you take it to the market,
you have a little stand,
932
00:46:48,890 --> 00:46:52,101
"and then people come from other countries,
and they buy it from you,
933
00:46:52,227 --> 00:46:54,604
"and you end up with more money
than you start..."
934
00:46:54,729 --> 00:46:56,314
The whole thing made sense then.
935
00:46:56,439 --> 00:47:02,737
You're in one place that the entire industry
collects for basically ten days
936
00:47:02,862 --> 00:47:06,074
to help you realize possibilities.
937
00:47:06,199 --> 00:47:09,244
There is so much content right now
938
00:47:09,369 --> 00:47:13,373
that at these film markets,
it's insane.
939
00:47:13,498 --> 00:47:16,543
And so it's like, yeah, the film markets
work for some people,
940
00:47:16,668 --> 00:47:19,420
but it's like there's just more stuff
at these markets now
941
00:47:19,546 --> 00:47:20,964
than there is room for.
942
00:47:21,089 --> 00:47:25,635
(Avi) It's clear that without having
a sales agent come on as early as possible,
943
00:47:25,760 --> 00:47:29,430
the opportunities for you to sell your film
are less and less.
944
00:47:29,556 --> 00:47:31,015
(Graham) It's just
a whole different side of stuff,
945
00:47:31,140 --> 00:47:34,269
cos if you're an artist,
you're sitting in your dream world
946
00:47:34,394 --> 00:47:36,479
and you're just writing
your ideal movie.
947
00:47:36,604 --> 00:47:39,440
The business aspect
is its whole own art form.
948
00:47:39,566 --> 00:47:42,652
(Keith Leopard) You have to have
an art and a commerce hat on,
949
00:47:42,777 --> 00:47:46,406
and I would just say to the guys, like,
take the time to learn the business side of it,
950
00:47:46,531 --> 00:47:48,199
so that you can make
an intelligent decision,
951
00:47:48,324 --> 00:47:50,869
because there may come a time
when there aren't gonna be
952
00:47:50,994 --> 00:47:54,289
a ton of sales companies
that can help you
953
00:47:54,414 --> 00:47:56,749
and you might be out there
on your own going,
954
00:47:56,875 --> 00:47:58,126
"I gotta figure this out."
955
00:47:58,251 --> 00:47:59,836
(Justin) ls this
your first time at Cannes, or...
956
00:47:59,961 --> 00:48:01,629
- How many people have been here before?
- (Chuckling)
957
00:48:01,754 --> 00:48:04,591
- Yeah.
- (Laughing)
958
00:48:04,716 --> 00:48:06,593
- Yeah, come on.
- And counting and counting.
959
00:48:06,718 --> 00:48:09,262
No, it's my 21st year in a row.
960
00:48:09,387 --> 00:48:10,555
- (Justin) 21 years?
- Yeah.
961
00:48:10,680 --> 00:48:12,599
- I got some news, guys.
- Yeah.
962
00:48:12,724 --> 00:48:14,726
I just got off the phone, alright?
963
00:48:14,851 --> 00:48:16,895
You guys got Sony.
964
00:48:17,020 --> 00:48:18,521
- Sony?
- (Michelangelo) Sony.
965
00:48:18,646 --> 00:48:21,482
- It's a Sony. Yo, bro. (Chuckling)
- Yeah.
966
00:48:21,608 --> 00:48:23,776
(Justin)
This week's been crazy.
967
00:48:23,902 --> 00:48:25,528
The opportunities
that have arisen,
968
00:48:25,653 --> 00:48:28,990
the possibilities for real deals
that, like, may happen.
969
00:48:29,115 --> 00:48:32,160
I had meeting after meeting, after meeting,
after meeting, after meeting, after meeting,
970
00:48:32,285 --> 00:48:36,915
and many of them
were really promising
971
00:48:37,040 --> 00:48:40,627
to the point where
if any one of them happens, that's huge.
972
00:48:40,752 --> 00:48:42,128
You know,
I sat in a meeting today
973
00:48:42,253 --> 00:48:44,505
with a guy who just wants to do
the whole slate,
974
00:48:44,631 --> 00:48:46,174
all eight to ten movies,
975
00:48:46,299 --> 00:48:47,717
which... (Chuckles)
976
00:48:47,842 --> 00:48:50,887
Hell, if I can get The Eternal off the ground,
that'd be fucking incredible,
977
00:48:51,012 --> 00:48:52,430
cos I’ve been working so hard.
978
00:48:52,555 --> 00:48:56,225
Even The Eternal
is a possibility now again, cos of this.
979
00:48:56,351 --> 00:48:59,938
So, basically, I should be able
to walk out of this and be set for life.
980
00:49:00,063 --> 00:49:01,439
That's what it seems like.
981
00:49:01,564 --> 00:49:03,816
It seems like that's
what I’ve just done for myself.
982
00:49:04,859 --> 00:49:07,445
So, you know,
there's hope out there.
983
00:49:07,570 --> 00:49:11,032
You just gotta work your balls off,
and it'll pay off.
984
00:49:11,157 --> 00:49:13,910
I believe it'll pay off.
I think it's gonna pay off.
985
00:49:14,035 --> 00:49:15,119
I hope it does,
986
00:49:15,244 --> 00:49:17,830
cos if I got this, and that catalogue
of 1,000 companies in there,
987
00:49:17,956 --> 00:49:19,832
and I can't make that work for me,
988
00:49:19,958 --> 00:49:21,918
then I don't belong
in this business.
989
00:49:26,756 --> 00:49:29,968
I’m a little on edge right now
for a few different reasons.
990
00:49:30,093 --> 00:49:31,636
I mean, this is the week
where I've been waiting
991
00:49:31,761 --> 00:49:33,054
for a lot of answers to come back
992
00:49:33,179 --> 00:49:35,974
on Mark of Kane and Lifechanger
and all this stuff.
993
00:49:36,099 --> 00:49:39,894
I’m gonna hear from MPI
today or tomorrow, apparently,
994
00:49:40,019 --> 00:49:42,021
about if they're coming on board
for Lifechanger,
995
00:49:42,146 --> 00:49:45,066
so that could be big news
or it could be bad news.
996
00:49:45,191 --> 00:49:48,861
Earlier today, I got a rejection or a pass,
you know, from MPI.
997
00:49:48,987 --> 00:49:50,321
They're passing on Lifechanger
998
00:49:50,446 --> 00:49:53,157
after evaluating the project
for about five weeks after Cannes,
999
00:49:53,282 --> 00:49:56,160
and then shortly after that,
like a couple hours later,
1000
00:49:56,285 --> 00:49:59,330
I got an email from the investors
that Avi and I met with two weeks ago
1001
00:49:59,455 --> 00:50:01,833
and we put Lifechanger to,
and it was another pass.
1002
00:50:02,500 --> 00:50:05,795
Constant rollercoaster, just ups and downs,
and ups and downs.
1003
00:50:05,920 --> 00:50:09,507
(Avi) 'They couldn't quite get
into the character, the way it was laid out.'
1004
00:50:09,632 --> 00:50:13,511
Phew! Every fucking bit of blood
from the stone, man,
1005
00:50:13,636 --> 00:50:15,179
every bit of blood from the stone.
1006
00:50:15,304 --> 00:50:17,849
When you're dealing
with a low-budget movie,
1007
00:50:17,974 --> 00:50:19,892
you have to be able
to roll with some punches.
1008
00:50:20,018 --> 00:50:21,769
(Serena) I think it would
be even better this year.
1009
00:50:21,894 --> 00:50:24,564
I think last year,
we were very new to the...
1010
00:50:24,689 --> 00:50:26,441
well, at least,
to the Frontières film market.
1011
00:50:26,566 --> 00:50:29,068
I know I was new
to the film market world.
1012
00:50:29,193 --> 00:50:30,862
It felt more like speed dating,
1013
00:50:30,987 --> 00:50:34,032
whereas now
you've already had that date,
1014
00:50:34,157 --> 00:50:37,326
and now you can actually make
good contacts
1015
00:50:37,452 --> 00:50:39,328
and be more confident
in the meetings.
1016
00:50:39,454 --> 00:50:43,499
We're still promoting Mark of Kane
quite intensely.
1017
00:50:44,584 --> 00:50:46,294
But I brought an entire slate,
1018
00:50:46,419 --> 00:50:48,713
so right now, what I’m doing
is putting together a slate document,
1019
00:50:48,838 --> 00:50:53,342
which is basically a small binder
of all of the projects and films
1020
00:50:53,468 --> 00:50:57,513
that I currently have in some stage
of, uh... development.
1021
00:50:57,638 --> 00:50:59,932
(Avi) We've got a lot of projects
in development. I mean, I think...
1022
00:51:00,058 --> 00:51:03,144
You know, the slate is so long,
we could actually...
1023
00:51:03,269 --> 00:51:07,356
If you strung it out, we'd probably reach
the Arctic Pole with it.
1024
00:51:07,482 --> 00:51:09,609
We'll see how it plays out.
We'll see...
1025
00:51:09,734 --> 00:51:11,736
We will see how our meetings go,
1026
00:51:11,861 --> 00:51:13,821
and hopefully,
we get some results out of them.
1027
00:51:14,363 --> 00:51:17,575
But long story short,
I’m trying to be as prepared as possible.
1028
00:51:18,201 --> 00:51:19,202
♪ Step up, step... ♪
1029
00:51:19,327 --> 00:51:20,870
(Justin) When you've been
to enough genre festivals,
1030
00:51:20,995 --> 00:51:24,082
you start to realize karaoke is kind of
a secret handshake with this crowd,
1031
00:51:24,207 --> 00:51:26,167
so you better work on your chops.
1032
00:51:26,292 --> 00:51:28,961
There is a certain subculture, strangely,
1033
00:51:29,087 --> 00:51:30,713
and I think it's accidental.
1034
00:51:30,838 --> 00:51:33,633
I mean, we started doing it in 2007,
1035
00:51:33,758 --> 00:51:39,305
and it just turned out that so many people
were closet karaoke fiends.
1036
00:51:39,430 --> 00:51:42,391
It's a fun time for people
to relax and unwind.
1037
00:51:42,517 --> 00:51:45,436
I think a lot of people
that are on the festival junket
1038
00:51:45,561 --> 00:51:48,481
have seen a lot of films,
maybe they're here more to socialize.
1039
00:51:48,606 --> 00:51:50,858
(Gigi) Maybe that's how
filmmakers really connect.
1040
00:51:50,983 --> 00:51:53,069
- You know, I thought it was just...
- With Josie Man?
1041
00:51:53,194 --> 00:51:56,072
I thought it was just with beer and drinks,
but Karaoke really...
1042
00:51:56,197 --> 00:51:58,199
(Shane) That's how writers connect.
1043
00:51:58,324 --> 00:52:03,579
(Gigi) Karaoke seems to be what brings
their true inner filmmaker out of people
1044
00:52:03,704 --> 00:52:06,290
and be like,
"I wanna see your films.
1045
00:52:06,415 --> 00:52:08,876
"You sing good.
You must make good films."
1046
00:52:09,001 --> 00:52:13,756
We did a couple of dozen meetings,
and it was all very promising.
1047
00:52:13,881 --> 00:52:18,177
Everybody we wanted to take meetings with
absolutely took the meeting.
1048
00:52:18,302 --> 00:52:20,721
Everyone's gonna look at our material.
We'll see what happens.
1049
00:52:20,847 --> 00:52:23,850
So, I just got the phone call from Avi,
and Telefilm called Avi,
1050
00:52:23,975 --> 00:52:27,019
so they've greenlit twelve films
in this latest round of applications
1051
00:52:27,145 --> 00:52:28,771
and Lifechanger
was not one of them.
1052
00:52:28,896 --> 00:52:30,523
I put a lot of work
into that application.
1053
00:52:30,648 --> 00:52:32,024
It's not happening with them,
1054
00:52:32,150 --> 00:52:35,361
so that means I’m probably
not shooting in November at all.
1055
00:52:35,486 --> 00:52:37,780
So, um... shit!
1056
00:52:37,905 --> 00:52:40,741
It's not that I was overly optimistic
that we were gonna get it,
1057
00:52:40,867 --> 00:52:42,535
because it was a long shot to begin with
1058
00:52:42,660 --> 00:52:46,330
being how weird and risky
and different the project is.
1059
00:52:46,998 --> 00:52:51,544
But once they called us in and had us
present them with additional materials
1060
00:52:51,669 --> 00:52:55,423
and told us, "If you did this,
we'll consider it more,"
1061
00:52:55,548 --> 00:52:57,216
definitely,
I started to get my hopes up,
1062
00:52:57,341 --> 00:52:59,260
because they were actually
taking it seriously.
1063
00:52:59,385 --> 00:53:00,928
Of course,
those hopes were dashed.
1064
00:53:01,053 --> 00:53:03,514
The big issue is that, um...
