Latest / Bulletproof Screenwriting™ Podcast / BPS 449: From Setbacks to Festival Wins: The Filmmaking Path of Dawn Fields

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BPS 449: From Setbacks to Festival Wins: The Filmmaking Path of Dawn Fields · Bulletproof Screenwriting™ Podcast

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Speaker 2: Welcome to the Bulletproof Screenwriting Podcast, Episode number four forty nine.
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Speaker 2: Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast.
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Speaker 2: to covermiscreenplay dot Com. Enjoy today's episode with guest host
1:37
Speaker 2: Dave Bullis.
1:39
Speaker 5: Hey, everyone joining me today is Don Films. Down is
1:43
Speaker 5: a Los Angeles based producer, writer, director, and owner of
1:46
Speaker 5: the feature film production company Palm Street Films. She has
1:49
Speaker 5: been She has over twenty years of experience working as
1:52
Speaker 5: a producer, writer, director, assistant director, editor, and she has
1:55
Speaker 5: a background at acquisitions and development. Down has raised over
1:59
Speaker 5: one hundred thousand short films eclufiully through Indiagogo, and she's
2:03
Speaker 5: also worked for such companies as Lucas Film, Twentieth Century Fox, TriStar, ABC, NBC,
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Speaker 5: Aaron Spelling Productions, and Morgan Creek.
2:12
Speaker 4: Dan.
2:12
Speaker 3: How are you hey, Good morning, Dave, I'm great, How
2:15
Speaker 3: are you pretty good? Thanks?
2:16
Speaker 4: It's actually stowing right here in PA.
2:18
Speaker 3: Oh goodness, Okay, Well, it's cold here too, but everybody
2:22
Speaker 3: just laughs at us when we complain about the cold
2:24
Speaker 3: in La.
2:26
Speaker 4: Yeah. I think the high today is going to be
2:28
Speaker 4: like seven or eight.
2:29
Speaker 3: No way, yeah, oh gosh, Okay, well I'm gonna stop
2:33
Speaker 3: complaining then about how cold it is here.
2:37
Speaker 4: So don just to get it started, could you give
2:38
Speaker 4: us a little bit about your background.
2:40
Speaker 3: Yeah, sure, of course. I started in the film business
2:44
Speaker 3: in Atlanta, Georgia in the early nineteen nineties when all
2:47
Speaker 3: of the Hollywood companies were coming out to Georgia to
2:51
Speaker 3: take advantage of the fact that it was a right
2:53
Speaker 3: to work state, the fact that you know, people were
2:56
Speaker 3: more cooperative, They actually got excited to give you their location,
3:01
Speaker 3: and so there was a lot of good energy and
3:04
Speaker 3: spirit going on there. So Georgia really attracted a lot
3:08
Speaker 3: of big budget films that were coming through the South
3:10
Speaker 3: in the early nineties. Excuse me, and I started out
3:15
Speaker 3: as a production assistant. And it was funny because how
3:18
Speaker 3: that happened was as my dad growing up, my dad
3:20
Speaker 3: always told me I should be an actress. And so
3:23
Speaker 3: there was a film called Love Postion Number nine, which
3:26
Speaker 3: was in town shooting at the time. That's the film
3:29
Speaker 3: that actually launched Sandra Bullock's career and was written and
3:32
Speaker 3: directed by the wonderful Dale Lonner. It was actually his
3:35
Speaker 3: directorial debut. He's a prolific writer that moved into directing.
3:39
Speaker 3: But anyway, I signed up to be an extra on
3:43
Speaker 3: that set and I was just it was my first
3:46
Speaker 3: time on a film set, and I was just I
3:47
Speaker 3: was hooked. I was just blown away, and I'm like,
3:49
Speaker 3: this is amazing. And I realized very quickly that I
3:53
Speaker 3: really didn't really want to be in front of the camera.
3:54
Speaker 3: I wanted to be behind it. And so one of
3:58
Speaker 3: the pas that was in charge of the extra I
4:00
Speaker 3: was just really taken with, and I said, you know,
4:02
Speaker 3: how did you get your job? This looks really fascinating
4:05
Speaker 3: and he said, well, it's it literally is who you know.
4:08
Speaker 3: And I turned to him and I said, well I
4:10
Speaker 3: know you. And he literally got me my first job
4:14
Speaker 3: in the business. And the first thing I got hired
4:16
Speaker 3: to do was go to and Bancroft. And Bancroft played
4:20
Speaker 3: Madame Ruth and my first assignment was to go to
4:24
Speaker 3: her hotel room and read lines with her. And that
4:28
Speaker 3: was really an amazing experience and she was a wonderful,
4:31
Speaker 3: wonderful person. I'll never forget that. And then from there
4:34
Speaker 3: I got assigned to extras casting, and I got a
4:36
Speaker 3: lot of experience in the whole world of extrass casting,
4:39
Speaker 3: which is a brutal job and I have mad respect
4:41
Speaker 3: for the people who do that work. And then from
4:44
Speaker 3: there I just kind of worked my way up. I
4:48
Speaker 3: thought I wanted to be in the DGA as an AD.
4:50
Speaker 3: I was working towards that and trying to get my days.
4:53
Speaker 3: At the time, you had to have six hundred and
4:54
Speaker 3: fifty days as a PA to qualify for the DGA,
4:58
Speaker 3: So I was working on my days and I think
4:59
Speaker 3: I got up to like three hundred and fifty days
5:01
Speaker 3: on various films throughout the Southeast, including Young Indiana Jones
5:05
Speaker 3: the TV show where I got the opportunity to work
5:07
Speaker 3: with George Lucas. That was amazing. So I thought that
5:11
Speaker 3: was the path I wanted to take. And then after
5:14
Speaker 3: after I worked all this PA days, I started like
5:17
Speaker 3: wanting more and to move up the ladder. So I
5:19
Speaker 3: started being a first AD on some short form projects
5:23
Speaker 3: like short films and music videos and commercials and industrials
5:26
Speaker 3: and stuff like that, and I realized very quickly that
5:28
Speaker 3: I couldn't be that close to the camera without wanting
5:31
Speaker 3: to be involved in the creative decisions. So that's when
5:33
Speaker 3: I moved into producing with you know, realizing that being
5:37
Speaker 3: an ad wasn't necessarily the career path that I wanted
5:41
Speaker 3: to take, but it was definitely something I enjoyed.
5:44
Speaker 5: So you know that that was absolutely amazing. You got
5:46
Speaker 5: to you know, read lines of Dan Bancroft.
5:49
Speaker 3: Yeah, it was, and it's it's it was very hard
5:52
Speaker 3: for me when I heard that she had passed. That
5:54
Speaker 3: was tough. I know I didn't know where that well.
5:55
Speaker 3: But still, whenever you meet someone and you kind of
5:57
Speaker 3: share a bond with them, you feel like you know them,
6:00
Speaker 3: and she was a wonderful, wonderful woman. That was That
6:03
Speaker 3: was a tragedy for sure.
6:05
Speaker 5: Absolutely, I'm sorry, don't did I die? I cut you offten,
6:07
Speaker 5: I'm sorry if I did.
6:09
Speaker 3: No, No, no, not at all.
6:10
Speaker 5: Okay, I I thought, uh, yeah, I'm sorry. I sometimes
6:14
Speaker 5: have a tendency to do that just to interject no please.
6:17
Speaker 3: I like that because I don't want to feel like
6:18
Speaker 3: I don't want you to feel like you can't get
6:20
Speaker 3: a word in edgeviyes. I don't want to just talk
6:21
Speaker 3: and talk and talk, but I tell you I could.
6:23
Speaker 3: I have so many stories and I have so much
6:25
Speaker 3: to say about this business. I could talk to for days,
6:28
Speaker 3: So feel free to cut me off anytime.
6:31
Speaker 4: Well, that's good. Stories are good because I, like I
6:33
Speaker 4: always say, people wanted to for the guest, it's not.
6:35
Speaker 5: Me because I have a very nasily high, whiny voice,
6:38
Speaker 5: and I like your voice.
6:40
Speaker 4: Oh thank you.
6:41
Speaker 5: When I'm playing these podcasts back, I'm like, oh my goodness,
6:44
Speaker 5: this is what I sound like.
6:45
Speaker 3: Oh God, I'm the same way when I see myself
6:47
Speaker 3: on camera. I can't stand it. So so anyways, so
6:52
Speaker 3: once I started getting into producing, I realized very quickly
6:55
Speaker 3: that there was no real money in Atlanta. You know,
6:59
Speaker 3: you could work on because there was a lot of
7:00
Speaker 3: films coming through, but you know, all the big shows
7:03
Speaker 3: coming through Reunion and I had decided not to go
7:05
Speaker 3: the DJA route and not to be a Union ad.
7:08
Speaker 3: So I started kind of branching out on my own,
7:11
Speaker 3: doing my own thing, and tried to raise some money
7:13
Speaker 3: for a couple of feature ideas and a couple of scripts,
7:15
Speaker 3: and then I just realized, Wow, there's just no there's
7:17
Speaker 3: no film. At the time, there was no film business there,
7:19
Speaker 3: and I don't think there still is a film business there.
7:22
Speaker 3: I think it's still just a lot of movies coming
7:24
Speaker 3: through and a lot of things being shot there. There's
7:27
Speaker 3: certainly not the industry that there is out here where
7:30
Speaker 3: all the agents and managers and distributing studio heads and
7:35
Speaker 3: distribution companies and stuff like that. Atlanta still doesn't have
7:39
Speaker 3: all that. But it's blowing up right now. There's like
7:41
Speaker 3: a thousand things filming there. But so I realized very
7:47
Speaker 3: quickly that Atlanta was not really where I needed to be.
7:49
Speaker 3: So in two thousand and I literally I remember I
7:51
Speaker 3: was walking my dog on a Tuesday, and I'd been
7:54
Speaker 3: thinking about it for a long time, and I stopped
7:56
Speaker 3: in my tracks and I just looked down at my
7:58
Speaker 3: dog and I said, you know what, It's time. And
8:00
Speaker 3: two weeks later I was gone, and I packed up
8:03
Speaker 3: everything I owned in a U haul and I drove
8:05
Speaker 3: out here with no job, no apartment. Had a few
8:08
Speaker 3: connections friends that I knew to let me sleep on
8:10
Speaker 3: their couch till I found a place. But I really
8:12
Speaker 3: just took that leap of faith that I came out
8:14
Speaker 3: here with nothing, and the first the first several years well,
8:19
Speaker 3: I've had a lot, you know, I've been here fifteen
8:20
Speaker 3: years now, and I would say seventy five percent of
8:23
Speaker 3: that have been tough times. I mean, this is this
8:25
Speaker 3: is a brutal industry, and for anybody who thinks that
8:27
Speaker 3: it's not, maybe some people have it easy, but most
8:30
Speaker 3: of us have to really struggle and fight for it.