(Sniffles)
1065
00:53:03,639 --> 00:53:05,516
I’m just unsure of myself these days.
1066
00:53:05,641 --> 00:53:08,769
'I needed to clear my head,
so I decided to take a trip to Fantastic Fest.
1067
00:53:09,228 --> 00:53:10,646
'As far as genre festivals go,
1068
00:53:10,771 --> 00:53:12,315
'it's one of the top destinations
in North America,
1069
00:53:12,440 --> 00:53:14,901
'and having wanted to go
for over a decade at that point,
1070
00:53:15,026 --> 00:53:16,652
'I thought maybe
the trip would inspire me.'
1071
00:53:16,777 --> 00:53:18,946
(Cork pops, cheering)
1072
00:53:20,156 --> 00:53:22,825
'I flew home from that with a sole desire
to produce something of quality
1073
00:53:22,950 --> 00:53:24,160
'as soon as possible.'
1074
00:53:24,285 --> 00:53:25,661
I’m gonna drop a bunch of money
1075
00:53:25,786 --> 00:53:29,165
and make a short film
on November 21st and 22nd,
1076
00:53:29,290 --> 00:53:31,292
mostly cos I haven't been
behind a camera in a long time,
1077
00:53:31,417 --> 00:53:33,127
and I need to get the juices flowing,
1078
00:53:33,252 --> 00:53:36,005
but also because I feel like
we're going into these meetings
1079
00:53:36,130 --> 00:53:40,176
and we've got all this
very strong creative material,
1080
00:53:40,301 --> 00:53:42,178
but we don't have, like,
a combined proof of concept
1081
00:53:42,303 --> 00:53:44,931
that both Serena and I worked on
that says, "Here's what we can do."
1082
00:53:45,056 --> 00:53:48,726
Everybody, if you have the opportunity
to do it without breaking the bank,
1083
00:53:48,851 --> 00:53:51,437
shoot an actual couple minutes,
you know?
1084
00:53:51,562 --> 00:53:54,315
An original proof of concept that says,
"Here's what it is,"
1085
00:53:54,440 --> 00:53:56,192
cos you can then
sit down with these people
1086
00:53:56,317 --> 00:53:58,027
and they're still aware
of the obstacles and things,
1087
00:53:58,152 --> 00:54:00,905
But if you sit down and say,
"I wanna make this",
1088
00:54:01,030 --> 00:54:02,698
and you've actually got a piece of it,
1089
00:54:02,823 --> 00:54:05,701
and they can look at it and say,
1090
00:54:05,826 --> 00:54:07,787
"Well, that's kind of awesome.
How do we help?"
1091
00:54:07,912 --> 00:54:10,164
So, I’m gonna put in
not a ton of money,
1092
00:54:10,289 --> 00:54:12,917
I mean, like, five grand,
which is still a fair bit,
1093
00:54:13,042 --> 00:54:14,627
and make a ten-minute short.
1094
00:54:14,752 --> 00:54:18,506
You can leap and do a feature
straight away,
1095
00:54:18,631 --> 00:54:22,551
but obviously it's much better
to do a short first,
1096
00:54:22,677 --> 00:54:24,804
because one, it's cheaper,
1097
00:54:24,929 --> 00:54:27,348
it takes less time to do,
1098
00:54:27,473 --> 00:54:31,143
and it's a good way
to get a lot of learning
1099
00:54:31,269 --> 00:54:34,605
in terms of screenwriting,
in terms of Pre-production,
1100
00:54:34,730 --> 00:54:35,940
in terms of production,
1101
00:54:36,065 --> 00:54:38,567
but also learning
in terms of the film industry.
1102
00:54:38,693 --> 00:54:41,570
The reality is, most short film makers
are taking a loss
1103
00:54:41,696 --> 00:54:42,697
when they make a short film,
1104
00:54:42,822 --> 00:54:45,241
because they're investing
time and money on a project
1105
00:54:45,366 --> 00:54:48,035
that is not gonna see
any substantial box-office return.
1106
00:54:48,160 --> 00:54:49,996
The best thing to do
is to try and make something
1107
00:54:50,121 --> 00:54:51,914
that's a statement of yourself
as a filmmaker
1108
00:54:52,039 --> 00:54:55,376
that can get you the next project,
that can get you the paying... the paid gig.
1109
00:54:55,501 --> 00:54:59,422
Be it a music video, be it a feature film,
be it a commercial.
1110
00:54:59,547 --> 00:55:02,967
(Justin) 'I’ve been running a monthly short
film festival called "Little Terrors" since 2011,
1111
00:55:03,092 --> 00:55:05,970
'and one thing I’ve learned
from playing over 600 short films
1112
00:55:06,095 --> 00:55:09,682
'is they tend to be very wise first steps
toward getting feature films made.
1113
00:55:09,807 --> 00:55:12,268
'I’ve lost count of the number of people
who made notable feature films
1114
00:55:12,393 --> 00:55:14,437
'in the years following me
playing their shorts.'
1115
00:55:14,562 --> 00:55:16,022
If you can do it,
just do it, you know,
1116
00:55:16,147 --> 00:55:18,232
because even if you do something
over the weekend you know,
1117
00:55:18,357 --> 00:55:20,985
and you do it for no money,
and it's not gonna get you anywhere,
1118
00:55:21,110 --> 00:55:22,862
at least you have something
that people could look at
1119
00:55:22,987 --> 00:55:25,948
to say, "OK, I see the way this person works,
what their vision is."
1120
00:55:26,073 --> 00:55:28,909
(Kevin) If you've done stuff before
and you've finished projects,
1121
00:55:29,035 --> 00:55:32,455
if you've done projects, and you've actually
got them completed, and out there, and...
1122
00:55:32,580 --> 00:55:33,622
Yep.
1123
00:55:33,748 --> 00:55:36,459
...and you did it all on your own
or with no budget or no money,
1124
00:55:36,584 --> 00:55:39,420
then they go, like, "OK, if I give this guy
a budget and some money,
1125
00:55:39,545 --> 00:55:42,131
"like, he's gonna finish a product."
1126
00:55:42,256 --> 00:55:44,050
The most important thing about a short film
1127
00:55:44,175 --> 00:55:48,262
is that you're making it with the idea that
you're gonna use this as sort of a calling card
1128
00:55:48,387 --> 00:55:50,723
to steer you into making
your first feature,
1129
00:55:50,848 --> 00:55:52,058
and you can use those
1130
00:55:52,183 --> 00:55:54,643
and tell them when you're going
to apply for production money,
1131
00:55:54,769 --> 00:55:57,313
like, to see a sample
of your previous work.
1132
00:55:57,438 --> 00:55:59,315
So if you've done
two or three short films,
1133
00:55:59,440 --> 00:56:01,317
they're gonna ask
to see those short films
1134
00:56:01,442 --> 00:56:04,111
when you submit your application
for production financing,
1135
00:56:04,236 --> 00:56:06,739
so they can see,
do you have the chops
1136
00:56:06,864 --> 00:56:09,992
to direct actors
and make a good quality film.
1137
00:56:10,117 --> 00:56:12,828
- That should be a close-up, right?
- Of what?
1138
00:56:12,953 --> 00:56:15,456
Of when he...
when you see the aftermath of it.
1139
00:56:15,581 --> 00:56:17,416
Yeah. Yeah, well,
it'll probably be, like,
1140
00:56:17,541 --> 00:56:19,752
you wanna be able to see Steve, like,
move and the blood to spray,
1141
00:56:19,877 --> 00:56:21,879
- so it's gonna be, like, medium close-up.
- Medium close-up.
1142
00:56:22,004 --> 00:56:23,255
So he heads that way.
1143
00:56:23,381 --> 00:56:25,216
- And...
- The killer isn't there, is he?
1144
00:56:25,341 --> 00:56:26,592
No, the killer's in the bathroom,
this way.
1145
00:56:26,717 --> 00:56:28,511
- In the bathroom and comes suddenly.
- Yeah.
1146
00:56:28,636 --> 00:56:29,762
(Justin) It's been stressful.
1147
00:56:29,887 --> 00:56:32,223
This has been one of the more stressful
Pre-production processes I’ve done.
1148
00:56:32,348 --> 00:56:34,725
Because I’m putting in all that kind of money,
I’d rather not rush a product
1149
00:56:34,850 --> 00:56:36,227
and then just dump it online.
1150
00:56:36,352 --> 00:56:38,312
I think it's probably better
if we take the time,
1151
00:56:38,437 --> 00:56:40,815
make it the best short film it can be
in editing and post,
1152
00:56:40,940 --> 00:56:43,234
then release it
as a proper festival short,
1153
00:56:43,359 --> 00:56:46,112
get the proper festival
sort of traction,
1154
00:56:46,237 --> 00:56:48,989
and then release it online
down the road,
1155
00:56:49,115 --> 00:56:51,617
cos there's no point in just "blah"
and then it's out there.
1156
00:56:51,742 --> 00:56:54,120
So we're seeing him coming
from downstairs there.
1157
00:56:54,245 --> 00:56:56,080
(Man) Yeah.
We're gonna shoot that afterwards.
1158
00:56:56,205 --> 00:56:57,498
Ready for action?
1159
00:56:57,623 --> 00:56:59,125
- I’m ready for action.
- Action!
1160
00:56:59,250 --> 00:57:01,877
Get back! Get back!
1161
00:57:02,002 --> 00:57:04,839
- Get back, Jessica! Get back!
- (Grunting)
1162
00:57:04,964 --> 00:57:06,715
Jessica!
1163
00:57:07,675 --> 00:57:09,760
That's great.
It's enough. We'll cut it.
1164
00:57:09,885 --> 00:57:11,262
Now let it drop.
1165
00:57:12,096 --> 00:57:13,347
- (Grunting)
- (Justin) Oh, shit.
1166
00:57:13,472 --> 00:57:14,723
- Whoa!
- (Justin) Oh, dude, that's it.
1167
00:57:14,849 --> 00:57:17,101
- That was way too much.
- (Justin) Well, how did that happen?
1168
00:57:17,226 --> 00:57:19,395
- Holy shit.
- (Jovanka) You know, how gore gags are.
1169
00:57:19,520 --> 00:57:23,149
They always take longer than,
you know, anyone plans for them,
1170
00:57:23,274 --> 00:57:25,192
but that's why you have
to be patient with them.
1171
00:57:25,317 --> 00:57:27,903
(Mick) You have to budget
enough time to do it right.
1172
00:57:28,028 --> 00:57:30,656
If you're doing a decapitation
or something,
1173
00:57:30,781 --> 00:57:32,908
you know,
some sort of body horror thing,
1174
00:57:33,033 --> 00:57:34,243
it's gonna go wrong.
1175
00:57:34,910 --> 00:57:36,745
Chances are nine out of ten
1176
00:57:36,871 --> 00:57:39,165
that you're going to need to do it
more than once.
1177
00:57:39,290 --> 00:57:41,208
(Steve) All everybody talks about
are practical effects.
1178
00:57:41,333 --> 00:57:44,253
"We gotta have, like,
a creature or a gag in our movie."
1179
00:57:44,378 --> 00:57:47,423
And then they expect you to show up,
1180
00:57:47,548 --> 00:57:50,009
and basically, like, walk on,
the thing happens,
1181
00:57:50,134 --> 00:57:53,512
like you come out like a magician
like, "Oh, look at this cool thing. Bye."
1182
00:57:53,637 --> 00:57:55,681
And you walk off
and everything's perfect.
1183
00:57:55,806 --> 00:57:58,267
But the problem with practical effects
that people don't realize,
1184
00:57:58,392 --> 00:58:01,479
is that, like,
they don't work 90% of the time.
1185
00:58:02,104 --> 00:58:04,607
(Paul Jones) A camera
has been prototyped and tested and worked,
1186
00:58:04,732 --> 00:58:06,233
and everything's fantastic.
1187
00:58:06,358 --> 00:58:08,777
You plug it in, you switch it on,
you move the lights around.
1188
00:58:08,903 --> 00:58:10,404
It's gonna work every single time.
1189
00:58:10,529 --> 00:58:14,200
The severed hand gag
or the disemboweling gag
1190
00:58:14,325 --> 00:58:18,037
that's been created for your movie
was built once,
1191
00:58:18,162 --> 00:58:20,164
hasn't really been tested that well,
1192
00:58:20,289 --> 00:58:22,958
and God knows
what it's gonna do on camera.
1193
00:58:23,083 --> 00:58:26,128
So, the best advice
I can give to anybody starting...
1194
00:58:26,253 --> 00:58:29,173
like, who wants to incorporate
prosthetics into their production
1195
00:58:29,298 --> 00:58:32,259
is A, insist on camera tests,
1196
00:58:32,384 --> 00:58:36,055
like, have somebody film it working
before they bring it to set.
1197
00:58:36,180 --> 00:58:39,016
Be careful that you have
a good stunt coordinator.
1198
00:58:39,141 --> 00:58:42,520
The thing about stunts is,
you can get hurt.
1199
00:58:42,645 --> 00:58:45,356
One of my, like, tricks
that I at least try
1200
00:58:45,481 --> 00:58:47,483
is to have a second unit that I trust
1201
00:58:47,608 --> 00:58:50,069
that takes care of
special make-up effects,
1202
00:58:50,194 --> 00:58:51,820
takes care of stunts,
1203
00:58:51,946 --> 00:58:55,324
takes care of any sort of
practical special effects
1204
00:58:55,449 --> 00:58:58,702
just cos it's, uh... you know,
my AD calls it a "time vampire".
1205
00:58:58,827 --> 00:59:00,204
These things are time vampires
1206
00:59:00,329 --> 00:59:03,165
and time is the most precious
commodity that we have.
1207
00:59:03,290 --> 00:59:05,709
(Paul Jones) John Landis once said to me,
he said, you know,
1208
00:59:05,834 --> 00:59:08,754
"A director's job is to listen
to everybody's opinion
1209
00:59:08,879 --> 00:59:10,631
"and then make yours."
1210
00:59:10,756 --> 00:59:13,842
So, if you're gonna hire
any prosthetics guy,
1211
00:59:13,968 --> 00:59:16,554
make sure... especially somebody
more experienced like myself,
1212
00:59:16,679 --> 00:59:17,846
listen to what they have to say.
1213
00:59:17,972 --> 00:59:20,599
Don't come in with,
"Well, I need this from you and that's it."
1214
00:59:20,724 --> 00:59:23,185
I think the consideration
is largely overlooked,
1215
00:59:23,310 --> 00:59:26,480
because if you're sitting in a trailer,
you're doing a make-up on somebody,
1216
00:59:26,605 --> 00:59:29,942
and an AD or an assistant comes in...
1217
00:59:30,067 --> 00:59:31,652
"How long is it gonna take?"
1218
00:59:31,777 --> 00:59:33,445
You say, "Half an hour",
1219
00:59:33,571 --> 00:59:35,573
and then they come in
five minutes later, "How..."
1220
00:59:35,698 --> 00:59:38,242
"I told you, you know, half an hour.
It's gonna take a h..."
1221
00:59:38,367 --> 00:59:41,328
And they keep coming in,
trying to get you to the set.
1222
00:59:41,453 --> 00:59:45,416
So, if you hire me two days
before you start shooting,
1223
00:59:45,541 --> 00:59:48,669
I only get 48 hours
to build something.
1224
00:59:48,794 --> 00:59:50,713
I know it seems obvious,
1225
00:59:50,838 --> 00:59:55,092
but I’m finding with more and more projects,
regardless of the budget,
1226
00:59:55,217 --> 01:00:00,472
that the preparation part is being cut
shorter and shorter and shorter.
1227
01:00:00,598 --> 01:00:02,516
- (Justin) Are we ready?
- (Man) OK, you ready, Justin?
1228
01:00:02,641 --> 01:00:04,852
(Justin) I’m ready, I’m here.
Action!
1229
01:00:04,977 --> 01:00:06,687
(Screaming)
1230
01:00:09,315 --> 01:00:10,899
- (Justin) Oh!
- (Woman giggling)
1231
01:00:11,025 --> 01:00:13,485
(Justin) We finished
the sound mix and the final mix
1232
01:00:13,611 --> 01:00:16,113
on Do You See What I See?,
our short film,
1233
01:00:16,238 --> 01:00:18,198
Serena and my short film,
yesterday.
1234
01:00:18,324 --> 01:00:22,077
So now, what we're doing is,
we're emailing it as a Christmas card
1235
01:00:22,202 --> 01:00:26,665
to every single producer,
agent, studio person,
1236
01:00:26,790 --> 01:00:30,711
festival person, financer, etc.
that we met in the last two years.
1237
01:00:30,836 --> 01:00:33,922
It's really just a proof of concept
for us as a team
1238
01:00:34,048 --> 01:00:37,217
and just a way for people to see
that we're not just talkers,
1239
01:00:37,343 --> 01:00:39,887
we're not just there taking meetings,
we're actually making things.
1240
01:00:40,012 --> 01:00:42,222
Filmmakers today
really have to do the hustle.
1241
01:00:42,348 --> 01:00:45,392
They have to get out there,
they gotta pound the pavement,
1242
01:00:45,517 --> 01:00:48,896
they gotta hit the internet,
they have to really canvas the markets,
1243
01:00:49,021 --> 01:00:51,273
and get to know
the festival programmers.
1244
01:00:51,398 --> 01:00:55,110
It's so key, because there's
such a glut of product out there now.
1245
01:00:55,235 --> 01:00:59,073
It's tough to get noticed,
so you really have to put a lot of effort into it.
1246
01:00:59,198 --> 01:01:02,785
(Dean Cundey) There was
quite a bit of hustle on my first films,
1247
01:01:02,910 --> 01:01:05,954
because, you know,
you need to make yourself desirable.
1248
01:01:06,080 --> 01:01:09,917
But one of the things
I always tried to do was,
1249
01:01:10,042 --> 01:01:11,877
on those low budget films,
1250
01:01:12,002 --> 01:01:14,546
give them quality
whether they wanted it or not,
1251
01:01:14,672 --> 01:01:19,551
providing the producer, whoever,
with a quality product,
1252
01:01:19,677 --> 01:01:23,681
something that, you know,
fulfills their expectations or exceeds them.
1253
01:01:23,806 --> 01:01:25,891
(Justin) So how does it feel
to have a finished short film?
1254
01:01:26,016 --> 01:01:29,937
Good. Well, I’ll feel better
once we know the reactions to it.
1255
01:01:30,062 --> 01:01:31,522
Um... but I feel good.
1256
01:01:31,647 --> 01:01:34,566
I’m realizing that, you know,
2015 was a really banner year
1257
01:01:34,692 --> 01:01:36,193
in terms of making things happen
1258
01:01:36,318 --> 01:01:40,072
and, you know, traveling to a lot of
these markets and festivals for the first time.
1259
01:01:40,197 --> 01:01:42,324
I have a really good feeling
about 2016.
1260
01:01:43,409 --> 01:01:46,829
I took an arrow to the head from a guy
standing like five feet away from me
1261
01:01:46,954 --> 01:01:49,373
and it wasn't the arrow that hurt me,
but it hit the mask
1262
01:01:49,498 --> 01:01:51,500
and then drove the mask into my forehead,
so I have a gash.
1263
01:01:52,209 --> 01:01:53,836
This is Freddy.
How's it going?
1264
01:01:53,961 --> 01:01:56,338
I adopted this guy.
Hey, buddy.
1265
01:01:58,841 --> 01:02:01,260
We're here for the world premiere
of Do You See What I See?,
1266
01:02:01,385 --> 01:02:03,262
the short film we shot
just before Christmas.
1267
01:02:03,387 --> 01:02:06,098
- So you're nervous?
- A little bit.
1268
01:02:07,057 --> 01:02:09,810
But, you know, it's a short,
so we'll see. We'll see.
1269
01:02:09,935 --> 01:02:11,395
I don't think anyone's gonna boo.
1270
01:02:11,520 --> 01:02:13,605
(Host) Justin and Serena,
1271
01:02:13,731 --> 01:02:19,737
was the idea initially to subvert
and make a mess of a Christmas movie?
1272
01:02:19,862 --> 01:02:21,655
I don't think the Christmas thing
came up first.
1273
01:02:21,780 --> 01:02:25,200
(Graham) There's nothing like
sitting in an audience with people,
1274
01:02:25,325 --> 01:02:28,120
and hearing the sound
booming around you,
1275
01:02:28,245 --> 01:02:32,916
and seeing this beautiful image
up on the screen
1276
01:02:33,041 --> 01:02:34,960
looking the way
that you intended it to look.
1277
01:02:35,085 --> 01:02:38,797
Young emerging filmmakers
should see their films with an audience
1278
01:02:38,922 --> 01:02:40,466
and see how the audience is reacting.
1279
01:02:40,591 --> 01:02:43,552
You know,
flaws become really apparent
1280
01:02:43,677 --> 01:02:45,137
when you're seeing them
with a crowd.
1281
01:02:45,262 --> 01:02:47,848
I think when you're looking at it
on a monitor and you're with it,
1282
01:02:47,973 --> 01:02:50,559
you're too close to it,
you can't see them,
1283
01:02:50,684 --> 01:02:52,936
but when jokes aren't working
1284
01:02:53,061 --> 01:02:55,355
or if tension doesn't build right
or if it's too slow,
1285
01:02:55,481 --> 01:02:58,692
you'll see that, because people aren't reacting
like you think they should.
1286
01:02:58,817 --> 01:03:03,572
I did feel the premiere was frustrating,
and I was pissed off that it...
1287
01:03:03,697 --> 01:03:06,200
The short had a lesser impact
than I was hoping it would
1288
01:03:06,325 --> 01:03:09,203
because of the tech issues.
1289
01:03:09,328 --> 01:03:11,455
And there is other stuff, too.
I mean, I know some people...
1290
01:03:11,580 --> 01:03:13,832
Some people don't get
the ending that clearly.
1291
01:03:14,416 --> 01:03:17,169
They see it as a They Live thing
and that the people at the party are demons,
1292
01:03:17,294 --> 01:03:18,295
as opposed to the opposite.
1293
01:03:18,420 --> 01:03:20,214
It's an augmented reality game
1294
01:03:20,339 --> 01:03:24,551
where the game replaces living people
as visual representations of demons
1295
01:03:24,676 --> 01:03:26,136
to make it easier to kill them.
1296
01:03:26,261 --> 01:03:27,846
You're not gonna sell your short.
1297
01:03:27,971 --> 01:03:33,602
I mean you may,
but don't plan this.
1298
01:03:33,727 --> 01:03:37,397
But if it's good,
it's gonna do the festival circuit.
1299
01:03:37,523 --> 01:03:40,442
If it does the festival circuit,
then it gives you an opportunity
1300
01:03:40,567 --> 01:03:44,571
to travel through the festival circuit,
to meet festival programmers,
1301
01:03:44,696 --> 01:03:46,448
to make friends around,
1302
01:03:46,573 --> 01:03:49,243
to build that community
that you're really gonna need
1303
01:03:49,368 --> 01:03:51,662
when you do your feature film.
1304
01:03:51,787 --> 01:03:54,540
Film festivals are hugely important
to filmmakers,
1305
01:03:54,665 --> 01:03:57,835
mainly because it's a chance
to develop the audience,
1306
01:03:57,960 --> 01:04:02,464
it lets distributors and salespeople know
that there is an audience for your film,
1307
01:04:02,589 --> 01:04:05,843
and it's basically a way of getting publicity
and interest in your film,
1308
01:04:05,968 --> 01:04:09,388
it is another way
for an independent filmmaker
1309
01:04:09,513 --> 01:04:12,182
to have that sort of audience building
1310
01:04:12,307 --> 01:04:14,476
and just to see whether
your film's actually working.
1311
01:04:14,601 --> 01:04:17,896
You have to kinda
get the lay of the land
1312
01:04:18,021 --> 01:04:21,692
and kinda figure out, well,
what film festivals are valuable for what it is...
1313
01:04:21,817 --> 01:04:24,319
what film you're doing,
and what it is you want your film to do.
1314
01:04:24,444 --> 01:04:25,737
If you wanna sell your film,
1315
01:04:25,863 --> 01:04:28,240
then there are certain film festivals
you should be pursuing.
1316
01:04:28,365 --> 01:04:31,368
If you want to get critical acclaim,
there's other film festivals.
1317
01:04:31,493 --> 01:04:35,581
If you wanna just have a good time
and meet people and, you know, party,
1318
01:04:35,706 --> 01:04:37,416
then there's another set of film festivals.
1319
01:04:37,541 --> 01:04:39,418
(Carolyn) You shouldn't just
cast a wide net.
1320
01:04:39,543 --> 01:04:41,461
just kind of focus on film festivals
1321
01:04:41,587 --> 01:04:45,299
and make sure you read
the film festival mandate,
1322
01:04:45,424 --> 01:04:48,760
because that will tell you
what the film festival's looking for.
1323
01:04:48,886 --> 01:04:52,222
A film festival, the buzz
that comes out of it is, well, free for one.
1324
01:04:52,347 --> 01:04:54,558
It's free publicity.
How else are you gonna do that?
1325
01:04:54,683 --> 01:04:56,268
Build buzz on a bad movie,
1326
01:04:56,393 --> 01:04:58,604
like, without film festivals,
what are you gonna do?
1327
01:04:58,729 --> 01:05:00,063
So, um...
1328
01:05:00,188 --> 01:05:02,190
Yeah, I mean film festivals,
you have to...