8:32
Speaker 3: And it's it's been a struggle almost every step of
8:35
Speaker 3: the way. But I think that just speaks to how
8:38
Speaker 3: badly you have to want something, because it's still something
8:41
Speaker 3: that I want more than anything, and it always has been,
8:44
Speaker 3: and so you just you figure out how to make
8:46
Speaker 3: it work. So the first job that I had when
8:50
Speaker 3: I moved out here was for a medium size so
8:53
Speaker 3: I kind of on the small side distribution and production
8:56
Speaker 3: company where it was a really interesting position they put
8:59
Speaker 3: me in. I was the vice president of distribution and
9:02
Speaker 3: I was the vice president of acquisitions. So that was
9:05
Speaker 3: really cool because I got to go to all the
9:07
Speaker 3: film festivals to scour finished films for us to acquire,
9:13
Speaker 3: and I got to, you know, reach out to filmmakers
9:15
Speaker 3: for finished films to see which ones we might want
9:17
Speaker 3: to acquire for distribution. But I also got to go
9:20
Speaker 3: to like pitch panels and meet with agents. I was
9:25
Speaker 3: winding and dining agents a lot and looking for scripts
9:28
Speaker 3: that our production arm could produce. So that was like
9:31
Speaker 3: a really great experience, and quite honestly, they paid me
9:33
Speaker 3: pretty well. It was a really nice base salary plus commission,
9:38
Speaker 3: which was real. So it's really kind of a nice job.
9:41
Speaker 3: But again I found myself like missing being in production.
9:45
Speaker 3: You know. I was working in an office all day
9:47
Speaker 3: and I was helping other people with their films, but
9:48
Speaker 3: I wasn't being able to do my film. So that
9:51
Speaker 3: even though that was a great job, it lasted about
9:52
Speaker 3: three months.
9:54
Speaker 2: We'll be right back after a word from our sponsor,
10:00
Speaker 2: and now back to the show.
10:04
Speaker 3: And then I left that job and decided I wanted
10:07
Speaker 3: to do my own things. So I found a couple
10:10
Speaker 3: of scripts that I really liked, was in development on
10:12
Speaker 3: those for quite a while, and before I know it,
10:15
Speaker 3: like several years had gone by and I hadn't still
10:18
Speaker 3: hadn't produced anything. I was ad here and there just
10:21
Speaker 3: for freelance and helping people here and there with their shoots,
10:25
Speaker 3: but wasn't really doing what I wanted to do. So
10:29
Speaker 3: I remember it was in twenty twelve, I believe late
10:32
Speaker 3: twenty twelve, I finally just said, you know what, I've
10:37
Speaker 3: had enough. I just want to make a movie. And
10:41
Speaker 3: by this time I had acquired over five thousand friends
10:46
Speaker 3: on Facebook. Well write at five thousand friends because they
10:49
Speaker 3: cap it at that, but I had reached my five
10:51
Speaker 3: thousand limit of friends on Facebook, which was an account
10:56
Speaker 3: I created, like I had a friends and family account
10:58
Speaker 3: when I first moved here. But my friends and family,
11:00
Speaker 3: I think they got tired of me only talking about
11:02
Speaker 3: film all the time, because that's all I talked about.
11:05
Speaker 3: So about five years ago, maybe it's been more now.
11:08
Speaker 3: I created a Facebook profile for myself just to interact
11:13
Speaker 3: and engage with other filmmakers, and that just grew organically
11:17
Speaker 3: out of my need and my desire to friend other
11:19
Speaker 3: filmmakers and other film companies and just kind of keep
11:23
Speaker 3: up to date on what everybody else was doing. I
11:25
Speaker 3: was just fascinated. I simply wanted to know what everybody
11:27
Speaker 3: else was doing, and that, in a crazy way, just
11:33
Speaker 3: organically grew to the point where I now have almost
11:36
Speaker 3: five thousand friends. I have to keep it limited so
11:38
Speaker 3: I can add new people as I actually make friends,
11:41
Speaker 3: not just connections. But actual friends and people I know,
11:43
Speaker 3: so I have to kind of keep that limited. But
11:46
Speaker 3: several years ago Facebook opened up subscribers and people could
11:49
Speaker 3: follow you even on top of friending you, and really
11:53
Speaker 3: quickly I had amassed over twelve four hundred people as
11:57
Speaker 3: subscribers that are all in the film business. So little
12:03
Speaker 3: did I know at the time how beneficial overall that
12:06
Speaker 3: was going to be for me in my career, because
12:09
Speaker 3: as we get into discussions a little bit later on
12:12
Speaker 3: about crowdfunding and how I financed all my films, it's
12:15
Speaker 3: almost exclusively come from that base of friends and followers.
12:21
Speaker 5: So you know that that's absolutely amazing, And you know,
12:24
Speaker 5: really quickly, I just wanted to ask you, how do
12:26
Speaker 5: you decide who to delete on that five thousand friends?
12:29
Speaker 5: You know, because I'm coming to that cap too, when
12:32
Speaker 5: I'm just like, well, who gets cut here?
12:34
Speaker 4: How do you make that decision?
12:36
Speaker 3: Yeah? Well, you know, when I first started friending people
12:39
Speaker 3: way back in the early day, I would friend anybody
12:42
Speaker 3: from anywhere. I actually had friended a whole bunch of
12:44
Speaker 3: you know, back then you could go in and do
12:47
Speaker 3: a search for terms like film, movie, film industry, those
12:53
Speaker 3: kind of I was putting in terms like that, and
12:55
Speaker 3: all these suggestions were coming up, and I just frended
12:59
Speaker 3: an and liked all of them. And a huge handful
13:02
Speaker 3: of them were foreign, and some of them were in
13:04
Speaker 3: foreign languages, even that I couldn't understand. But at the time,
13:07
Speaker 3: I was just like reached out to everybody. Once I
13:11
Speaker 3: started getting close to my five thousand, that's the first
13:13
Speaker 3: thing I went in and did as I went in
13:15
Speaker 3: and started eliminating those companies and those people that were
13:19
Speaker 3: foreign where I couldn't even understand what they were saying.
13:22
Speaker 3: But now it's actually become quite a problem because every
13:25
Speaker 3: film I work on, I meet, you know, ten twenty
13:28
Speaker 3: thirty new people, and I want a friend all of them.
13:31
Speaker 3: And as I go through you know, various pre production
13:34
Speaker 3: and development and castings and all that kind of stuff,
13:37
Speaker 3: I'm always meeting new people. So I've had to go
13:39
Speaker 3: through many times and just make the tough decision of
13:43
Speaker 3: who to cut. And Facebook doesn't make it easy, unfortunately.
13:48
Speaker 3: I wish that there was a really simple way to
13:51
Speaker 3: just go in and delete, like people who haven't been
13:54
Speaker 3: active in six months to a year, because there's a
13:56
Speaker 3: lot of accounts that people create that they don't ever
13:58
Speaker 3: do anything with But they don't really make it that easy.
14:03
Speaker 3: But I can tell you this, if you have a well,
14:08
Speaker 3: there's a couple of ways you can do it. If
14:12
Speaker 3: you go to let me just pull my microphone over
14:15
Speaker 3: here in my other computer. If you go to your
14:17
Speaker 3: profile on Facebook and you click on the friends tab,
14:26
Speaker 3: there's a couple of categories there. You can bring up
14:28
Speaker 3: your friends, if you'll notice, you can bring up recently added,
14:31
Speaker 3: you can bring up work friends, college friends, high school,
14:34
Speaker 3: current city. There's a couple of other followers following. There's
14:39
Speaker 3: several selections there. It will group them by that. And
14:42
Speaker 3: Facebook's algorithms are such that the people you interact with
14:46
Speaker 3: most are going to come up first and that everybody
14:48
Speaker 3: else comes up after. So you could conceivably go into
14:50
Speaker 3: any one of those categories, or just look at your
14:53
Speaker 3: friends group as a whole and just scroll all the
14:55
Speaker 3: way down to the end. Now that's going to take
14:57
Speaker 3: you about fifteen minutes pile away if you have five
14:59
Speaker 3: thousand friends. But you can scroll all the way down,
15:02
Speaker 3: and you know, you have to look at the people
15:04
Speaker 3: too and make sure. But for the most part, the
15:07
Speaker 3: lesser active people are going to be down at the bottom,
15:09
Speaker 3: and then you can click on each one of those
15:11
Speaker 3: decide if you want a friend them or not for
15:13
Speaker 3: unfriend them.
15:15
Speaker 5: You know that's interesting because you know, Twitter makes it
15:18
Speaker 5: a lot easier because you can use different programs like
15:21
Speaker 5: manage filter or f fliitter I think it's called. And
15:24
Speaker 5: then you know, you can actually just see who's been
15:26
Speaker 5: in active for you know, three months, four months, et cetera,
15:28
Speaker 5: and you can follow those people.
15:30
Speaker 3: Don't we all wish Facebook would do that. I you know, Facebook,
15:32
Speaker 3: I don't think want you to unfollow people is probably
15:35
Speaker 3: their whole thing. But yeah, I wish it were that easy.
15:40
Speaker 3: But you know, I I think that you shouldn't be
15:44
Speaker 3: friending people you don't know anyway. But but the truth is,
15:49
Speaker 3: it's kind of ridiculous that Facebook limits people to five thousand.
15:52
Speaker 3: That's never made any sense to me how they want
15:54
Speaker 3: to control how many friends I have.
15:56
Speaker 5: Yeah, what I've been doing is with close to my
15:59
Speaker 5: foes thousand friends. A little bit, I've started to realize,
16:02
Speaker 5: like I think a lot of friends from high school
16:04
Speaker 5: probably like I don't.
16:05
Speaker 4: Talk to most of them anyway. I mean most of
16:07
Speaker 4: them found me.
16:09
Speaker 5: Like I, like you just said, I usually only request
16:11
Speaker 5: people that I know or have met at a networking
16:13
Speaker 5: party or have met somewhere else, and then I'll from
16:16
Speaker 5: acrost them or you know, et cetera. But you know
16:20
Speaker 5: a lot of and also, you know, I think some
16:22
Speaker 5: people too, like you just said with oh, you talk
16:24
Speaker 5: about his film, like all I talk about his film too.
16:26
Speaker 4: My my social.
16:27
Speaker 5: Media sites are very rarely anything political or religious or
16:31
Speaker 5: anything like that. So usually it's all film stuff because
16:33
Speaker 5: that's all I want to talk about. You know, I
16:35
Speaker 5: don't want to talk about politics religion online, you know
16:37
Speaker 5: what I mean?