1329
01:05:02,316 --> 01:05:04,943
It's absolutely critical
if your movie's good.
1330
01:05:05,068 --> 01:05:06,862
All I can say is,
continue to make films.
1331
01:05:06,987 --> 01:05:11,408
I mean, there's one producer
that I've been dealing with for ten years.
1332
01:05:11,533 --> 01:05:13,785
He's been submitting films
for ten years,
1333
01:05:13,911 --> 01:05:18,665
and finally in 2013,
he had a film that worked,
1334
01:05:18,790 --> 01:05:20,042
and I selected it.
1335
01:05:20,167 --> 01:05:23,837
And it was great.
Like, it was a great feeling
1336
01:05:23,962 --> 01:05:25,964
and I’m so glad
that he kept on persevering.
1337
01:05:26,089 --> 01:05:27,966
I mean, his films went
and played other festivals,
1338
01:05:28,091 --> 01:05:32,179
but people thinking that
TIFF or Cannes or Sundance
1339
01:05:32,304 --> 01:05:35,641
is the be-all and end-all,
that's the wrong way to do it.
1340
01:05:35,766 --> 01:05:36,892
You know, more and more now,
1341
01:05:37,017 --> 01:05:40,020
I’m seeing these situations
where a film will get one festival date.
1342
01:05:40,145 --> 01:05:43,607
Then, a day or two later,
you hear an acquisition announcement,
1343
01:05:43,732 --> 01:05:45,150
which is always exciting,
1344
01:05:45,275 --> 01:05:47,319
and then, two days after that,
you see a VOD date,
1345
01:05:47,444 --> 01:05:50,113
and it's like, "Whoa!
You've just strangled it in the womb."
1346
01:05:50,238 --> 01:05:51,740
Like, "Why in the world?"
1347
01:05:51,865 --> 01:05:54,284
You know, there is so many titles
that are being made now
1348
01:05:54,409 --> 01:05:56,828
and they're being rushed to marketplace
quicker and quicker.
1349
01:05:56,954 --> 01:05:58,664
(Exhales)
1350
01:05:58,789 --> 01:06:01,750
I still...
I don't feel artistically fulfilled.
1351
01:06:01,875 --> 01:06:04,002
Every step of the career so far
1352
01:06:04,127 --> 01:06:06,338
has been planting seeds
and hoping they bear fruit,
1353
01:06:06,463 --> 01:06:09,633
and sometimes they do,
and sometimes they...
1354
01:06:09,758 --> 01:06:11,385
I don't even know.
1355
01:06:11,510 --> 01:06:14,096
I don't know what the
root structure looks like yet.
1356
01:06:14,221 --> 01:06:16,014
I just haven't seen the fruit there.
1357
01:06:16,139 --> 01:06:17,808
Alright.
OK, talk to you later.
1358
01:06:17,933 --> 01:06:19,309
Bye.
1359
01:06:21,478 --> 01:06:22,980
(Exhales)
1360
01:06:23,105 --> 01:06:26,191
We... looks like we have
a green light for Lifechanger.
1361
01:06:26,316 --> 01:06:27,442
These investors out west.
1362
01:06:27,567 --> 01:06:29,194
I have to now call Raven Banner
1363
01:06:29,319 --> 01:06:32,572
and make sure they'll take the presale deal
for it to offer international rights
1364
01:06:32,698 --> 01:06:34,324
like they agreed to before,
1365
01:06:34,449 --> 01:06:37,452
but if they take the deal,
according to the terms the investors want,
1366
01:06:37,577 --> 01:06:38,704
we have a film.
1367
01:06:38,829 --> 01:06:43,834
I’m now looking at the final co-producer
agreement for Lifechanger.
1368
01:06:43,959 --> 01:06:47,295
It looks like at this point set...
1369
01:06:47,421 --> 01:06:50,048
you know,
if the other producers are legit
1370
01:06:50,173 --> 01:06:54,511
and the money is actually there,
which they say it is, Lifechanger 's a go.
1371
01:06:54,636 --> 01:06:57,014
'At that point, if Lifechanger
was going to camera that year,
1372
01:06:57,139 --> 01:06:58,390
'it wouldn't be for many months.
1373
01:06:58,515 --> 01:07:01,977
'So I planned and shot micro-budget,
single-take-style film called Red Mile,
1374
01:07:02,102 --> 01:07:03,812
'in order to have something new
to put into the market
1375
01:07:03,937 --> 01:07:04,938
'and build the track record further.'
1376
01:07:05,063 --> 01:07:07,315
(Tom Holland) If there's
a mistake to be made, I’ve made it.
1377
01:07:07,441 --> 01:07:09,484
You have to keep
producing constantly.
1378
01:07:09,609 --> 01:07:11,236
You know, get out
your four-minute shorts,
1379
01:07:11,361 --> 01:07:14,740
get out your two-minute you know...
you know, blackout curtain things.
1380
01:07:14,865 --> 01:07:20,829
You see, you cannot...
you cannot ever stop.
1381
01:07:20,954 --> 01:07:23,707
So, this is the best advice really
for a young filmmaker.
1382
01:07:23,832 --> 01:07:26,626
Look around you.
You are a storyteller.
1383
01:07:26,752 --> 01:07:29,254
Write a story
that you can make a movie
1384
01:07:29,379 --> 01:07:31,381
with the means
which are around you,
1385
01:07:31,506 --> 01:07:33,008
and just go ahead and make it.
1386
01:07:33,133 --> 01:07:35,635
And even if the first one
is not the biggest success,
1387
01:07:35,761 --> 01:07:36,970
go and make the next one.
1388
01:07:37,095 --> 01:07:40,015
(Frank) I’m very happy working
with as few people as possible.
1389
01:07:40,140 --> 01:07:44,603
I really enjoy it. I mean,
when I'm shooting something on the streets,
1390
01:07:44,728 --> 01:07:47,189
I never have permission,
and that's fine,
1391
01:07:47,314 --> 01:07:48,565
because nobody pays attention to it.
1392
01:07:48,690 --> 01:07:50,525
They assume it's a news crew
or something.
1393
01:07:50,650 --> 01:07:54,404
So, nobody gives me
any interference whatsoever.
1394
01:07:54,529 --> 01:07:55,864
It's what I prefer.
1395
01:07:56,865 --> 01:07:58,784
So, I’ve got a really busy few days
ahead of me
1396
01:07:58,909 --> 01:08:03,080
if I wanna have a cut of Red Mile
ready to view as a screener for Cannes.
1397
01:08:03,205 --> 01:08:04,790
It's not gonna be a finished version
of the movie.
1398
01:08:04,915 --> 01:08:08,001
I love the editing.
Editing is similar to writing.
1399
01:08:08,126 --> 01:08:12,422
When you're editing,
you're really rewriting the picture visually,
1400
01:08:12,547 --> 01:08:13,632
and tightening,
1401
01:08:13,757 --> 01:08:16,259
and suddenly you realize
you don't need this scene
1402
01:08:16,384 --> 01:08:18,470
or the material in this scene
is repetitive.
1403
01:08:18,595 --> 01:08:22,057
(Mick) Knowing how to edit, you know,
and to be concise,
1404
01:08:22,182 --> 01:08:24,726
because there is a sure sign
of amateurism
1405
01:08:24,851 --> 01:08:26,436
when you're masturbating
with a camera.
1406
01:08:26,561 --> 01:08:30,857
To feel that every moment
of your grand epic is worth capturing
1407
01:08:30,982 --> 01:08:32,692
and feeling the pain.
1408
01:08:32,818 --> 01:08:35,612
You have to be ruthless
when you're finally making your film.
1409
01:08:35,737 --> 01:08:40,534
I’d rather see a great, brisk 80-minute movie
that covers all the bases
1410
01:08:40,659 --> 01:08:42,744
than 120 minutes of navel-gazing.
1411
01:08:42,869 --> 01:08:46,164
(Justin) I showed the film last night to the
cast and crew, and they all seem to love it.
1412
01:08:46,289 --> 01:08:49,251
I know that a lot more work
needs to be done on post.
1413
01:08:49,376 --> 01:08:51,253
I’m still gonna bring
this version to Cannes
1414
01:08:51,378 --> 01:08:54,256
and try and get early talks going.
1415
01:08:54,381 --> 01:08:55,924
I leave for Cannes tomorrow.
1416
01:08:56,049 --> 01:08:59,010
I’m still a little nervous
about the heightened police state
1417
01:08:59,136 --> 01:09:03,265
that Cannes is gonna be under
and the threats
1418
01:09:03,390 --> 01:09:07,686
that, you know, beaches in Europe
are under right now, but... (Exhales)
1419
01:09:07,811 --> 01:09:11,523
If something like that happens
and I am taken out of this world,
1420
01:09:11,648 --> 01:09:13,817
I feel like I've still lived
as a good human.
1421
01:09:13,942 --> 01:09:15,819
This time last year,
I sat on this exact balcony
1422
01:09:15,944 --> 01:09:18,280
and I did a self-interview.
1423
01:09:19,030 --> 01:09:22,284
But I remember talking and saying that
I felt like I was finally ready for this business.
1424
01:09:22,409 --> 01:09:25,662
I see a change coming,
and I hope it's a big one.
1425
01:09:25,787 --> 01:09:28,456
I hope that all the work
and all the groundwork and everything,
1426
01:09:28,582 --> 01:09:31,209
all the effort that has been put in
over the years pays off.
1427
01:09:31,334 --> 01:09:33,670
The good news is that it looks like
Lifechanger 's greenlit.
1428
01:09:33,795 --> 01:09:36,965
I just have to... it has to be
the best it can possibly be,
1429
01:09:37,090 --> 01:09:39,551
cos that's what's gonna elevate me
to that next step,
1430
01:09:39,676 --> 01:09:43,305
is making a quality film
that people enjoy,
1431
01:09:43,430 --> 01:09:46,766
and putting enough thought into it,
and time and effort to do it right.
1432
01:09:46,892 --> 01:09:50,187
We actually struck out twice.
1433
01:09:50,312 --> 01:09:53,815
Once with the traditional funding
and then once with the private funding.
1434
01:09:53,940 --> 01:09:56,443
It's a few hours after I got the emaiI
1435
01:09:56,568 --> 01:09:58,945
that the investors were
pulling out of Lifechanger.
1436
01:09:59,070 --> 01:10:00,530
This was gonna be my first movie
1437
01:10:00,655 --> 01:10:03,825
where somebody actually
invested in me and my work,
1438
01:10:03,950 --> 01:10:07,454
where, you know,
aside from my parents or myself.
1439
01:10:07,579 --> 01:10:09,581
Still hasn't happened. (Sighs)
1440
01:10:10,665 --> 01:10:12,667
I don't know what that means.
(Sniffles)
1441
01:10:13,376 --> 01:10:15,420
I know the business is tough,
but it isn't that tough.
1442
01:10:15,545 --> 01:10:17,797
There's shit being made
all the time, so am I shit?
1443
01:10:17,923 --> 01:10:19,633
ls the stuff I do shit,
or is it just...
1444
01:10:20,175 --> 01:10:23,303
Yeah, it's a ladder
and a rung just broke.
1445
01:10:24,554 --> 01:10:26,890
'As much as the business
feels difficult for me to navigate,
1446
01:10:27,015 --> 01:10:30,018
'I’ll fully admit, I have no idea
how difficult it must be
1447
01:10:30,143 --> 01:10:33,188
'for people who are even more
marginalized than myself to break in.
1448
01:10:33,313 --> 01:10:35,815
'Even coming from nowhere
and working my way in bit by bit,
1449
01:10:35,941 --> 01:10:38,401
'I’m still a white male in a business
dominated by the same
1450
01:10:38,526 --> 01:10:41,154
'and I’m not facing the same
systemic bias that others are.'
1451
01:10:41,279 --> 01:10:43,740
The toughest job right now
for women in the industry
1452
01:10:43,865 --> 01:10:45,450
is being a director,
1453
01:10:45,575 --> 01:10:49,913
because a woman's vision
is not the same as a man's vision,
1454
01:10:50,038 --> 01:10:52,707
and we need to work
so much harder
1455
01:10:52,832 --> 01:10:56,711
to convince buyers and distributors
that it's worth it.
1456
01:10:56,836 --> 01:10:59,673
Lloyd Kaufman recently
called it the "blood ceiling"
1457
01:10:59,798 --> 01:11:01,383
in the horror genre, you know.
1458
01:11:01,508 --> 01:11:05,095
He actually said it was despicable
how few opportunities there are for women.
1459
01:11:05,220 --> 01:11:08,556
The stories are just...
you wanna scream.
1460
01:11:08,682 --> 01:11:11,685
I have to prove myself lot harder.
1461
01:11:11,810 --> 01:11:13,270
I’m also very bubbly,
1462
01:11:13,395 --> 01:11:15,855
and so at times, like,
"You make horror films?