16:39
Speaker 3: Yeah, I know, And that's there's you know, you and
16:41
Speaker 3: I could be fast friends. That's one of the things
16:43
Speaker 3: that ties James that I together. James Papaiden is a
16:47
Speaker 3: really good friend of mine. He actually started working for
16:49
Speaker 3: me in my production office a couple of years ago
16:51
Speaker 3: as an intern and slowly has now made his way
16:53
Speaker 3: up to helping me produce stuff. He's a producer now
16:56
Speaker 3: and he's actually in the next month or so, in
16:59
Speaker 3: the in the month apart March, I believe it's going
17:01
Speaker 3: to direct for the first time. So and that's kind
17:05
Speaker 3: of what we have in common. And I don't I
17:06
Speaker 3: don't think anybody else outside the business could stand being
17:09
Speaker 3: around the two of us pretend, you know, for any
17:10
Speaker 3: length of time, because it's all we talk about.
17:14
Speaker 5: Yeah, I know, which mean it's all my friends talk
17:16
Speaker 5: about too, is you know, we talk about a lot
17:17
Speaker 5: of film stuff, and you know, screenwriting.
17:19
Speaker 4: Writers' groups, this and that. You know, it's just uh
17:23
Speaker 4: that way, you know, you're getting self into.
17:25
Speaker 5: So so everyone, if you subscribe to Dawn on Facebook,
17:28
Speaker 5: that's all you're going to hear is about film stuff,
17:30
Speaker 5: which that's true, which I think is a great thing.
17:32
Speaker 4: By the way.
17:33
Speaker 3: However, however, I will say though that the more I
17:36
Speaker 3: started engaging with my filmmaker friends on Facebook, the less
17:41
Speaker 3: I started interacting with my friends and family. I'm sad
17:43
Speaker 3: to say, I don't even use my friends and family
17:45
Speaker 3: account anymore. So what you'll find on my on my
17:49
Speaker 3: Facebook account now is it's kind of a mix. I
17:52
Speaker 3: do talk about, you know, the foods I like to
17:54
Speaker 3: cook and the things I like to do for fun
17:56
Speaker 3: and I do, and my opinions on things. So it
18:00
Speaker 3: it has kind of become a hybrid because you know,
18:02
Speaker 3: I do so many crowdfunding campaigns and I do so
18:05
Speaker 3: many things like seminars now. I'm doing seminars now, and
18:08
Speaker 3: I have a script contest. I don't want people to
18:10
Speaker 3: think I'm just trying to like be a business and
18:14
Speaker 3: shove all my business stuff in their face. So, you know,
18:17
Speaker 3: I just that's my my only account now, and that's
18:21
Speaker 3: where I share really my it's really become my personal
18:23
Speaker 3: and my professional profile because I'm because I'm on it
18:28
Speaker 3: all the time. I just I don't have time to
18:30
Speaker 3: go back to my friends and family Moore. It's very
18:31
Speaker 3: sad they all miss me, but I keep you know,
18:34
Speaker 3: most of them are friends on my face you know,
18:37
Speaker 3: my filmmaker Facebook as well, so I always tell them
18:40
Speaker 3: if they want to know what's going on with me,
18:42
Speaker 3: to you know, click on that one and join that one.
18:44
Speaker 5: And most of them have, so yeah, that's it's a
18:47
Speaker 5: good way to keep in contact too, is I mean, honestly,
18:50
Speaker 5: I tried to have multiple facebooks and that that wasn't
18:52
Speaker 5: gonna that that just I was like, mine, this is
18:54
Speaker 5: a lot of work. So what I did was if
18:57
Speaker 5: everyone was keeping contact with me, like you know what
18:59
Speaker 5: I mean, Like I usually just post stuff like what
19:01
Speaker 5: I'm doing, this is what I'm up to, and there
19:03
Speaker 5: that's it, you know, and we've caught up.
19:05
Speaker 4: So yeah, I just want usually post everything I'm doing.
19:08
Speaker 3: So but are there Yeah, and there is something to
19:11
Speaker 3: be said for you know, your friends and family you
19:13
Speaker 3: should be hanging out with and calling on the phone, so,
19:17
Speaker 3: you know. So so I tell my friends and family,
19:20
Speaker 3: I'm like, hey, if you miss me, pick up the
19:21
Speaker 3: phone and call me. You don't have to go to
19:22
Speaker 3: Facebook to see what I'm doing, you know.
19:26
Speaker 5: And just you know, speaking of you know, what you're doing,
19:29
Speaker 5: you know, just to talk about, you know, all your projects.
19:31
Speaker 5: I really want to, you know, because you have a
19:32
Speaker 5: lot of really interesting film projects here.
19:35
Speaker 4: You know. You started Palm Street Films in what year?
19:38
Speaker 3: I believe I started it in twenty ten. I had
19:41
Speaker 3: had another production company before that called Glass Mountain Entertainment,
19:46
Speaker 3: but we never really had any projects that we ran
19:49
Speaker 3: through there or had anything really happen with it. We
19:51
Speaker 3: were more in just development on things. So I don't
19:54
Speaker 3: even remember why I ended up closing that when and
19:56
Speaker 3: changing the name, but I did.
19:59
Speaker 2: We'll be right back after a word from our sponsor,
20:05
Speaker 2: and now back to the show.
20:08
Speaker 3: I guess just rebranding remarketing wasn't sure I loved the name,
20:13
Speaker 3: so rebranded and launched a new company. I believe in
20:16
Speaker 3: twenty ten that's when we started that.
20:19
Speaker 5: So, you know, then, could you talk about, you know,
20:20
Speaker 5: your first project with the Palm Street Films, which is
20:24
Speaker 5: Bonds and Lace.
20:26
Speaker 3: Actually, Dave, I will, I'm going to actually go more
20:30
Speaker 3: old school than that. The actual there were actually three
20:34
Speaker 3: documentaries that I had in development and in production. Actually
20:38
Speaker 3: some of them are as much as eighty percent shot.
20:42
Speaker 3: That that were the first things that I did through
20:45
Speaker 3: the company, but one we ran out of money for
20:49
Speaker 3: the documentaries, which is one thing. But then I just
20:52
Speaker 3: started realizing that documentaries it's a whole different style of filmmaking.
20:56
Speaker 3: It's a whole different set of roles. It's completely differ
21:00
Speaker 3: and it's really truly apples and oranges from narrative filmmaking.
21:04
Speaker 3: And as much as I had these personal stories that
21:06
Speaker 3: I really wanted to tell, I just kept being gravitated
21:09
Speaker 3: back towards narrative. And so I still want to finish
21:12
Speaker 3: those documentaries someday. I haven't shelled them, but it's taking
21:15
Speaker 3: some time to figure out how to get those on autopology.
21:18
Speaker 3: I would love to hire a documentary person into my
21:20
Speaker 3: company once we actually have some funds to do that
21:23
Speaker 3: with and and have them help me finish those out.
21:28
Speaker 3: But the actual first project that we ran through Palm
21:30
Speaker 3: Street Films was Zombie Elves. Oh that's right, yeah, uh again.
21:36
Speaker 3: It came at a time where I'm like, I just
21:38
Speaker 3: want to shoot something. I'm tired of all this talk.
21:40
Speaker 3: I want to make a movie. And I started, you know,
21:42
Speaker 3: started thinking about what could I do that I would
21:44
Speaker 3: enjoy that would also be profitable, because for the last
21:47
Speaker 3: few years, I've also really tried to focus on how
21:50
Speaker 3: do I make a living at this business? How do
21:52
Speaker 3: I not only pay my bills, but hopefully someday make
21:55
Speaker 3: enough money to have a savings account set aside, to
21:58
Speaker 3: have a retirement plan, to have little next egg, those
22:01
Speaker 3: some financial security, those kinds of things. So Zombiells was
22:07
Speaker 3: really my attempt at creating a project that I thought
22:09
Speaker 3: would really succeed financially. And zombies were really hot at
22:14
Speaker 3: the time, and you just can't go wrong with the
22:16
Speaker 3: marketing power of Christmas, and so I thought, you know,
22:20
Speaker 3: what would happen if you created a situation where there
22:24
Speaker 3: was a zombie outbreak on the North Pole and everybody
22:27
Speaker 3: just went crazy over the idea and they laughed and
22:30
Speaker 3: they thought it was hysterical. And we just had so
22:32
Speaker 3: much fun developing that project. And we did actually get
22:37
Speaker 3: a script written. The script kind of went in a
22:40
Speaker 3: direction that was not right. We sent it out for
22:42
Speaker 3: some feedback and people just really didn't enjoy it. I
22:44
Speaker 3: don't think I think we went too much zombie and
22:46
Speaker 3: not enough Christmas, and people really wanted that there needed
22:49
Speaker 3: to be some Christmas spirit in there. There needed to
22:52
Speaker 3: be a lesson learned, there needed to be some magic
22:55
Speaker 3: of Christmas. We kind of didn't put any of that
22:58
Speaker 3: stuff in there, and it turned out that it wasn't
23:00
Speaker 3: very satisfying for audiences. But Zombiell's was actually my first
23:04
Speaker 3: crowdfunding campaign, and I made a ton of mistakes on
23:07
Speaker 3: that campaign. That's that's part of where I start my
23:12
Speaker 3: seminars now is talking about Zombie Elves, and that's that's
23:15
Speaker 3: really the campaign that I learned all my lessons on.
23:19
Speaker 5: You know, I remember Zombie Elves. I actually donated and
23:21
Speaker 5: I still have that T shirt.
23:23
Speaker 3: Well, here's the thing that's so funny. It's like, we
23:27
Speaker 3: we were so excited about the marketing power of this
23:30
Speaker 3: film that long before we even thought about crowdfunding. We
23:32
Speaker 3: wanted to set up merchandise because everybody was telling me
23:34
Speaker 3: that horror films love their merch right, and so we
23:38
Speaker 3: were like, okay, great, well, let's do these T shirts,
23:40
Speaker 3: and let's do this calendar, and let's do bumper stickers,
23:42
Speaker 3: and let's do all this merchandise that the horror films
23:45
Speaker 3: are And I started. I created a Facebook account just
23:48
Speaker 3: to start interacting and engaging with horror fans, and I
23:51
Speaker 3: got up to five thousand friends instantly on that. There's
23:53
Speaker 3: a just a there's a huge following database of horror
23:57
Speaker 3: fans on Facebook and Twitter. I mean, it's a huge
23:59
Speaker 3: culture of horror fans out there. So we had started
24:04
Speaker 3: creating all that merchandise before we even decided to do crowdfunding.