1463
01:11:15,981 --> 01:11:17,899
"You sure? You're wearing pink
right now", you know?
1464
01:11:18,024 --> 01:11:21,861
It's like, you don't get...
I’m not taken seriously right away.
1465
01:11:21,987 --> 01:11:26,241
Part of what makes the world and narrative
and the stories that we tell
1466
01:11:26,366 --> 01:11:28,493
is that we have the voice
of everyone,
1467
01:11:28,618 --> 01:11:33,290
that we have the voices
of men, and female, transgender,
1468
01:11:33,415 --> 01:11:35,250
all races, all colors.
1469
01:11:35,375 --> 01:11:37,585
That's why I have
a very interest as a producer
1470
01:11:37,711 --> 01:11:40,130
to do cross-cultural projects,
1471
01:11:40,255 --> 01:11:45,093
because, again, looking at the specifics
of cultures that are not necessarily mine,
1472
01:11:45,218 --> 01:11:48,388
there is a universal quality
that brings us all together.
1473
01:11:48,513 --> 01:11:50,598
(Jovanka) Look at the average
film-goers, you know,
1474
01:11:50,724 --> 01:11:52,434
more than half of them are women.
1475
01:11:52,559 --> 01:11:55,186
We know this is a fact,
we know this to be true,
1476
01:11:55,312 --> 01:11:59,316
and yet, the numbers
are staggeringly low.
1477
01:11:59,441 --> 01:12:02,235
The numbers of women
directing films, producing films
1478
01:12:02,360 --> 01:12:03,653
are staggeringly low.
1479
01:12:03,778 --> 01:12:07,407
(Carolyn) I don't think powers that be
have a lot of faith still
1480
01:12:07,532 --> 01:12:12,495
in having marginalized people
starring in their own film.
1481
01:12:12,620 --> 01:12:14,831
And I don't know what that is,
because you know,
1482
01:12:14,956 --> 01:12:17,959
I mean, everybody knows Jordan Peele
sold millions of dollars,
1483
01:12:18,084 --> 01:12:21,671
and broke records, and Black Panther,
and the whole nine yards.
1484
01:12:21,796 --> 01:12:26,843
So, that still hasn't really,
I feel like, settled in.
1485
01:12:26,968 --> 01:12:28,803
(Olivia) I can point the finger
as much as I want,
1486
01:12:28,928 --> 01:12:31,056
but how can I take
responsibility for my career.
1487
01:12:31,181 --> 01:12:33,516
And if you're not doing the work
and you have nothing to show,
1488
01:12:33,641 --> 01:12:35,727
- then...
- You're part of the problem.
1489
01:12:35,852 --> 01:12:37,812
You're part of the problem. So...
1490
01:12:37,937 --> 01:12:40,440
Like, my whole mentality now,
it's just like,
1491
01:12:40,565 --> 01:12:43,318
"OK, then I’m gonna write something
that no one can refuse."
1492
01:12:43,443 --> 01:12:45,695
People say you can't tell new stories.
1493
01:12:45,820 --> 01:12:47,489
I don't think that's entirely true,
1494
01:12:47,614 --> 01:12:49,449
because I think there's
a lot of stories out there
1495
01:12:49,574 --> 01:12:53,661
that haven't had the voice
in the past.
1496
01:12:53,787 --> 01:12:57,665
So, it's exciting that we're starting
to get to see those stories.
1497
01:12:58,625 --> 01:12:59,876
(Justin) 'With Lifechanger
stalled again,
1498
01:13:00,001 --> 01:13:02,712
'I at least had the festivals
and the release of Red Mile to focus on.
1499
01:13:02,837 --> 01:13:04,923
'We premiered in December
at the Whistler Film Festival,
1500
01:13:05,048 --> 01:13:06,633
'and I managed to secure distribution,
1501
01:13:06,758 --> 01:13:09,135
'which influenced the title change
to Broken Mile.
1502
01:13:09,260 --> 01:13:11,930
'We played another sizable fest in Toronto,
and a couple in the US,
1503
01:13:12,055 --> 01:13:15,642
'and the film was released in early summer
2017 in a rather limited capacity,
1504
01:13:16,142 --> 01:13:18,520
'which is to be expected
for a micro-budget film like this.
1505
01:13:18,978 --> 01:13:22,107
'The reviews were mixed but skewed positive,
and the film did alright,
1506
01:13:22,232 --> 01:13:24,442
'but didn't exactly set the world on fire.
1507
01:13:24,567 --> 01:13:26,903
'Like before, I kept focusing
on what was coming next,
1508
01:13:27,028 --> 01:13:28,696
'the next rung on the ladder.
1509
01:13:28,822 --> 01:13:30,740
'In addition
to the constant client work,
1510
01:13:30,865 --> 01:13:33,910
'I keep filling my days with little and big steps
forward in developing my slate,
1511
01:13:34,035 --> 01:13:35,829
'three projects in particular,
Mark of Kane,
1512
01:13:35,954 --> 01:13:38,456
'the feature-length version of our short
Do You See What I See?
1513
01:13:38,581 --> 01:13:40,750
'and of course Lifechanger
are the current priority.
1514
01:13:40,875 --> 01:13:42,627
'Between all the meetings, markets,
1515
01:13:42,752 --> 01:13:44,754
'conference calls, email chains,
and rewrites,
1516
01:13:44,879 --> 01:13:47,841
'they're all proving development
is more of a marathon than a sprint.
1517
01:13:47,966 --> 01:13:52,011
'Time keeps passing and hope keeps
going up and down like a roller coaster.'
1518
01:13:52,137 --> 01:13:53,179
(Serena) Oh, no.
1519
01:13:53,304 --> 01:13:54,681
(Laughing)
1520
01:13:54,806 --> 01:13:57,517
What I’ve learned so far,
in the past couple of years
1521
01:13:57,642 --> 01:13:59,853
of trying to get this picture
off the ground
1522
01:13:59,978 --> 01:14:02,272
is that you really need people
to believe in your project.
1523
01:14:02,397 --> 01:14:07,152
You can't really take everything you hear
from people that can help you seriously
1524
01:14:07,277 --> 01:14:10,488
until the contracts are signed
or deals are made.
1525
01:14:10,613 --> 01:14:14,492
I’m hoping this year is a year that we
at least know that it's going somewhere,
1526
01:14:14,617 --> 01:14:16,870
it's gonna be in Pre-production
by the end of the year.
1527
01:14:16,995 --> 01:14:18,288
I have a good feeling about that.
1528
01:14:18,413 --> 01:14:22,584
I met Justin a few years ago at Cannes,
and he told me about the project.
1529
01:14:22,709 --> 01:14:25,795
I was really excited
to have a read of the novel,
1530
01:14:25,920 --> 01:14:27,338
and then after doing that,
1531
01:14:27,464 --> 01:14:30,467
it was a case of just seeing
what we could put together
1532
01:14:30,592 --> 01:14:32,218
to be able to finance it
and make it happen.
1533
01:14:32,343 --> 01:14:34,512
At this point, we've built up
a really solid project.
1534
01:14:34,637 --> 01:14:37,432
We've got Serhat
who's a fantastic director on board,
1535
01:14:37,557 --> 01:14:39,267
we've got several major investors,
1536
01:14:39,392 --> 01:14:41,853
and we're just waiting
on the final piece to kind of kick in
1537
01:14:41,978 --> 01:14:43,771
to cover our post-production.
1538
01:14:43,897 --> 01:14:46,733
Fingers crossed, we should be shooting
within the next 12 months.
1539
01:14:47,650 --> 01:14:51,070
I’m in a nice restaurant right now,
and I’m marking this moment,
1540
01:14:51,196 --> 01:14:52,864
because we just sat
with Keith at Uncork'd
1541
01:14:52,989 --> 01:14:55,575
and I might have a green light
for Lifechanger.
1542
01:14:55,700 --> 01:14:57,076
Uh, yeah.
1543
01:14:57,202 --> 01:14:59,954
I remember the steak was excellent
that night. (Chuckling)
1544
01:15:00,079 --> 01:15:01,414
And so was the wine.
1545
01:15:02,373 --> 01:15:05,335
Took a lot of work,
but we might be here.
1546
01:15:05,460 --> 01:15:06,920
Let's see.
1547
01:15:07,045 --> 01:15:10,798
We basically, at the end
of that whole conversation,
1548
01:15:10,924 --> 01:15:13,134
before the main course arrived
actually,
1549
01:15:13,259 --> 01:15:16,304
we had solidified
the agreement, verbally.
1550
01:15:16,429 --> 01:15:18,640
What the structure
is looking like is,
1551
01:15:18,765 --> 01:15:20,600
Raven Banner coming on board
for part of the finance
1552
01:15:20,725 --> 01:15:22,644
and selling international
sales rights,
1553
01:15:22,769 --> 01:15:26,064
Uncork'd in the US coming on board
for more than half of the budget.
1554
01:15:26,189 --> 01:15:27,857
I got a very busy fall ahead of me.
1555
01:15:27,982 --> 01:15:30,443
I gotta shoot Lifechanger,
and I've got tons of client work,
1556
01:15:30,568 --> 01:15:33,821
and then we have to get Mark of Kane
fully together and packaged,
1557
01:15:33,947 --> 01:15:36,741
and hopefully start shooting that
in January.
1558
01:15:36,866 --> 01:15:39,786
So, what we did is, we hired
a casting director named Ashley Hallihan,
1559
01:15:39,911 --> 01:15:43,039
who went out and got self-tapes
from tons of different people.
1560
01:15:43,164 --> 01:15:45,833
We're talking like dozens, and dozens,
and dozens of people.
1561
01:15:45,959 --> 01:15:49,003
You know, the minute
that a casting director is hired,
1562
01:15:49,128 --> 01:15:52,590
it translates to the agents
and the managers
1563
01:15:52,715 --> 01:15:56,302
that there's money,
the project's moving forward,
1564
01:15:56,427 --> 01:15:59,597
that the production is going to be working
in a professional manner.
1565
01:15:59,722 --> 01:16:01,015
I’ve been going
through these self-tapes
1566
01:16:01,140 --> 01:16:04,644
and then tomorrow, I’m going to the Carlton
to do one-on-one meetings with the finalists,
1567
01:16:04,769 --> 01:16:05,853
I guess you could put it.
1568
01:16:05,979 --> 01:16:07,772
I’m doing 15-minute meetings.
1569
01:16:07,897 --> 01:16:09,691
Every 15 minutes,
I meet with a new person
1570
01:16:09,816 --> 01:16:11,150
just to get a feel
for who they are as people.
1571
01:16:11,276 --> 01:16:12,944
There's many actors for one role,
1572
01:16:13,069 --> 01:16:16,072
but there's only the one actor
that's the best for the role.
1573
01:16:16,197 --> 01:16:18,992
And then simultaneously,
I’ve been working with Sasha, the DOP,
1574
01:16:19,117 --> 01:16:23,079
to, you know, talk through the script
and figure out the shot list
1575
01:16:23,204 --> 01:16:24,497
and all that sort of thing.
1576
01:16:24,622 --> 01:16:26,040
I’m excited about it,
I’m happy about it.
1577
01:16:26,165 --> 01:16:28,459
I mean, this is
what I've been working towards,
1578
01:16:28,585 --> 01:16:32,130
having something where I can actually
pull off something on a... like, with a budget.
1579
01:16:32,255 --> 01:16:34,007
Hell, I’ve got David Scott
working on this movie
1580
01:16:34,132 --> 01:16:36,926
who's like one of the best effects people
in Toronto for, like, prosthetics
1581
01:16:37,051 --> 01:16:38,511
and we're doing an animatronic.
1582
01:16:38,636 --> 01:16:42,307
These are things I dream of,
and I'm finally gonna get to do.
1583
01:16:42,432 --> 01:16:48,688
I’m looking now at our full cast list
minus one tiny role um, for Lifechanger,
1584
01:16:48,813 --> 01:16:50,523
and we've got all the roles filled,
1585
01:16:50,648 --> 01:16:55,820
so we can now start setting up table reads
and start rehearsing.
1586
01:16:55,945 --> 01:16:58,573
Like, we're five weeks away
from shooting now.
1587
01:16:59,240 --> 01:17:00,366
It's really soon.
1588
01:17:00,491 --> 01:17:04,454
So, what I wanna get
out of this meeting today is,
1589
01:17:04,579 --> 01:17:07,332
put everything on the table,
anything you're concerned about.
1590
01:17:07,457 --> 01:17:12,795
You know, there are 148 scenes in the film,
and a countless number of shots.
1591
01:17:12,920 --> 01:17:16,090
And it's just... This is gonna be
the biggest thing I think I've ever done.
1592
01:17:16,215 --> 01:17:19,802
- 136, 137, and 138 are all kind of, uh...
- (Justin) They're all together, so...
1593
01:17:19,927 --> 01:17:21,262
Together and continuous.