24:07
Speaker 3: So that's part of the reason we were like, look,
24:10
Speaker 3: we have all this merchandise we're creating. Crowdfunding makes sense
24:12
Speaker 3: because we can offer all those things as parks. And
24:15
Speaker 3: some of the stuff wasn't finished yet. We hadn't finished
24:17
Speaker 3: the calendar yet, we were working on it. Some of
24:20
Speaker 3: the we had done one T shirt but wanted to
24:23
Speaker 3: do more, so it just kind of made sense. So
24:26
Speaker 3: we had budgeted the film at six hundred thousand dollars,
24:28
Speaker 3: and we decided that if we could raise like forty
24:30
Speaker 3: thousand dollars in development money, that would, you know, get
24:34
Speaker 3: me through the six months or so that I needed
24:36
Speaker 3: to pay a writer, get a script written, you know,
24:39
Speaker 3: start tackling the very difficult task of casting, because there's
24:43
Speaker 3: the question of a movie like this, do you use
24:45
Speaker 3: little people, do you use small actors, do you use children,
24:49
Speaker 3: do use cgi? It's like how do you make how
24:52
Speaker 3: do you make the story happen? And at the time,
24:53
Speaker 3: I was a producer, not a director, so I didn't
24:56
Speaker 3: really have a terribly clear vision for it yet. I
24:58
Speaker 3: knew marketing wise I wanted it to be, and from
25:01
Speaker 3: a producer's standpoint, I knew what it needed to accomplish,
25:04
Speaker 3: but I didn't really have those director skills yet, so
25:07
Speaker 3: I still wasn't sure really what the film was going
25:10
Speaker 3: to be. So we did. We made the number one
25:14
Speaker 3: mistake that people make in crowdfunding, which is they feel
25:17
Speaker 3: like if they put it out there, they will come,
25:20
Speaker 3: and that's really not true unless you take years and
25:24
Speaker 3: years to try to make that happen. But the reality
25:27
Speaker 3: of it is for a campaign to raise that much money,
25:29
Speaker 3: we were looking for forty thousand dollars. For that much money,
25:32
Speaker 3: you have to have an existing fan base. You have
25:36
Speaker 3: to because thirty days or forty five days, or how
25:38
Speaker 3: many ever long days you can run an Indiegogo campaign
25:41
Speaker 3: or a crowdfunding campaign. You don't have time to all
25:44
Speaker 3: of a sudden whip up ten thousand fans or a
25:46
Speaker 3: million fans. You have to do all that in advance.
25:50
Speaker 3: You have to have an existing fan base to already
25:53
Speaker 3: go out and say to those people, Hey, here's what
25:55
Speaker 3: I'm doing. You've loved my work before, you love me,
25:57
Speaker 3: now fund this project. I was under the bad assumption
26:01
Speaker 3: that if we put it out there, the horror fans
26:03
Speaker 3: would just glom all in and all of a sudden
26:05
Speaker 3: we'd get all this money. And that absolutely didn't happen.
26:10
Speaker 3: Do my friends and family and Facebook followers and fans.
26:14
Speaker 3: I did manage to raise about four thousand dollars, and
26:18
Speaker 3: since we already had the merchandise anyway, I had two choices.
26:21
Speaker 3: I'm like, you know, when we didn't hit our goal,
26:23
Speaker 3: we're comp anywhere close to it. I'm like, well, I
26:26
Speaker 3: can refund everybody's money and back to absolutely zero, or
26:30
Speaker 3: I can use that money to go ahead and fulfill
26:32
Speaker 3: the perks anyway and at least give everybody their perks,
26:35
Speaker 3: because we do still plan on making that film. It's
26:38
Speaker 3: a very difficult film that's taking a long time to
26:40
Speaker 3: figure out how to make that film be what it
26:42
Speaker 3: needs to be. But it is definitely not shelved. It's
26:45
Speaker 3: very much alive and well, and we do plan on
26:47
Speaker 3: making that movie. And now that I'm directing, I'm actually
26:50
Speaker 3: very very excited about the opportunity to direct it. So
26:54
Speaker 3: that's a whole nother development that's happened just in the
26:56
Speaker 3: last two years that wasn't in place there. But I'm
26:59
Speaker 3: so glad you got your and your calendar, and I
27:01
Speaker 3: hope you enjoy it. Hang on to it because it
27:02
Speaker 3: may be worth something someday.
27:05
Speaker 4: Oh yeah, I definitely keep well hold on to that.
27:07
Speaker 5: I actually took a picture of that and shared it
27:09
Speaker 5: on some social media sites and people were like, hey,
27:12
Speaker 5: what movie is this?
27:13
Speaker 4: Where can I get this at?
27:14
Speaker 3: I know?
27:15
Speaker 5: And it was you know, I was like, Hey, check
27:17
Speaker 5: out this campaign. That's where I got it from.
27:19
Speaker 3: It's a great idea, it's it's going to be you know,
27:22
Speaker 3: I always tell people, the more I talk to people
27:24
Speaker 3: in Hollywood, the more I find out it's the kind
27:26
Speaker 3: of movie that everybody wants to see, but nobody wants
27:28
Speaker 3: to make because it's difficult. You know, you have to
27:33
Speaker 3: build that world, you have to create a set, you
27:35
Speaker 3: have to build the north Pole, you have to vision
27:37
Speaker 3: it because you know you can have it be a
27:39
Speaker 3: different North Pole than we've seen before, which is my
27:41
Speaker 3: vision for it. You know, like I said, there's a
27:46
Speaker 3: lot of options in casting. None of them are cheap.
27:49
Speaker 3: By the way, all three of those options that I listed,
27:52
Speaker 3: little people, children, cgi none of those are cheap. And
27:58
Speaker 3: you know, everybody wants to make Zombielles for two hundred
28:01
Speaker 3: thousand dollars and put it out on the market and
28:03
Speaker 3: then just see if it becomes this cult classic. You
28:05
Speaker 3: can't make that film for two hundred thousand dollars. And
28:10
Speaker 3: so it's been a bit of a struggle. But the
28:13
Speaker 3: biggest challenge for me is what is the film? Is
28:17
Speaker 3: it kind of a dark family film like Gremlins. Is
28:22
Speaker 3: it funny and over the top like a Sean of
28:25
Speaker 3: the Dead. Is it violent and gruesome but kind of
28:29
Speaker 3: can't be like a you know, leprechun wasn't that gruesome?
28:31
Speaker 3: But is it kind of a Leprechaun kind of thing
28:34
Speaker 3: where you have kind of the comedic element of these
28:37
Speaker 3: small individuals, you know, because that's kind of funny in itself, really,
28:40
Speaker 3: you know. Or do you just take it really seriously
28:45
Speaker 3: and treat it like just this all out zombie survival story,
28:49
Speaker 3: which is what we did in the first draft, and
28:51
Speaker 3: that didn't really resonate with people. So the biggest challenge
28:55
Speaker 3: for me with this film is really just trying to
28:57
Speaker 3: figure out almost what genre to put it in, but
29:01
Speaker 3: more specifically, what do you want it to be to
29:05
Speaker 3: the audience? A comedy, a slasher film, you know, what
29:09
Speaker 3: is it? That's That's where I'm hung up right now,
29:11
Speaker 3: and I'm getting really close to making that decision. But
29:14
Speaker 3: the choice I'm about to make is not cheap, and
29:17
Speaker 3: so that is its own problem.
29:19
Speaker 5: If you ever want someone who bounced ideas off of Dawn,
29:21
Speaker 5: please feel free to always contact me.
29:23
Speaker 3: Oh sure, absolutely, I would love that.
29:25
Speaker 1: Uh.
29:26
Speaker 3: You know, I'm finishing out my last two short films
29:28
Speaker 3: now that are in post and the than then we
29:30
Speaker 3: are moving into what are we going to do? For
29:32
Speaker 3: our first feature. I don't know Zombiellees is going to
29:34
Speaker 3: be the first feature because it is difficult and expensive
29:36
Speaker 3: and complicated, but it will definitely be the second. I
29:39
Speaker 3: might do a smaller character piece first, but it's it's
29:43
Speaker 3: definitely on the list and it's definitely going to happen.
29:46
Speaker 4: Excellent, and yes, so please keep me informed of what's
29:49
Speaker 4: going on, you.
29:50
Speaker 5: Know, I. You know, I again, I think it's a
29:52
Speaker 5: great idea, and honestly, I think, you know, the marketing
29:54
Speaker 5: in that is so many different creative ways to market
29:58
Speaker 5: that film.
30:00
Speaker 2: We'll be right back after a word from our sponsor
30:06
Speaker 2: and now back to the show.
30:10
Speaker 3: It's almost a no brainer, really, I mean, it almost is.
30:12
Speaker 3: And the reason I love the idea of it right
30:14
Speaker 3: from the beginnings because we initially we were going to
30:16
Speaker 3: do it for that two hundred thousand dollars level and
30:18
Speaker 3: just you know, we because we were thinking, you know,
30:20
Speaker 3: even if this sucks, even if this is like the
30:22
Speaker 3: worst film ever made, it's still going to be a
30:24
Speaker 3: cult classic. You know, there's you almost can't fail with it.
30:29
Speaker 3: And there was a movie called Banks Killing. Yes I've
30:32
Speaker 3: seen that, you know, kind of like that. I mean,
30:34
Speaker 3: they just went in so tongue in cheeks, so campy,
30:37
Speaker 3: low production value. But those guys were just having fun
30:40
Speaker 3: and you know, kind of poking fun at the genres
30:42
Speaker 3: and all that kind of stuff, and it blew up
30:44
Speaker 3: and it did really well and they ended up doing
30:46
Speaker 3: a second movie. So but but I have now that
30:49
Speaker 3: my tastes have evolved, and I I don't think I
30:53
Speaker 3: was ever really comfortable going that route with that film
30:55
Speaker 3: because that's not my style as a producer or director.
30:58
Speaker 3: My style is high production value, high quality. That was
31:03
Speaker 3: never really resonating with me to make the film that way.
31:06
Speaker 5: Yeah, I did. You did mention Seoran on the Dead,
31:09
Speaker 5: and I think that was that is probably the best
31:11
Speaker 5: way to go, h because when I heard the concept
31:14
Speaker 5: of the movie, I mean, even something so much short
31:16
Speaker 5: on the Dead would be hilarious.
31:19
Speaker 3: Well it would, But honestly, the you know, the difficult
31:21
Speaker 3: part is is I've had the honor of working with
31:23
Speaker 3: several little people throughout this process. We did some castings.
31:27
Speaker 3: We we actually in our Indiegogo video needed someone. We
31:32
Speaker 3: did some zombie walks where we had uh, you know,
31:35
Speaker 3: some people dressed up as zombie elves and that was
31:37
Speaker 3: really funny. And people love that, and it took a
31:39
Speaker 3: lot of pictures. But I have a huge amount of
31:42
Speaker 3: respect for them, and I just want to be very
31:46
Speaker 3: careful in this film that we're not poking fun at them.
31:50
Speaker 3: You know. It's like, I want the care if we
31:52
Speaker 3: do go with little people as the Elves, I want
31:55
Speaker 3: to treat them with the utmost respect and I want
31:57
Speaker 3: them to be serious characters and have serious story lines
32:00
Speaker 3: and character arcs and emotional conflicts and interactions with each other.