1594
01:17:21,387 --> 01:17:24,474
Yep, so we can shoot
the bathroom stuff first, for sure.
1595
01:17:24,599 --> 01:17:26,976
I’m a little stressed out right now,
1596
01:17:27,101 --> 01:17:30,355
largely because we shoot
in less than two weeks for Lifechanger,
1597
01:17:30,480 --> 01:17:31,939
and there's still a lot to do.
1598
01:17:32,065 --> 01:17:33,858
And we've got
the fight choreography going,
1599
01:17:33,983 --> 01:17:37,195
I’m gonna go look at the
make-up tests on Thursday...
1600
01:17:37,320 --> 01:17:39,197
We're getting as much rehearsal
as we can done,
1601
01:17:39,322 --> 01:17:41,699
which I wish it was more,
I mean, I always wish it was more.
1602
01:17:41,824 --> 01:17:46,204
The acting process is so important
in my way of making films
1603
01:17:46,329 --> 01:17:49,916
that I would invest
a lot of energy and time
1604
01:17:50,041 --> 01:17:54,879
rehearsing and work-shopping the script
and the characters with my actors.
1605
01:17:55,004 --> 01:17:59,592
Everything I’ve been working toward
for the past couple decades in film,
1606
01:17:59,717 --> 01:18:02,011
since I was about 15, you know,
1607
01:18:02,136 --> 01:18:04,555
all those dreams and everything
kind of cumulate with this.
1608
01:18:05,181 --> 01:18:09,185
All these people are working right now
alongside me as a team
1609
01:18:09,310 --> 01:18:14,482
to recognize one vision
that came out of here a couple years ago.
1610
01:18:15,024 --> 01:18:16,567
I’m doing this.
1611
01:18:16,693 --> 01:18:17,902
This is a big move for me.
1612
01:18:18,027 --> 01:18:19,862
And action!
1613
01:18:19,987 --> 01:18:26,285
(Barbara Crampton) Film and telling a story
reminds us who we are
1614
01:18:26,411 --> 01:18:28,830
and that's never going away.
1615
01:18:28,955 --> 01:18:32,917
Even the cavemen
were painting in their caves.
1616
01:18:33,042 --> 01:18:35,086
We've always loved to tell stories
1617
01:18:35,211 --> 01:18:37,922
and always loved
to tell stories with images.
1618
01:18:38,047 --> 01:18:41,718
I think that's why we created film,
so we could make the images move.
1619
01:18:41,843 --> 01:18:45,430
Film is storytelling,
and we love a good story.
1620
01:18:45,555 --> 01:18:49,851
I’ve got like a full effects body
in this trunk of my parents' car right now
1621
01:18:49,976 --> 01:18:51,185
that we're trying to cover up
1622
01:18:51,310 --> 01:18:54,397
in case somebody sees it from a distance
and thinks it's real.
1623
01:18:54,522 --> 01:18:57,483
So, it's almost like hiding
a real dead body. (Chuckling)
1624
01:18:57,608 --> 01:18:59,777
Cos you don't want someone
to get the wrong idea and call the police,
1625
01:18:59,902 --> 01:19:02,238
and be like, "There's a body
in the back of that car in that garage."
1626
01:19:02,363 --> 01:19:03,364
Thank you.
1627
01:19:03,489 --> 01:19:04,949
We've done three full days
of production now.
1628
01:19:05,074 --> 01:19:08,578
It's weird, I still get this surreal pang
when I'm looking at the slate,
1629
01:19:08,703 --> 01:19:13,708
clapping for the shots
that actually says Lifechanger.
1630
01:19:13,833 --> 01:19:18,004
That the movie's actually being made
right now and I’m actually shooting it.
1631
01:19:18,129 --> 01:19:20,339
It's, uh...
I guess it's a win.
1632
01:19:20,465 --> 01:19:25,011
Just today, for example,
I got to shoot an animatronic melt head.
1633
01:19:25,136 --> 01:19:27,096
I’ve never worked with
animatronics before.
1634
01:19:27,221 --> 01:19:29,265
It's kind of a childhood dream,
and I got to do it.
1635
01:19:29,390 --> 01:19:31,851
The first phase is always that, um...
1636
01:19:31,976 --> 01:19:34,228
you're pushing this project,
and pushing it, and pushing it,
1637
01:19:34,353 --> 01:19:36,898
and you'd give your life or your soul
for the thing to happen,
1638
01:19:37,023 --> 01:19:41,736
you would sacrifice your firstborn
or do anything to close that deal
1639
01:19:41,861 --> 01:19:44,322
and get the movie to the screen.
1640
01:19:44,447 --> 01:19:46,365
And then, yeah,
phase 2, if you're lucky,
1641
01:19:46,491 --> 01:19:49,035
is the point where the project
actually starts to move,
1642
01:19:49,160 --> 01:19:53,080
and you'll find that suddenly you're no longer
having to push it, and push it, and push it,
1643
01:19:53,206 --> 01:19:56,250
and the thing is actually moving along
under its own momentum,
1644
01:19:56,375 --> 01:19:58,628
and you're having to run
to keep up with it.
1645
01:19:58,753 --> 01:20:00,254
Action!
1646
01:20:02,048 --> 01:20:03,841
Shake, tooth.
1647
01:20:03,966 --> 01:20:05,384
Shake, tooth.
1648
01:20:05,510 --> 01:20:07,303
- Scream.
- (Screaming)
1649
01:20:07,428 --> 01:20:08,638
First.
1650
01:20:09,472 --> 01:20:11,557
- Second.
- (Grunting)
1651
01:20:11,682 --> 01:20:13,935
When it comes to feature films,
and you're on set,
1652
01:20:14,060 --> 01:20:16,145
and you're doing this scene
and you say to yourself,
1653
01:20:16,270 --> 01:20:18,981
"I’ve seen this scene 100 times",
don't do it.
1654
01:20:19,106 --> 01:20:20,399
Do something different.
1655
01:20:20,525 --> 01:20:24,195
Find a way to take that scene,
because you can't just throw it out,
1656
01:20:24,320 --> 01:20:25,613
and do something different with it.
1657
01:20:25,738 --> 01:20:28,991
We have a few really,
really complicated days,
1658
01:20:29,116 --> 01:20:32,495
which I’m sure we'll get,
but holy crap, man.
1659
01:20:32,620 --> 01:20:38,417
(Jenn) From a filmmaking perspective,
it's important to be loose enough
1660
01:20:38,543 --> 01:20:43,631
that you can adapt to the things that happen
through every stage of production
1661
01:20:43,756 --> 01:20:46,425
and that you're prepared enough,
1662
01:20:46,551 --> 01:20:49,762
but you also have an eye out
for happy coincidences.
1663
01:20:49,887 --> 01:20:51,889
(Don) It's an organic thing,
filmmaking,
1664
01:20:52,014 --> 01:20:56,143
and you can't hold on
to your original plan too tightly,
1665
01:20:56,269 --> 01:21:00,398
because I think that will fuck you over
in a whole other way.
1666
01:21:00,523 --> 01:21:05,570
So, it just gives it this combination
of planning it out to a tee,
1667
01:21:05,695 --> 01:21:10,491
but being open
to other people suggesting,
1668
01:21:10,616 --> 01:21:12,785
"Well, maybe I have a better idea."
1669
01:21:12,910 --> 01:21:14,245
We've just, as of last night,
1670
01:21:14,370 --> 01:21:16,747
wrapped our 11th day of production
on Lifechanger.
1671
01:21:16,873 --> 01:21:19,333
It's gone by really quick,
yet at the same time...
1672
01:21:19,458 --> 01:21:21,460
You know, each day
it doesn't feel like it's quick.
1673
01:21:21,586 --> 01:21:24,589
You're always racing the clock
to try and get your shots in your day,
1674
01:21:24,714 --> 01:21:28,384
and hope that you've had enough time
to make the performance work,
1675
01:21:28,509 --> 01:21:31,554
which, looking at the dailies, I’ve got
some editing challenges ahead of me.
1676
01:21:31,679 --> 01:21:33,890
No matter how much in love
with the project you are,
1677
01:21:34,015 --> 01:21:35,683
phase 3 always arrives,
1678
01:21:35,808 --> 01:21:38,185
which is the point on the project
when you'll do anything,
1679
01:21:38,311 --> 01:21:41,022
when you will give up your life,
your soul, your firstborn
1680
01:21:41,147 --> 01:21:42,857
just to have
nothing more to do with it,
1681
01:21:42,982 --> 01:21:46,277
to not have to get up in the morning
and deal with it.
1682
01:21:46,402 --> 01:21:48,905
It's only the director,
maybe the producer also,
1683
01:21:49,030 --> 01:21:51,282
which are responsible
1684
01:21:51,407 --> 01:21:54,243
for the fact that everything we are making,
anything we are making now
1685
01:21:54,368 --> 01:22:00,124
will end up as a movie, as a story,
as a comprehensive idea.
1686
01:22:00,249 --> 01:22:03,127
And that is a consuming process.
1687
01:22:03,252 --> 01:22:05,379
It all starts with the concept,
the script,
1688
01:22:05,504 --> 01:22:07,548
and putting in the right amount
of Pre-production work,
1689
01:22:07,673 --> 01:22:10,468
and the right casting and all that.
All that's the backbone of the movie,
1690
01:22:10,593 --> 01:22:15,181
but then you get into production and,
you know, you have to deal with people.
1691
01:22:15,306 --> 01:22:16,515
Lots and lots of people.
1692
01:22:16,641 --> 01:22:20,895
And in this case, we're talking like 25 cast,
20 crew, a whole bunch of extras.
1693
01:22:21,020 --> 01:22:22,480
Every single one of them's
a personality.
1694
01:22:22,605 --> 01:22:24,815
You have to make sure
when you're hiring crew
1695
01:22:24,941 --> 01:22:26,984
that you get crew that are not only
the best that you can
1696
01:22:27,109 --> 01:22:29,153
for the budget you're working within,
1697
01:22:29,278 --> 01:22:32,782
but that those specific department heads
and the people within those departments
1698
01:22:32,907 --> 01:22:36,118
all work well together and with those
certain types of personalities.
1699
01:22:36,243 --> 01:22:38,162
(Chris) You know, I had three kids
before I made my first movie.
1700
01:22:38,287 --> 01:22:40,289
So, I knew how to navigate
personalities,
1701
01:22:40,414 --> 01:22:43,709
I knew how to damage control
a lot of insane situations
1702
01:22:43,834 --> 01:22:45,461
that would crush
lesser mortals, I think.
1703
01:22:45,586 --> 01:22:48,756
The director is not just a person
who picks camera angles or locations,
1704
01:22:48,881 --> 01:22:54,804
the director has to know how to juggle
many different personalities and egos,
1705
01:22:54,929 --> 01:22:57,682
and know how to work with them,
and not bully them,
1706
01:22:57,807 --> 01:23:00,768
and get the best out of them,
and make them wanna do their best.
1707
01:23:00,893 --> 01:23:02,520
They all have needs,
they all have wants,
1708
01:23:02,645 --> 01:23:05,147
they all have quirks, they all have flaws,
they all have strengths.
1709
01:23:05,272 --> 01:23:07,525
If you have enough confidence
to hire somebody,
1710
01:23:07,650 --> 01:23:10,653
then you should have the confidence
to know that they know what they're doing.
1711
01:23:10,778 --> 01:23:15,157
Whether it's Jim Cameron
or Billy Friedkin or Michael Bay
1712
01:23:15,282 --> 01:23:19,286
or Quentin Tarantino
or Robert Rodriguez,
1713
01:23:19,412 --> 01:23:23,582
these are people who have
a lot of confidence in themselves,
1714
01:23:23,708 --> 01:23:26,168
and when they have confidence
in themselves,
1715
01:23:26,293 --> 01:23:31,257
they're much more likely
to listen to your suggestions
1716
01:23:31,382 --> 01:23:34,176
and think about it,
"ls this gonna make my film better?"
1717
01:23:34,301 --> 01:23:36,846
I think the directors
with the most confidence,
1718
01:23:36,971 --> 01:23:39,598
which are usually the ones
that are the most successful,
1719
01:23:39,724 --> 01:23:41,851
are the ones that are most likely
to listen to ideas...
1720
01:23:41,976 --> 01:23:44,103
- Collaborate with actors.
- ...and collaborate with actors
1721
01:23:44,228 --> 01:23:48,441
and change things in their movie
to make the movie better.
1722
01:23:48,566 --> 01:23:51,193
They can identify a suggestion,
1723
01:23:51,318 --> 01:23:53,904
whether it comes from me
or a prop guy
1724
01:23:54,030 --> 01:23:57,408
or it comes from
an actress or anybody,
1725
01:23:57,533 --> 01:23:59,744
"Oh, that's gonna make
my movie better. Do it."