32:06
Speaker 3: And so it's you know, it's like I I teeter
32:12
Speaker 3: back and forth on how funny do I really want
32:15
Speaker 3: it to be? There's some you know what I'm saying.
32:17
Speaker 3: It's like it's it's it's a challenge. It's a real challenge. Yeah.
32:21
Speaker 4: Yeah, I definitely know what you mean.
32:22
Speaker 5: And you know, you're always you know, wanting to know
32:25
Speaker 5: that you don't actually make fun of them, but you know,
32:28
Speaker 5: I honestly I think you would. You would hit the
32:31
Speaker 5: perfect mix of you know, humor and horror and you know,
32:34
Speaker 5: without going over the top. But then again, you know, again,
32:37
Speaker 5: if you ever want to, you know, outside these if
32:39
Speaker 5: someone please let me.
32:39
Speaker 3: Know absolutely, And I appreciate that. And as I've gotten
32:43
Speaker 3: more comfortable in my director's hat. I've I've realized that
32:48
Speaker 3: almost the thing that almost all my films have in
32:50
Speaker 3: common is an emotional intimacy. And I think, well, except
32:56
Speaker 3: for one comedy that I did that really was just
32:58
Speaker 3: kind of a straight out comedy, but all the other
33:00
Speaker 3: films really have really a very intense emotional thread to them.
33:05
Speaker 3: So I think a lot of people would question if
33:07
Speaker 3: I'm the right person to do zombielles, and I would
33:09
Speaker 3: say I absolutely am, because I because I would bring
33:12
Speaker 3: that to the table.
33:15
Speaker 4: Yeah, I know, I know what you mean about you.
33:17
Speaker 5: Sometimes the comedies can just be comedies, because I've done
33:21
Speaker 5: that too. Like I made a short film one time
33:23
Speaker 5: and it was literally, i'm sorry, a feature film and
33:26
Speaker 5: it was literally just you know, uh going over the
33:30
Speaker 5: top every each every time, and it was it was
33:33
Speaker 5: what I used as a student film, and literally that's
33:35
Speaker 5: what I used to you know, to cut my own
33:37
Speaker 5: teeth on.
33:37
Speaker 4: And it was just, you know, if you weren't in
33:40
Speaker 4: on the joke, let's say it on.
33:41
Speaker 5: People just like either thought this was so ridiculous, so
33:44
Speaker 5: we glad you got it, or like some people were
33:45
Speaker 5: like I don't get this at all.
33:46
Speaker 4: Dave, and I'm like, you know, I completely understand.
33:49
Speaker 3: You know, well, I learned really on when I was
33:51
Speaker 3: in development at that company I was telling you about
33:53
Speaker 3: I would get I would come across some comedy scripts
33:55
Speaker 3: that I just thought were goald that I loved, and
33:57
Speaker 3: I would send them out to some agents who specialized
34:00
Speaker 3: in comedy, and they just wouldn't get it. They wouldn't
34:01
Speaker 3: think it was funny. So I learned really early on
34:04
Speaker 3: that what they say is true comedy is subjective.
34:07
Speaker 5: Oh absolutely, you know. I was actually just talking to
34:10
Speaker 5: Steve Kaplan today. Steve Kaplan, you know, uh, he does
34:14
Speaker 5: his comedy excuse me Kaplincomedy dot com and he is
34:18
Speaker 5: all about you know, these seminars and he also has
34:21
Speaker 5: his own book. His book is probably the best book
34:23
Speaker 5: on comedy I've ever read, and it opened my eyes
34:26
Speaker 5: to what people find funny. How come I find something
34:29
Speaker 5: funny but you don't. It's kind of like that dress.
34:32
Speaker 5: Everyone saw a line. Some people saw golden.
34:35
Speaker 3: Yeah, what code did you see?
34:37
Speaker 4: I saw golden white?
34:40
Speaker 3: Yeah? Me too, me too. That's kind of crazy, but uh.
34:45
Speaker 4: But yeah, I'm sorry not to segue too far before.
34:50
Speaker 5: Ye, So dresses and everything, Yeah, I was actually gonna
34:53
Speaker 5: go into color theory too, and that's why I was like,
34:55
Speaker 5: let me stop myself, because so, you know, but yea,
35:00
Speaker 5: if you ever get a chance to, I highly recommend
35:01
Speaker 5: his book. And his name was, again is Steve Kaplan,
35:04
Speaker 5: and he's actually been on the podcast and he is
35:06
Speaker 5: absolutely phenomenal.
35:08
Speaker 4: At this stuff.
35:09
Speaker 3: So great.
35:10
Speaker 5: So okay, so after Zombie Els, after you knew, you know,
35:13
Speaker 5: at that point in time, you know, you didn't have
35:15
Speaker 5: the you know, the right amount of resources to make that.
35:18
Speaker 4: You know, what project did you move on to after that?
35:21
Speaker 3: Well? It was interesting because I had built enough of
35:24
Speaker 3: a following on Facebook at this point where I'm like,
35:26
Speaker 3: you know what, I know a bunch of writers. Let
35:28
Speaker 3: me just see if I can find a ten page
35:30
Speaker 3: script or less, something that's easy to shoot that we
35:32
Speaker 3: can just do over a weekend for very little money.
35:34
Speaker 3: And let's just do that. So I put out a
35:37
Speaker 3: call on my Facebook for scripts and I got over
35:39
Speaker 3: three hundred responses. Wow, and yeah, it was incredible, And
35:45
Speaker 3: so we narrowed that down to the top fifteen and
35:47
Speaker 3: we announced that on Facebook, and then we got it
35:49
Speaker 3: to the top ten and announced that in the top
35:51
Speaker 3: five and then the top three, and everybody was so
35:53
Speaker 3: excited every time, you know, we made the announcement of
35:56
Speaker 3: who had made the cut, and the final three scripts.
35:59
Speaker 3: I kind of liked all of them, so I sent
36:02
Speaker 3: them out to about a dozen friends of mine and
36:04
Speaker 3: colleagues who I trusted, and hands down, the winning script
36:07
Speaker 3: was a script called Fragment. And this was a short
36:10
Speaker 3: script written by a UK writer named Carly Street. And
36:15
Speaker 3: I can't really say what the script is about because
36:18
Speaker 3: there's a there's a twist in it to this day
36:19
Speaker 3: that I still don't like to give away. But it
36:21
Speaker 3: was this very powerful script. You think it's one thing.
36:24
Speaker 3: You think it's like this horror film and this kind
36:26
Speaker 3: of torture porn kind of movie, and then in the
36:28
Speaker 3: end you kind of realize it's something completely different. And
36:34
Speaker 3: but Carly's script took place over like five different locations,
36:38
Speaker 3: one of them being a grocery store, one of them
36:40
Speaker 3: being a hospital, and a lot in many parts of
36:44
Speaker 3: the hospital not just a room, but a room in
36:46
Speaker 3: a hallway and a bathroom. So we'd have to have
36:48
Speaker 3: like a bit like a real hospital, not just a
36:50
Speaker 3: one room set. And anybody in LA knows that those
36:55
Speaker 3: are not expensive and not easy to get. So I'm like, well,
36:58
Speaker 3: how am I going to do this? So I put
37:00
Speaker 3: my producer had on and I said, Carly, what do
37:03
Speaker 3: you think about? You know? She she had won one
37:06
Speaker 3: hundred and fifty dollars cash for the script and that
37:08
Speaker 3: we were going to make it, so it was a
37:09
Speaker 3: pretty good deal for her. So we own the script
37:11
Speaker 3: at that point, and I said, Carly, what do you
37:13
Speaker 3: think about? Do you mind if I go in and
37:17
Speaker 3: just kind of make it all happen. I'd asked her
37:19
Speaker 3: to do it initially. I said, you know, do you
37:21
Speaker 3: think you could go in and make this all happen
37:23
Speaker 3: in one location? And she said, yeah, yeah, I'll do that.
37:25
Speaker 3: So she went in and she did a great job,
37:27
Speaker 3: but it's still there were still some other locations in there.
37:29
Speaker 3: It still wasn't exactly what I was hoping for. So
37:32
Speaker 3: I said to her, I'm like, you know, do you
37:34
Speaker 3: mind if I go in and take a stab at it?
37:36
Speaker 3: Because I think I know what I want? And she
37:38
Speaker 3: said she said, yeah, yeah, absolutely, no problem please. And
37:41
Speaker 3: I think this is the first time I started thinking
37:44
Speaker 3: like a director, and I didn't even know it yet
37:46
Speaker 3: because I was still just producing at the time. But
37:49
Speaker 3: I went in and something I chanced, I channeled something.
37:52
Speaker 3: I don't know what came over me, but I just
37:54
Speaker 3: really started resonating with the story, and I went in
37:56
Speaker 3: and I made the whole thing happen inside the house.
38:00
Speaker 3: And once I started sending that script out to people
38:05
Speaker 3: for feedback, it was just overwhelming. People were like, Oh
38:09
Speaker 3: my god, Oh my god. And I'm like, you know what, guys,
38:11
Speaker 3: We're onto something here. This isn't this little, no budget,
38:14
Speaker 3: two day weekend script with a bunch of volunteers. This
38:17
Speaker 3: is like a really powerful film now. And it kept
38:19
Speaker 3: getting bigger and bigger and bigger. Maybe too big honestly
38:22
Speaker 3: in hindsight, but it just took on this massive life
38:25
Speaker 3: of its own. And then we started thinking, well, what
38:27
Speaker 3: actors can we get in this. We started sending the
38:29
Speaker 3: script out to some agents, and some big agents actually,
38:33
Speaker 3: and the response was unbelievable. There was all these actors
38:36
Speaker 3: that were dying to do it for free and they
38:37
Speaker 3: wanted to be a part of it. And there was
38:39
Speaker 3: even an agent at the Abrams agency that told me
38:42
Speaker 3: it was the most powerful short script she'd ever read.
38:45
Speaker 3: And so we just started going, Oh my god, we're
38:47
Speaker 3: really onto something here, and we changed the title of
38:50
Speaker 3: the script to Shattered Love. So this is the story
38:53
Speaker 3: of how Shattered Love got started. So we we realized
39:01
Speaker 3: pretty quickly that we needed some money to keep this going,
39:04
Speaker 3: to make this happen. So I took everything I had learned,
39:08
Speaker 3: because the other thing I learned from Zombie Elves is
39:11
Speaker 3: I did not factor in the ship the shipping and
39:16
Speaker 3: handling and postage for all those perks. I sent out
39:20
Speaker 3: each one of those envelopes that had a calendar and
39:22
Speaker 3: a T shirt, and it cost three dollars and fifty
39:23
Speaker 3: cents to ship. And that was in addition to the envelopes,
39:29
Speaker 3: the labels, the time, the cost of putting it all together,
39:32
Speaker 3: the cost of manufacturing the shirts, getting the calendars printed.
39:35
Speaker 3: I mean, it took the whole four thousand dollars that
39:38
Speaker 3: I raised just to get all those perks fulfilled. So
39:40
Speaker 3: when I did the next campaign, that was the lesson
39:43
Speaker 3: I learned with that is, no more physical perks from
39:46
Speaker 3: now on, I'm only going to give like digital perks
39:49
Speaker 3: and things that don't have to be manufactured or shipps.
39:52
Speaker 3: That was a really that was a second big lesson.
39:54
Speaker 3: The first is have a fan base.
39:56
Speaker 2: First, we'll be right back after a wh from our sponsor,
40:04
Speaker 2: and now back to the show.
40:07
Speaker 3: And the second is limit the stuff you're actually manufacturing
40:11
Speaker 3: and shipping out because the cost of that will be
40:15
Speaker 3: thirty percent of what you're trying to raise. So what
40:19
Speaker 3: I did is, I'm like, well, what do we have
40:21
Speaker 3: asset wise? I'm like, we have a really powerful script.
40:23
Speaker 3: So I created an Indigogo campaign for two weeks, and
40:28
Speaker 3: I didn't have a director, I didn't have any actors
40:30
Speaker 3: attached yet. All I did was scan those script pages
40:33
Speaker 3: and post them as images on the Indigogo wall. And
40:37
Speaker 3: I because I didn't want people to have to click
40:38
Speaker 3: on a link. I wanted to just be able to
40:40
Speaker 3: read the script as soon as they landed on the
40:42
Speaker 3: campaign page. And in two weeks I had raised over
40:44
Speaker 3: five thousand dollars just based on the strength of the script.
40:50
Speaker 3: And the script, by the way, was only seven pages.
40:54
Speaker 3: So that was our first funding campaign. Then we got
40:58
Speaker 3: some actors attached, we got a direct attached. We ran
41:00
Speaker 3: a second two week campaign and raised another five thousand
41:03
Speaker 3: dollars and then but from that from that point on,
41:07
Speaker 3: everything started growing. We wanted the best DP. We wanted
41:10
Speaker 3: the best location, we wanted insurance, we wanted to be
41:12
Speaker 3: able to pay people, We wanted all this kind of stuff.
41:14
Speaker 3: Next thing we know, we have a sixty thousand dollar budget,
41:18
Speaker 3: and I think, in hindsight, honestly, it just got too
41:23
Speaker 3: big for its own bredches. It just kept getting bigger
41:26
Speaker 3: and bigger and bigger, and honestly, I think the film
41:30
Speaker 3: itself probably would have been better off in the long
41:32
Speaker 3: run if we had just done it really small and
41:34
Speaker 3: simple with unknown actors right from the start. It certainly
41:38
Speaker 3: would have saved us from the calamity that that happened
41:41
Speaker 3: shortly afterwards. But anyway, so we had we had, we'd
41:46
Speaker 3: cast some name actors that we ended up not really being,
41:52
Speaker 3: not really resonating with. Through the course of the rehearsal
41:54
Speaker 3: process and some other processes that we went down, we
41:58
Speaker 3: decided that we kind of weren't happy with the direction
42:01
Speaker 3: that the film was going in. I wasn't happy with
42:03
Speaker 3: the director. I had gone through three directors at this point,
42:07
Speaker 3: and all of them had disappointed me, had tried to
42:09
Speaker 3: change the script. The one thing we knew was solid
42:12
Speaker 3: was that damn script, and they kept trying to change it,
42:15
Speaker 3: and that was a huge sticking point with me. So
42:18
Speaker 3: we just kind of stopped the whole process. Let all
42:22
Speaker 3: the directors go, let all the actors go. I'm like,
42:25
Speaker 3: this isn't working well. We kept one of the actors.
42:29
Speaker 3: We kept the female lead actor because she was we
42:31
Speaker 3: always really liked her a lot. So we shut everything down.
42:36
Speaker 3: We regrouped, and my team kept telling me. They're like,
42:39
Speaker 3: don you're not happy with these directors for a reason.
42:41
Speaker 3: We think you need to direct it. And I'm like, no,
42:44
Speaker 3: I gave up directing a long time ago. I didn't
42:46
Speaker 3: do so well my first time out. I realized I
42:48
Speaker 3: was a better producer than I am a director. It's like,
42:50
Speaker 3: I don't know if I want to go down that
42:51
Speaker 3: road again. But they're like, no, no, you have a
42:53
Speaker 3: vision for this. You have to do it. So I
42:55
Speaker 3: stepped up as director. We hired some unknown actors, cast
43:00
Speaker 3: some unknown actors. We raised about by this time, including
43:05
Speaker 3: the money we had already raised plus the new batch
43:07
Speaker 3: of money to shoot on. We had raised about fifty
43:09
Speaker 3: thousand dollars. So we rented a stage, we got our
43:13
Speaker 3: actors involved, we set everything up. I was so excited.
43:16
Speaker 3: I told everybody I'm like, guys, I'm an inexperienced director.
43:19
Speaker 3: I need a lot of support around me. I'm telling
43:20
Speaker 3: you right now, I don't really know what I'm doing.
43:22
Speaker 3: You guys have to help me through this process. Well, unfortunately,
43:27
Speaker 3: I made some unfortunate decisions with the people that I hired,
43:30
Speaker 3: and the film shut down a day and a half
43:33
Speaker 3: after shooting. It was a three day shoot. It shut
43:35
Speaker 3: down at lunch on day two. The biggest problem being
43:41
Speaker 3: the art department really screwed up and they could never
43:45
Speaker 3: get They started late day one, they never got caught up,
43:48
Speaker 3: and literally by day two we had no rooms that
43:51
Speaker 3: were dressed and ready to shoot in. And I didn't
43:53
Speaker 3: have enough experience as a director to deal with that
43:56
Speaker 3: and to figure out how to make that work. So
44:00
Speaker 3: it was really an unfortunate situation. I found out afterwards
44:04
Speaker 3: that the art department had been on two different shows
44:07
Speaker 3: at the same time, and the six days of prep
44:10
Speaker 3: that we had agreed to got done in the twenty
44:13
Speaker 3: four hours prior to my shoot. They tried to cramp
44:16
Speaker 3: six days of prep into literally twenty four hours around
44:19
Speaker 3: the clock before our seven o'clock am call time, And
44:22
Speaker 3: you can imagine the art department. Van didn't even show
44:25
Speaker 3: up to the set, so it was just I don't know,
44:29
Speaker 3: It's like a comedy of errors. It was like, oh
44:31
Speaker 3: my god, I'm like, how are all these tragic, horrible
44:33
Speaker 3: things happening to this beautiful script? I was like, how
44:36
Speaker 3: is this possible? And about sixteen thousand of that money
44:42
Speaker 3: had been crowdfunded. It was people who donated, and so
44:45
Speaker 3: I was heartbroken. I didn't know what to do because
44:47
Speaker 3: and tens of thousands of that was money that I borrowed,
44:50
Speaker 3: that I put in that I had to pay back personally.
44:53
Speaker 3: So it was heartbreaking. It was absolutely the most devastating
44:59
Speaker 3: thing that's ever had happened to me. And I blamed
45:02
Speaker 3: everybody else at first because I was angry and I
45:04
Speaker 3: was upset at the financial loss and the fact that
45:08
Speaker 3: my film had gone through that. And I went to
45:16
Speaker 3: a deep dark place for about three months. I curled
45:18
Speaker 3: up into a ball and I went to a really
45:20
Speaker 3: dark place, and I finally started accepting my responsibility as
45:24
Speaker 3: the director. Because the thing is the thing about directing
45:26
Speaker 3: that people don't understand. It's want. It's a very vulnerable position,
45:30
Speaker 3: and too you're responsible for everything that goes up on
45:33
Speaker 3: the screen, whether it was your fault or not. Other
45:36
Speaker 3: people can make mistakes and not do their jobs, but
45:38
Speaker 3: it's still your fault. Now, the good news is that
45:42
Speaker 3: if it does go well, you also get most of
45:44
Speaker 3: the glory, so it's kind of good news bad news.
45:47
Speaker 3: But on that particular film, I think people particularly pointed
45:51
Speaker 3: the finger at me, and that was really tough, and
45:56
Speaker 3: I thought about leaving the business. I had convinced myself
45:59
Speaker 3: that I wasn't right for this industry and I was
46:01
Speaker 3: about to pick up everything I owned and moved to
46:03
Speaker 3: LA and move out of LA and just go do
46:05
Speaker 3: something else for a living. And that lasted about thirty
46:10
Speaker 3: six hours. And then something clicked in me, something kicked out,
46:15
Speaker 3: and I don't know, the warrior in me stood up.
46:17
Speaker 3: I picked myself up, I dust myself off, and I said,
46:20
Speaker 3: and I said, you know what, I'm not going down
46:21
Speaker 3: that way. This is what I want to do. It's
46:24
Speaker 3: what I've always want to do. There's nothing else I
46:25
Speaker 3: want to do, and I've got to figure out how
46:28
Speaker 3: to make this work. And so I went on this tear.
46:31
Speaker 3: I went on this mission to direct as many films
46:34
Speaker 3: as I could possibly get my hands on. So that
46:36
Speaker 3: I would have enough experience to be able to handle
46:39
Speaker 3: something like that better in the future, because mistakes always happen,
46:43
Speaker 3: things always go wrong on a film set, and I
46:46
Speaker 3: just clearly I just wasn't simply wasn't ready to handle it.
46:50
Speaker 3: I wasn't prepared, didn't have the experience. So I and
46:57
Speaker 3: I felt, you know, I felt an obligation to all
46:59
Speaker 3: the owners who had donated to that film. I mean,
47:01
Speaker 3: I could have just shut it down and not moved
47:03
Speaker 3: on and said, Okay, guys, you know it's too bad.
47:05
Speaker 3: This mistake happened. We had some people that screwed up,
47:08
Speaker 3: I screwed up, are bad my mistake. You know that
47:12
Speaker 3: We're going to accept that loss and move on. But
47:15
Speaker 3: that's not who I am, and that's not what I'm
47:17
Speaker 3: made of. I'm like, I'm going to get this movie
47:19
Speaker 3: made if it kills me. Literally. I said that, and
47:22
Speaker 3: I still do this day. Mean it. I meant it
47:24
Speaker 3: when I said that.
47:28
Speaker 5: So when you actually got with the art department, you've
47:30
Speaker 5: actually found that out.
47:31
Speaker 4: Did they actually admit it right away?
47:33
Speaker 3: Oh yeah?
47:34
Speaker 4: Okay, oh yeah, oh yeah.