1726
01:23:59,869 --> 01:24:05,750
I think the only thing you need to do
to survive telling stories is to be yourself.
1727
01:24:05,875 --> 01:24:09,378
That's the one thing.
I mean how you lead a group of people...
1728
01:24:09,503 --> 01:24:13,758
Everybody... Some of them are hard,
some of them are nice,
1729
01:24:13,883 --> 01:24:17,219
some of them make a family,
some of them make an army,
1730
01:24:17,344 --> 01:24:19,930
some of them like to be generals,
some of them like...
1731
01:24:20,056 --> 01:24:25,561
but the only thing that people
will respond to is if it's you leading.
1732
01:24:25,686 --> 01:24:26,812
You.
1733
01:24:26,937 --> 01:24:30,566
Not a character you invented
that a director should be. It's you.
1734
01:24:30,691 --> 01:24:33,069
They see that you are high
on your own supply.
1735
01:24:33,194 --> 01:24:36,572
I get a lot of pushback,
and it's like...
1736
01:24:36,697 --> 01:24:39,200
Sometimes you just wanna say,
"Do this."
1737
01:24:39,742 --> 01:24:41,368
You want a collaborative
atmosphere on set,
1738
01:24:41,494 --> 01:24:42,828
that's the ideal scenario.
1739
01:24:42,953 --> 01:24:44,121
I just hate hearing "no".
1740
01:24:44,246 --> 01:24:45,372
Let's just fucking try it.
1741
01:24:45,498 --> 01:24:47,708
I don't care if you've got
twenty years behind you.
1742
01:24:47,833 --> 01:24:51,253
There's nothing to be gained by going,
"Well, that didn't work in the past"
1743
01:24:51,378 --> 01:24:54,465
or being like, "I’ve got all this experience,
so I know this."
1744
01:24:54,590 --> 01:24:55,674
Well, fuck that.
1745
01:24:55,800 --> 01:24:58,469
Steven Spielberg, if you see E. T.,
1746
01:24:58,594 --> 01:25:02,264
notice that every camera angle
is about this high off the ground.
1747
01:25:02,389 --> 01:25:04,225
That's how tall you are
when you're 12 years old.
1748
01:25:04,350 --> 01:25:06,894
The cumulative effect
of "you're one of the kids".
1749
01:25:07,019 --> 01:25:08,771
He made you one of the kids
1750
01:25:08,896 --> 01:25:11,440
simply because you're seeing
from where they were seeing.
1751
01:25:11,565 --> 01:25:14,485
You know, keys in your face...
That's what a director does.
1752
01:25:14,610 --> 01:25:17,571
It's not just pointing the camera
at the action.
1753
01:25:17,696 --> 01:25:19,156
Alright?
1754
01:25:19,281 --> 01:25:22,201
(Justin) I’m hoping
that the film does well
1755
01:25:22,326 --> 01:25:24,745
and that the end result of it
is worth all this effort,
1756
01:25:24,870 --> 01:25:26,247
because it's a lot of effort
1757
01:25:26,372 --> 01:25:30,126
and a lot of different people working on it,
putting in that effort to make it just incredible.
1758
01:25:30,251 --> 01:25:33,504
The only thing you really got going for you
in an independent film is the acting.
1759
01:25:34,588 --> 01:25:37,049
- Who is it?
- (Tom Holland) Good actors are everything,
1760
01:25:37,174 --> 01:25:40,344
because finally,
for all the ego and everything,
1761
01:25:40,469 --> 01:25:42,513
it's about who's in front
of the camera.
1762
01:25:42,638 --> 01:25:47,143
This is what's holding the audience,
if your actors will make or break you.
1763
01:25:47,268 --> 01:25:48,894
Casting is everything.
1764
01:25:49,019 --> 01:25:51,230
I cannot underline that enough.
1765
01:25:51,355 --> 01:25:55,776
Directors should take acting classes
to understand the actor's process,
1766
01:25:55,901 --> 01:25:58,028
to give clues to an actor
1767
01:25:58,154 --> 01:26:02,241
about where you want them to go
in a particular scene.
1768
01:26:02,366 --> 01:26:06,370
Having people who can act,
you save money.
1769
01:26:06,495 --> 01:26:09,498
If a guy blows a line,
that's a big take.
1770
01:26:09,623 --> 01:26:12,168
That means that that scene's
gotta be shot over again.
1771
01:26:12,293 --> 01:26:14,086
(Justin) Take.
1772
01:26:14,211 --> 01:26:15,212
Action!
1773
01:26:15,337 --> 01:26:18,090
I have one week left
of shooting Lifechanger.
1774
01:26:18,215 --> 01:26:21,886
We've shot 15 days already,
there's five days left to go,
1775
01:26:22,011 --> 01:26:24,346
one really big week ahead of us,
1776
01:26:24,471 --> 01:26:26,974
including the first sex scene
I’ve ever shot,
1777
01:26:27,099 --> 01:26:31,061
a serious fight scene with breakaway glass
and breakaway tables,
1778
01:26:31,187 --> 01:26:34,398
and a whole bunch of effects stuff,
and prosthetics,
1779
01:26:34,523 --> 01:26:39,403
and a really big, fully prosthetic pod effect
thing we're doing on Wednesday.
1780
01:26:39,528 --> 01:26:42,573
- Awesome. Here we go.
- (Crew) And... set.
1781
01:26:42,698 --> 01:26:43,699
(Justin) Action!
1782
01:26:43,824 --> 01:26:45,451
But I think we're getting
really good stuff,
1783
01:26:45,576 --> 01:26:48,495
and I’m proud that I’ve been able
to get to this point,
1784
01:26:48,621 --> 01:26:51,165
and I do feel like
I've got a future in this.
1785
01:26:59,673 --> 01:27:02,801
I’m about to start watching Lifechanger
from front to back
1786
01:27:02,927 --> 01:27:05,971
as one complete edited film
for the first time.
1787
01:27:06,096 --> 01:27:07,473
There's a part of it.
1788
01:27:07,598 --> 01:27:09,308
(Indistinct speech)
1789
01:27:09,433 --> 01:27:11,936
Uh... yeah,
I think it's pretty good.
1790
01:27:12,061 --> 01:27:15,105
Tomorrow morning,
I’ve booked the Carlton Cinema
1791
01:27:15,231 --> 01:27:17,858
to test-screen an earlier cut
of Lifechanger.
1792
01:27:17,983 --> 01:27:22,738
I’ve got a survey for people to either
fill out in person while there or online,
1793
01:27:22,863 --> 01:27:24,240
there's a link at the top of the sheet,
1794
01:27:24,365 --> 01:27:27,326
and then I’ve been collecting
people associated with the projects
1795
01:27:27,451 --> 01:27:28,994
and close friends' opinions as well.
1796
01:27:29,119 --> 01:27:31,664
The testing process
is agonizing for me,
1797
01:27:31,789 --> 01:27:34,792
even when it's just showing
the film to my friends.
1798
01:27:34,917 --> 01:27:36,669
It's horrible, because...
1799
01:27:37,586 --> 01:27:41,799
First of all, all of your mistakes
are there to be seen and commented on,
1800
01:27:41,924 --> 01:27:44,260
and then, very often
what I discover
1801
01:27:44,385 --> 01:27:46,470
are the things that I thought
were problems for people are not,
1802
01:27:46,595 --> 01:27:48,555
and the real slap in the face are...
1803
01:27:48,681 --> 01:27:52,518
There are things that I’ve never
even thought twice about
1804
01:27:52,643 --> 01:27:54,728
that create huge problems
for people.
1805
01:27:54,853 --> 01:27:59,108
Sometimes you see
filmmakers that get really big,
1806
01:27:59,233 --> 01:28:03,445
and then they start making
these kind of bloated movies,
1807
01:28:03,570 --> 01:28:08,325
and you feel that
somebody stopped telling them "no",
1808
01:28:08,450 --> 01:28:10,077
and they don't hear the word "no"
anymore,
1809
01:28:10,202 --> 01:28:12,705
and now they kind of go
on their own whims,
1810
01:28:12,830 --> 01:28:15,416
and people just go with them,
because they're that name.
1811
01:28:15,541 --> 01:28:17,334
I don't know if that's healthy.
1812
01:28:17,459 --> 01:28:22,172
I actually do welcome and encourage
producers to give you notes.
1813
01:28:22,298 --> 01:28:24,675
It's nice to have
a little bit of resistance,
1814
01:28:24,800 --> 01:28:27,386
it's nice to have someone
kind of second-guess you.
1815
01:28:27,511 --> 01:28:30,264
When you hear something
that's consistent,
1816
01:28:30,389 --> 01:28:32,391
like, that's the most
important thing, right?
1817
01:28:32,516 --> 01:28:34,852
You might disagree
with something somebody says,
1818
01:28:34,977 --> 01:28:37,396
but if you hear
another person say it,
1819
01:28:37,521 --> 01:28:40,941
and you hear another person say it,
and another person say it,
1820
01:28:41,066 --> 01:28:44,236
whether or not
you agree with it or not,
1821
01:28:44,361 --> 01:28:46,030
you really need to understand
1822
01:28:46,155 --> 01:28:49,742
that an audience is seeing that
that way, though.
1823
01:28:49,867 --> 01:28:51,910
That's how something
is being perceived,
1824
01:28:52,036 --> 01:28:53,620
whether that was
your intention or not.
1825
01:28:53,746 --> 01:28:56,915
We did a test audience,
and we got back a bunch of notes from that.
1826
01:28:57,041 --> 01:28:59,293
I’ve got back a bunch of notes
from people I trust,
1827
01:28:59,418 --> 01:29:01,462
and now the main core team
of the film,
1828
01:29:01,587 --> 01:29:06,216
the producers, the distributors,
they're all compiling a set of notes.
1829
01:29:06,342 --> 01:29:09,011
But the one thing I’ve noticed is
that nobody is saying the same things.
1830
01:29:09,636 --> 01:29:11,055
And me as the director,
1831
01:29:11,180 --> 01:29:17,353
I still have to be beholden
to the wishes of the team, to an extent,
1832
01:29:17,478 --> 01:29:21,190
because they are the team
or they are the investors, you know?
1833
01:29:21,315 --> 01:29:23,108
They have a stake.
1834
01:29:23,233 --> 01:29:26,195
But I’m also...
I gotta go with my gut
1835
01:29:26,320 --> 01:29:29,740
and, like, I already believe
it's a good movie the way it is.
1836
01:29:29,865 --> 01:29:31,450
I’m gonna make more changes.
1837
01:29:31,575 --> 01:29:34,203
The problem I’ve got is, like,
which changes do I make.
1838
01:29:34,328 --> 01:29:36,622
You have to make everybody happy.
1839
01:29:36,747 --> 01:29:38,457
So, find a way.
1840
01:29:38,582 --> 01:29:40,167
Hopefully, you know,
1841
01:29:40,292 --> 01:29:43,712
everyone understands
the kind of film that it is
1842
01:29:43,837 --> 01:29:48,342
or the nature of the cast
that was assembled.
1843
01:29:48,467 --> 01:29:51,261
And so, you know, it's uh...
1844
01:29:51,387 --> 01:29:54,556
You have to judge
every situation uh, individually.
1845
01:29:54,681 --> 01:29:57,768
I’ve just picture-locked Lifechanger,
and I’m proud of it.
1846
01:29:57,893 --> 01:29:59,228
I think it's a fucking good movie.
1847
01:29:59,937 --> 01:30:01,063
It feels like it's a good movie.
1848
01:30:01,188 --> 01:30:02,648
I found out yesterday morning
1849
01:30:02,773 --> 01:30:07,277
that Lifechanger's world premiere
is gonna be at the Fantasia Film Festival,
1850
01:30:07,403 --> 01:30:10,155
which is a huge accomplishment
in my mind.
1851
01:30:10,280 --> 01:30:12,491
I’ve wanted to play that festival forever.
1852
01:30:14,118 --> 01:30:15,536
Back at Fantasia.
1853
01:30:17,788 --> 01:30:19,915
With a film playing this time.
1854
01:30:24,628 --> 01:30:26,171
(Indistinct chatter)
1855
01:30:26,964 --> 01:30:29,675
If you think I ruined that picture,
wait till you get inside.
1856
01:30:29,800 --> 01:30:32,010
- (Laughing)
- (Cheering and applause)
1857
01:30:33,637 --> 01:30:36,640
So, enjoy the movie,
and if I break your brain, don't sue me.
1858
01:30:36,765 --> 01:30:38,684
- Have a good one.
- (Laughing)
1859
01:30:40,727 --> 01:30:43,439
(Cheering and clapping)
1860
01:30:43,564 --> 01:30:45,315
And movies are like children.
1861
01:30:46,567 --> 01:30:50,988
The birth is always absolutely frantic,
and insane, and painful,
1862
01:30:51,113 --> 01:30:54,867
and confusing, and horrible, and um...
1863
01:30:54,992 --> 01:30:57,703
but then they grow up,
and they go out into the world,
1864
01:30:57,828 --> 01:31:00,914
and as they grow up,
they make their own friends.
1865
01:31:01,039 --> 01:31:05,335
People meet the movies who don't meet you
and come to love them
1866
01:31:05,461 --> 01:31:07,713
on its own terms.
1867
01:31:38,076 --> 01:31:39,119
(Crowd applauding)
1868
01:31:39,244 --> 01:31:42,080
- 'Please welcome Justin McConnell...'
- (Cheering)
1869
01:31:42,748 --> 01:31:44,416
'...from Lifechanger. '
1870
01:31:47,294 --> 01:31:48,754
This is fucking crazy.
1871
01:31:48,879 --> 01:31:50,422
(Announcer)
'Please welcome Mr. Johnson...'
1872
01:31:50,547 --> 01:31:54,510
I’ve never played to audiences this big
or had a reception like this
1873
01:31:54,635 --> 01:31:57,804
or had my work programed or showcased
at a festival this important.
1874
01:31:58,847 --> 01:32:01,099
And it feels like a really major step
in my career.
1875
01:32:11,109 --> 01:32:13,195
- Muchas gracias.
- (Cheering)
1876
01:32:50,399 --> 01:32:53,360
It still blows my mind, cos I’ve been
coming here to see movies for...
1877
01:32:54,027 --> 01:32:55,612
Fuck! 2001?
1878
01:32:55,737 --> 01:32:57,823
So it's 17 years.
1879
01:32:57,948 --> 01:33:00,325
Uh, in this case,
we are in one of the biggest theaters
1880
01:33:00,450 --> 01:33:03,078
and it sold out somehow,
which is fucking awesome.
1881
01:33:03,620 --> 01:33:05,747
Um, just means a lot to me,
1882
01:33:05,872 --> 01:33:08,083
cos people actually wanna see
the stuff I make,
1883
01:33:08,208 --> 01:33:10,294
which is part of the reason
you make it.
1884
01:33:10,419 --> 01:33:12,296
And it's been a long road to here.
1885
01:33:13,171 --> 01:33:14,506
So this is a special screening.
1886
01:33:14,631 --> 01:33:17,926
You know, I’ve known
the director of this film
1887
01:33:18,051 --> 01:33:20,887
for maybe more than a decade
at this point.
1888
01:33:21,013 --> 01:33:23,432
I’ve programmed his short films.
1889
01:33:23,557 --> 01:33:27,394
I’ve worked together
on some of his feature films.
1890
01:33:28,103 --> 01:33:31,607
He's made...
This is not his first feature.
1891
01:33:31,732 --> 01:33:33,942
But this is a really,
really special movie,
1892
01:33:34,067 --> 01:33:35,819
and I remember when he shared
the script with me,
1893
01:33:35,944 --> 01:33:40,490
I was so excited just at the ambition
and the ideas he'd packed into the script.
1894
01:33:40,616 --> 01:33:42,242
It was so impressively pulled off.
1895
01:33:42,367 --> 01:33:45,162
And to see Justin travel the world
with this movie
1896
01:33:45,287 --> 01:33:47,706
that's played so many festivals
to great acclaim.
1897
01:33:47,831 --> 01:33:49,791
- (Audience cheering)
- And he really, really deserves all of it.
1898
01:33:49,916 --> 01:33:52,169
So, a big, big round of applause
for my friend...
1899
01:33:52,294 --> 01:33:53,295
(Audience cheering and clapping)
1900
01:33:53,420 --> 01:33:55,088
...writer/director,
Justin McConnell!
1901
01:33:55,213 --> 01:33:57,090
(Audience cheering and clapping)
1902
01:33:57,215 --> 01:33:59,051
I thank all of you for coming out.
1903
01:33:59,176 --> 01:34:01,637
One thing you should know about this,
it was shot in Toronto.
1904
01:34:01,762 --> 01:34:04,640
Can you raise your hand or stand up
if you were on the cast and the crew?
1905
01:34:04,765 --> 01:34:07,351
- There's a bunch of you in the crowd.
- (Cheering and clapping)
1906
01:34:07,476 --> 01:34:10,354
I wanna thank all of you for coming out
and doing a sold-out screening.
1907
01:34:10,479 --> 01:34:13,523
It's been over five years
since I started making this documentary.
1908
01:34:13,649 --> 01:34:16,985
A lot has happened in those five years,
a lot has changed.
1909
01:34:17,110 --> 01:34:21,823
I was going to Cannes every year since 2015,
taking meetings there.
1910
01:34:21,948 --> 01:34:26,495
I went to my first Berlin European film market
last year in February
1911
01:34:26,620 --> 01:34:29,414
and took some meetings there
and got to see how that market was different.
1912
01:34:29,539 --> 01:34:31,375
I’ve been going to Frontières
every summer,
1913
01:34:31,500 --> 01:34:35,879
and things are moving forward,
but what I’ve noticed is with Lifechanger,
1914
01:34:36,004 --> 01:34:38,298
it has made the doors open
more and more.
1915
01:34:38,423 --> 01:34:40,842
People are willing to approach me
about possible projects
1916
01:34:40,967 --> 01:34:44,221
or take meetings about the stuff
I’ve got on the slate.
1917
01:34:44,346 --> 01:34:48,141
When it actually started being distributed
in the US, it did fairly well,
1918
01:34:48,266 --> 01:34:50,644
but then Netflix picked it up
for a bunch of territories,
1919
01:34:50,769 --> 01:34:54,147
and we even hit number 1 trending
for a short period of time with the film,
1920
01:34:54,272 --> 01:34:55,524
this tiny little movie.
1921
01:34:55,649 --> 01:34:56,733
It blows my mind.
1922
01:34:56,858 --> 01:35:00,779
I’ve learned most of all
that the thing that I can't be is passive,
1923
01:35:00,904 --> 01:35:04,991
and I have to make things happen for myself
and bring in the right team
1924
01:35:05,117 --> 01:35:07,953
to help launch that collaboratively,
1925
01:35:08,078 --> 01:35:11,373
just listening to people,
and letting go of my ego a little bit.
1926
01:35:11,498 --> 01:35:14,084
The future is potentially bright
1927
01:35:14,209 --> 01:35:19,339
and full of lots of things
that I don't know are coming yet.
1928
01:35:19,464 --> 01:35:20,799
I mean, anything could fall apart,
1929
01:35:20,924 --> 01:35:23,135
and given that the film business,
the way it is,
1930
01:35:23,260 --> 01:35:27,264
I fully expect things to fall apart
or take longer than they're going to take,
1931
01:35:27,389 --> 01:35:28,557
but I’m not gonna give up.
1932
01:35:28,682 --> 01:35:30,559
'I look at my life in sections sometimes.
1933
01:35:30,684 --> 01:35:33,145
'as I age, I get a tendency
to reflect, compartmentalize.
1934
01:35:33,270 --> 01:35:35,397
'There was my life
before film was my mission
1935
01:35:35,522 --> 01:35:36,606
'and my life after.
1936
01:35:36,732 --> 01:35:38,900
'That's further broken down
into when I was just toying with the craft,
1937
01:35:39,025 --> 01:35:40,736
'learning and getting my feet wet,
1938
01:35:40,861 --> 01:35:43,321
'to when I got really serious about it
as the thing I was going to do,
1939
01:35:43,447 --> 01:35:45,699
'to the marathon
that's felt like the last decade or so
1940
01:35:45,824 --> 01:35:47,659
'when I started seriously
making features.
1941
01:35:47,784 --> 01:35:50,537
'Tons of missteps along the way,
tons of deviations from the path,
1942
01:35:50,662 --> 01:35:53,749
'experimenting, trying things,
hoping something will stick,
1943
01:35:53,874 --> 01:35:56,460
'and now with Lifechanger,
it feels like the start of a new section.
1944
01:35:56,585 --> 01:35:59,296
'And whether I continue toward
my ultimate goal, whatever that is,
1945
01:35:59,421 --> 01:36:04,301
'or crash spectacularly or just fade away
remains to be seen.
1946
01:36:04,426 --> 01:36:06,344
'You may hate everything I do,
and that's your right,
1947
01:36:06,470 --> 01:36:09,055
'but it doesn't really matter,
because I’m doing it,
1948
01:36:09,181 --> 01:36:12,225
'and I’ve been doing it for years and years
now without fully realizing it.
1949
01:36:12,350 --> 01:36:14,686
'I’ve been chasing a dream so long,
it took me ages to notice
1950
01:36:14,811 --> 01:36:15,896
'that I was already living it.
1951
01:36:16,021 --> 01:36:18,607
'I don't think there is a top to the ladder
when it comes to film.
1952
01:36:18,732 --> 01:36:22,402
'There's just the ladder, just the climb,
endlessly, rung to rung.
1953
01:36:22,527 --> 01:36:24,362
'If a shark stops swimming, it dies.
1954
01:36:24,488 --> 01:36:26,865
'As a filmmaker,
swimming is all there ever is,
1955
01:36:26,990 --> 01:36:28,325
'forward to whatever that brings.
1956
01:36:28,450 --> 01:36:31,453
'You may fuck up along the way,
you may never reach the top of the business,
1957
01:36:31,578 --> 01:36:34,539
'but as long as you keep trying,
keep learning, keep striving,
1958
01:36:34,664 --> 01:36:36,166
'it has to be enough.
1959
01:36:36,291 --> 01:36:38,835
'Just survive...
the rest will come.'
1960
01:36:50,472 --> 01:36:52,265
I always got cheated.
(Chuckles)
1961
01:36:52,390 --> 01:36:54,601
I know I always should have
gotten more money,
1962
01:36:54,726 --> 01:36:56,895
I should have had more time,
I should...
1963
01:36:57,020 --> 01:37:01,733
But all in all, when you look back
over 60 years,
1964
01:37:01,858 --> 01:37:04,027
I figure I had a ball.
1965
01:37:04,152 --> 01:37:05,987
I really did. I enjoyed it.
1966
01:37:06,112 --> 01:37:07,989
To thine own self be true,
1967
01:37:08,114 --> 01:37:11,868
but if you want the Oscars,
and the mansion,
1968
01:37:11,993 --> 01:37:14,913
and the limos, and the drugs,
and hookers, and all that,
1969
01:37:15,038 --> 01:37:18,416
I think you have to go
to Los Angeles.
1970
01:37:18,542 --> 01:37:20,418
And if you've got any talent,
1971
01:37:20,544 --> 01:37:24,756
and if you're driven and obsessed by it,
you probably will do all right.
1972
01:37:24,881 --> 01:37:25,966
And there are great people.
1973
01:37:26,091 --> 01:37:29,761
About one tenth of one percent
of the movie industry
1974
01:37:29,886 --> 01:37:31,471
are the best people in the world.
1975
01:37:31,596 --> 01:37:32,973
The rest are scum of the Earth,
1976
01:37:33,098 --> 01:37:37,060
whether they're independent
or whether they are in the mainstream,
1977
01:37:37,185 --> 01:37:38,562
they are scum of the Earth.
1978
01:37:38,687 --> 01:37:40,355
So if you sign a contract
with them,
1979
01:37:40,480 --> 01:37:42,774
you have to assume in your head
that the other guy...
1980
01:37:42,899 --> 01:37:46,152
You may agree...
You may do what the contract says,
1981
01:37:46,278 --> 01:37:47,737
but you have to assume in the contract
1982
01:37:47,863 --> 01:37:51,241
that the other person isn't going to do
what the contract says,
1983
01:37:51,366 --> 01:37:54,452
and make arrangements
for the worst-case scenario,
1984
01:37:54,578 --> 01:37:56,955
so that you don't lose your house,
and your business,
1985
01:37:57,080 --> 01:37:59,749
and decide to blow
your fucking brains out.
1986
01:37:59,875 --> 01:38:01,835
Uh, that's good advice.
1987
01:38:01,960 --> 01:38:05,171
But if you want the golden ring,
1988
01:38:05,297 --> 01:38:07,549
go to the mainstream
in Hollywood,
1989
01:38:07,674 --> 01:38:09,885
which is where
the projects are greenlit.
1990
01:38:10,010 --> 01:38:12,012
And if you are happy
1991
01:38:12,137 --> 01:38:18,059
being a broken-down, old, drunken
filmmaker like Uncle Lloyd here
1992
01:38:18,184 --> 01:38:20,437
whose probably next move
career-wise
1993
01:38:20,562 --> 01:38:24,858
will be in a refrigerator carton
under the Route 95,
1994
01:38:24,983 --> 01:38:26,860
with the other crack addicts,
1995
01:38:26,985 --> 01:38:29,195
then you become
an underground filmmaker,
1996
01:38:29,321 --> 01:38:30,864
which is basically
what I’ve always been.