47:36
Speaker 3: I had no idea actually, and I kind of wish
47:39
Speaker 3: he hadn't told me, because when he told me, I
47:40
Speaker 3: went ballistic. I was, Oh my god, I've never been
47:46
Speaker 3: so angry and so upset in my life this one.
47:49
Speaker 3: You know, he admitted it.
47:50
Speaker 5: Wow, I mean that is you know, uh, you know,
47:55
Speaker 5: one of the pretty bad story because you know, uh,
48:00
Speaker 5: some of other people have been on to where they've
48:01
Speaker 5: had you share their war stories as well, and you know,
48:06
Speaker 5: it is all about, you know, putting together that team.
48:09
Speaker 5: And sometimes you do hire people who just they project
48:13
Speaker 5: themselves as one way and then you find out they're
48:16
Speaker 5: either lying or they just you know, or just maybe
48:20
Speaker 5: a sociopath.
48:22
Speaker 3: Well here's what I've come to realize with a little
48:24
Speaker 3: bit of hindsight. This is a tough business and the
48:28
Speaker 3: economy is really bad, and they really all they're guilty of.
48:33
Speaker 3: And I hate to sound like I'm condoning it or
48:35
Speaker 3: even forgiving it. I guess I have forgiven it at
48:37
Speaker 3: this point. But in this industry it's called double dipping.
48:41
Speaker 3: And what he had done was the show he was
48:44
Speaker 3: working on prior to that ran long and I think
48:48
Speaker 3: he truly, honestly, I think he was coming from a
48:50
Speaker 3: good place. I think he had he wanted to be
48:52
Speaker 3: loyal to them and finish out that job. But he
48:55
Speaker 3: also wanted to be loyal to me and not quit
48:57
Speaker 3: or leave me hanging. But I honestly think he thought
49:01
Speaker 3: he could do it in twenty four hours. But to
49:04
Speaker 3: some extent, that was disrespectful to me and my project
49:06
Speaker 3: to think that you could cram six days of prep.
49:09
Speaker 3: You know, we decided and agreed on six days of
49:11
Speaker 3: prep for a reason. It was a big show. It
49:14
Speaker 3: was a huge art department show. We were working on
49:16
Speaker 3: a set and everything had to be built and set
49:19
Speaker 3: dressed from scratch. It was a huge job, and he
49:21
Speaker 3: had four people on his team to make that happen
49:25
Speaker 3: on the day. But it just I don't know's I'm
49:32
Speaker 3: trying to try to understand the situation. In hindsight, he
49:37
Speaker 3: really should have just told me his job got extended
49:40
Speaker 3: and that I should hire somebody else. In hindsight, that's
49:42
Speaker 3: what it should have happened. But you know, he was
49:44
Speaker 3: trying to satisfy me, to try to satisfy the other
49:47
Speaker 3: production he was working on, and unfortunately for him, it
49:50
Speaker 3: just it didn't work out.
49:52
Speaker 2: We'll be right back after a word from our sponsor,
49:58
Speaker 2: and now back to the show.
50:03
Speaker 3: Now, was he the only reason the show was troubled,
50:06
Speaker 3: Absolutely not. There were other problems. There were other issues
50:09
Speaker 3: that the show didn't shut down because of that. I
50:12
Speaker 3: wasn't doing a very good job as director because I
50:14
Speaker 3: was rattled by the whole art department thing. We had
50:17
Speaker 3: to We had a very specific shooting schedule that we
50:19
Speaker 3: had to do so the art department could keep up
50:22
Speaker 3: because it was very ambitious, and when when an art
50:25
Speaker 3: department arrived on the set that morning with no van,
50:29
Speaker 3: it screwed up the whole schedule, and that threw me
50:31
Speaker 3: off my game, and I was just flustered and rattled
50:33
Speaker 3: the whole time. So would the film have probably turned
50:37
Speaker 3: out poorly and had to have been reshot anyway? Probably,
50:41
Speaker 3: I can honestly say it probably would have, but at
50:44
Speaker 3: least we would have finished it and maybe something would
50:46
Speaker 3: have been salvageable. But the way it went down, it
50:49
Speaker 3: shut down because there was there were no rooms available
50:52
Speaker 3: to shoot.
50:55
Speaker 5: So you know, when you went onto your next project,
50:59
Speaker 5: did you ever even any of the same crew.
51:01
Speaker 4: Was there a completely new cast and crew?
51:06
Speaker 2: Well?
51:09
Speaker 3: No, it was a completely different. I mean, I have
51:11
Speaker 3: my core people, I hit Ya James and Debbie Rankin
51:15
Speaker 3: Uh they they've stayed with me as part of my
51:18
Speaker 3: core team. But no, not. And there's a couple of
51:21
Speaker 3: crew people that I enjoyed working with. It wasn't their
51:23
Speaker 3: fault that I have worked with since, but no, for
51:25
Speaker 3: the most part. Two nine was our next film after that,
51:28
Speaker 3: and that was a whole different cast and crew.
51:31
Speaker 5: You touched on something too, with the experienced director. You know,
51:34
Speaker 5: I actually think it's good that you said that, because
51:37
Speaker 5: I think it's you know, there was only once told
51:39
Speaker 5: me when I first started that you know, the director
51:41
Speaker 5: is the only person on set who doesn't need to
51:44
Speaker 5: have any experience, and they sign that the centhotographer's got
51:47
Speaker 5: to know how to do all his his or her work,
51:50
Speaker 5: the actors, everybody else, but really the director doesn't have
51:54
Speaker 5: to have a certain x amount of experience. And you know,
51:59
Speaker 5: I think that it's good in a way because when
52:02
Speaker 5: you actually mentioned that, like I need support, I think
52:05
Speaker 5: it really at least you're up and honest with the
52:07
Speaker 5: crew and that way, at least you know you're on
52:10
Speaker 5: the same page there, so you know, they're not too
52:12
Speaker 5: many expectations.
52:14
Speaker 3: Well, it's it's not so much that I was afraid
52:17
Speaker 3: of expectations it's just I literally needed the help. It's
52:21
Speaker 3: you know, it's like, honestly, it's like, I you know,
52:23
Speaker 3: I've never I haven't done this in twenty years. And
52:26
Speaker 3: you know, I know the importance of a good DP
52:28
Speaker 3: and I know the importance of a good production designer.
52:30
Speaker 3: Those are the two people that you lean on the most.
52:33
Speaker 3: And unfortunately, in this situation, you know, those things didn't
52:36
Speaker 3: work out so well. You know, it's unfortunate, and I
52:41
Speaker 3: went to a really bad place and I almost didn't
52:43
Speaker 3: recover from it quite honestly. But it's interesting how something
52:49
Speaker 3: deep inside once it's funny, once I made my peace
52:51
Speaker 3: with that, and you know, I debated and debated. Once
52:53
Speaker 3: I made my peace with it and decided I was
52:55
Speaker 3: going to leave LA and where am I? What city
52:57
Speaker 3: am I going to move to? And what job am
52:58
Speaker 3: I going to do? Now? Once I made my peace
53:00
Speaker 3: with it and kind of decided that's what I was
53:02
Speaker 3: going to do, that's when that little thing, that little
53:05
Speaker 3: warrior deep inside me finally was allowed to come back
53:08
Speaker 3: up and say, oh no, you're not going down like that.
53:11
Speaker 3: But it wasn't time I made my peace with it.
53:14
Speaker 3: That my true desires and my true nature kicked in,
53:18
Speaker 3: and I wonder if some people don't wait long enough,
53:21
Speaker 3: if that doesn't happen for them soon enough, and then
53:23
Speaker 3: they end up giving up on something and moving on
53:25
Speaker 3: to something that they're not happy with. It makes me wonder.
53:29
Speaker 3: But it took me about thirty six hours before that
53:31
Speaker 3: little warrior stood up and said, huh huh. That's not
53:35
Speaker 3: gonna be your that's not gonna be your history, that's
53:37
Speaker 3: not going to be your bio.
53:39
Speaker 4: Yeah, you know, you made a good point there.
53:41
Speaker 5: I was this in a seminary ES today with Corey Mandel.
53:44
Speaker 5: He was just on the podcast too, and he actually
53:46
Speaker 5: mentioned about this where if you have like a mine's theater,
53:50
Speaker 5: and he said, you know, there's all sorts of people
53:53
Speaker 5: in the audience, and he said the people in the
53:55
Speaker 5: front row are the ones who are really controlling the show.
53:59
Speaker 5: And he said, you know, if you have too much negativity,
54:02
Speaker 5: and he goes to this whole thing and in this books,
54:04
Speaker 5: but he says, you go too much negativity and there's
54:06
Speaker 5: people always in the front row, that's where you start
54:08
Speaker 5: getting all these doubts, and that's where you start getting
54:11
Speaker 5: all these you know, you can't do this. You can't
54:12
Speaker 5: do that, and basically, you know, and part of it is,
54:17
Speaker 5: you know, uh, you know, not only just our self
54:20
Speaker 5: doubts and self sabotage, but it's just you know, almost
54:23
Speaker 5: like our body's natural way to react sometimes it is
54:26
Speaker 5: almost like a fear, a fear response. Yeah, so you know,
54:30
Speaker 5: and he says, you know, these things all tie in together.
54:33
Speaker 5: H And which is why you know, sometimes we're writing,
54:36
Speaker 5: you're saying, oh, this sucks, and we just sometimes somebody
54:38
Speaker 5: would never come back. I mean, I've known screenwriters who
54:41
Speaker 5: they started writing the script and they started before me
54:44
Speaker 5: and I you know, run into them nowadays and it's
54:47
Speaker 5: just they I'm not in it anymore. I'm you know,
54:50
Speaker 5: doing whatever now. As you know, I always find that
54:52
Speaker 5: kind of interesting.
54:53
Speaker 3: M Yeah, you know, and I, like I said, it
54:57
Speaker 3: makes me question do people wait long enough sometimes for
55:01
Speaker 3: that warrior to kick in or they just give up?
55:03
Speaker 3: I know maybe some people don't have it. I don't know.
55:07
Speaker 5: So, you know, so after you know, Shattered Love and
55:11
Speaker 5: you finally were to pull yourself together, you know, what
55:13
Speaker 5: project did you work on after that?
55:15
Speaker 3: Well? I was determined at that point to prove that
55:18
Speaker 3: the film didn't shut down because of me. Would it
55:20
Speaker 3: have been poorly directed, probably because I didn't know what
55:22
Speaker 3: I was doing and I didn't have the right support
55:24
Speaker 3: around me. But I really wanted to prove that I
55:27
Speaker 3: have twenty years of experience in this business. I've worked
55:30
Speaker 3: on big budget movie sets. I know my shit. I
55:33
Speaker 3: was trained by some of the best ads in this country.
55:36
Speaker 3: I know how movies work, and I know how a
55:38
Speaker 3: film set works, and I know how to get a
55:40
Speaker 3: movie made. So I just I just became hell bent
55:43
Speaker 3: on proving to people that that I was capable and
55:46
Speaker 3: I was I was able to do this. So I
55:52
Speaker 3: was inspired by a workshop that I took one day
55:57
Speaker 3: to write a script called two O nine and two
55:59
Speaker 3: O nine was a very simple story two guys in
56:01
Speaker 3: a hotel room. And my theory was, what's the worst
56:04
Speaker 3: thing that could happen between two dudes in a hotel
56:06
Speaker 3: room who have come together for some very dramatic reason.
56:10
Speaker 3: And I came up with this story about a childhood
56:14
Speaker 3: friend who had ten years prior accidentally murdered his best
56:18
Speaker 3: friend's little sister and he's come back ten years later
56:21
Speaker 3: to confess. And so we cast our actors. We raised
56:27
Speaker 3: about seventy nine hundred dollars on Indiegogo for that one,
56:31
Speaker 3: and that one reached. That one exceeded its goal. We
56:33
Speaker 3: made our goal on that one, and we had a
56:36
Speaker 3: set built and we were all ready to go, and
56:38
Speaker 3: we shot it, and you know, there were some issues still.
56:41
Speaker 3: I was still trying to figure out how to work
56:43
Speaker 3: properly with the DP, how to communicate, how to get
56:46
Speaker 3: my vision across, how to command and control a crew.
56:49
Speaker 3: And by the way, I do not agree with the
56:51
Speaker 3: statement that a director has to be the least experienced
56:53
Speaker 3: person on the set. That has not been my experience whatsoever.
56:56
Speaker 3: Mine has been the opposite. My experience has been the
56:59
Speaker 3: director absolutely has to know every single thing that needs
57:02
Speaker 3: to happen, and they need to know how to tell
57:04
Speaker 3: the crew to do it, and how to express their
57:07
Speaker 3: vision and how to communicate that vision so that everyone
57:09
Speaker 3: could execute it. That's been my experience, and I still
57:13
Speaker 3: hadn't really gotten very good at that, So there were
57:16
Speaker 3: some struggles on two on nine. It didn't really turn
57:18
Speaker 3: out the way I wanted. The story I think was
57:21
Speaker 3: still smaller and more contained than I had hoped, and
57:27
Speaker 3: it just wasn't the pe It wasn't the redemption piece
57:30
Speaker 3: that I wanted it to be, and I was very
57:32
Speaker 3: much seeking redemption at this point. I was hell bent
57:35
Speaker 3: on redemption. At this point it meant everything to me.
57:39
Speaker 3: I was determined to build up a good director's reel
57:42
Speaker 3: to prove myself. So James and I had many, many
57:45
Speaker 3: conversations about do we attempt it again and what do
57:49
Speaker 3: we do? Do we just let it go and move on?
57:52
Speaker 3: And at the end of the day, we both agreed
57:54
Speaker 3: that the kernel of the two on nine story was
57:57
Speaker 3: good enough where if we embellished it more and really
58:01
Speaker 3: took that little seed of an idea and really fleshed
58:04
Speaker 3: it out, it could be like this really moving, impactful film.
58:09
Speaker 3: And so we made the decision, even as tough as
58:11
Speaker 3: it was, to rewrite, not rewrite, but to embellish the script,
58:17
Speaker 3: make it longer, build more character arc, more character background,
58:21
Speaker 3: more character history, really tell that whole complete story, not
58:24
Speaker 3: just a moment in time, but build this whole story
58:27
Speaker 3: and raise the money again and shoot it properly. So
58:31
Speaker 3: that's what we did, and two o nine became Found
58:35
Speaker 3: and I'm extremely proud of Found. We just submitted it
58:41
Speaker 3: a couple months ago to the twenty fifteen Idlewild International
58:45
Speaker 3: Festival of Cinema. It was the first and only festival
58:50
Speaker 3: that we had submitted to at the time. It was
58:53
Speaker 3: my first time in competition as a director, and I'm
58:57
Speaker 3: thrilled to say that we won Best Short Film, a
59:00
Speaker 3: Best Director award, and we were nominated for Best Cinematography
59:03
Speaker 3: and Best Score.
59:05
Speaker 4: Oh wow, congratulations, thank you.
59:07
Speaker 3: And it changed everything. I mean, that redemption that I
59:09
Speaker 3: was looking for and that success that I was hoping
59:12
Speaker 3: would launch me and kind of make me relevant and
59:15
Speaker 3: make people take notice. That film did that, and that
59:17
Speaker 3: was exactly what I wanted it to do. I wanted
59:19
Speaker 3: a I wanted a film to do that, and if
59:21
Speaker 3: it wasn't going to be that film, I'd have to
59:23
Speaker 3: just put all my efforts into the next film and
59:26
Speaker 3: make that film the film that did that. But fortunately
59:28
Speaker 3: for us, the very next film that we launched after
59:31
Speaker 3: Shattered Love, shut Down ended up even though we went
59:34
Speaker 3: through a lot of trials and tribulations and quite a
59:36
Speaker 3: bit of expense with it ended up being a huge,
59:38
Speaker 3: phenomenal success. And yeah, it's just it's blown me away.
59:43
Speaker 3: It's exceeded all my expectations and it's finally giving me
59:47
Speaker 3: a little bit of sense of confidence that I can
59:50
Speaker 3: do this, even though I know I still have so
59:52
Speaker 3: much to learn.
59:54
Speaker 2: We'll be right back after a word from our sponsor,
1:00:00
Speaker 2: and now back to the show.
1:00:03
Speaker 4: So when did you actually make fragil Store with Lance Hendrickson?
1:00:09
Speaker 3: Okay, So what it happened was when so so we
1:00:19
Speaker 3: had done Because here's there was a time where I'm like,
1:00:22
Speaker 3: oh my god, this is like crazy. You know, Shattered
1:00:24
Speaker 3: Love didn't work out, and then two nine wasn't the
1:00:27
Speaker 3: film I wanted it to be. It's like, oh my god,
1:00:29
Speaker 3: It's like, do I really even need to be doing
1:00:30
Speaker 3: this kind of work? But what I realize now is
1:00:34
Speaker 3: is I'm a fighter and I'm a survivor, and I
1:00:37
Speaker 3: will do whatever it takes to make my films the
1:00:40
Speaker 3: absolute best movies that they can be. It's not about me. Hey,
1:00:43
Speaker 3: it's a little ego driven. I think everything in this
1:00:45
Speaker 3: business is. But I really I'm hell bent with every
1:00:49
Speaker 3: project I work on to make it the best film
1:00:52
Speaker 3: it could possibly be. And we never intended on not
1:00:54
Speaker 3: shooting Shattered Love reshooting Shattered Love. I just needed to
1:00:57
Speaker 3: put some time and distance between me and that project.
1:01:01
Speaker 3: You know, I needed to clear out all the negativity
1:01:04
Speaker 3: I needed to build up my skills. So basically what
1:01:06
Speaker 3: I did is I spent the next year and a
1:01:08
Speaker 3: half after Shattered Love shut down, I spent the next
1:01:11
Speaker 3: year and a half directing as many films as I
1:01:13
Speaker 3: could to get ready to reshoot Shattered Love. It was
1:01:18
Speaker 3: all about everything I did, every step of the way,
1:01:21
Speaker 3: was one hundred percent designed to put me in a
1:01:24
Speaker 3: position where by the time we were ready to reshoot
1:01:26
Speaker 3: that film, I was ready and I was going to
1:01:28
Speaker 3: make it a good film. And I was fortunate enough
1:01:31
Speaker 3: during the whole time that we were doing two oh
1:01:33
Speaker 3: nine and found during that whole time several other opportunities
1:01:37
Speaker 3: had come up. There were some volunteer groups like the
1:01:40
Speaker 3: All Women Sent a ladies group. I got the chance
1:01:43
Speaker 3: to direct a film for them, and that was Bonds
1:01:45
Speaker 3: and Lace that you mentioned before. That was done for
1:01:48
Speaker 3: no money, all volunteer group. That was a script I
1:01:50
Speaker 3: wrote and directed, co wrote with Lucy Delott that film.
1:01:55
Speaker 3: You know, it was okay, it turned out okay. We
1:01:57
Speaker 3: did it all on a day. It was a huge
1:01:58
Speaker 3: lay of this vicious project all in one day with
1:02:01
Speaker 3: no money. But I'm still very, very proud of it.
1:02:03
Speaker 3: And then there's another group of all independent filmmakers that
1:02:07
Speaker 3: I actually organized and created called the Los Angeles Film Collective,
1:02:10
Speaker 3: and I did one short through that group called Better
1:02:13
Speaker 3: with Friends. That was another one that was done for
1:02:16
Speaker 3: no money, all volunteer. So I got the opportunity along
1:02:19
Speaker 3: the way to do some other projects. And then there
1:02:23
Speaker 3: was a specific lull where nothing was going on where
1:02:27
Speaker 3: James and I are like, ah, we just want I
1:02:28
Speaker 3: just want to direct again. I way she might shoot something,
1:02:30
Speaker 3: and so we wrote and created Touch and Touch was
1:02:33
Speaker 3: literally conceived and shot in like three weeks time. And
1:02:38
Speaker 3: while I still felt like I made some mistakes on
1:02:40
Speaker 3: that one, I wasn't quite where I wanted to be directorially,
1:02:43
Speaker 3: the film still turned out extremely well. I'm very proud
1:02:46
Speaker 3: of it. It got huge response online. That film actually had
1:02:51
Speaker 3: its world premiere dances with Films this past year and
1:02:54
Speaker 3: that was a huge success. So very proud of that one. So,
1:02:58
Speaker 3: you know, I was just my problem is I love directing.
1:03:01
Speaker 3: Now that I've started doing it, and now that I've
1:03:03
Speaker 3: got a little bit of confidence in myself, I just
1:03:06
Speaker 3: love directing and I want to move on to the
1:03:07
Speaker 3: next one before I've even finished the first one, it's like,
1:03:10
Speaker 3: what's next, What's next? I want to drag something else.
1:03:12
Speaker 3: Get me on set, Get me on set. So that's
1:03:14
Speaker 3: caused a little bit of a problem actually, and that
1:03:16
Speaker 3: we shot way too many films back to back and
1:03:18
Speaker 3: then they got bottlenecked and posts and we're actually still
1:03:21
Speaker 3: dealing with that a little bit now. But getting found
1:03:23
Speaker 3: out the door was a huge accomplishment and that was,
1:03:27
Speaker 3: I guess, a huge catalyst to moving forward with everything else.
1:03:30
Speaker 3: But to answer your question, there were all these other projects,
1:03:34
Speaker 3: including a short film that I really wanted to do,
1:03:36
Speaker 3: but I felt like Shattered Love was still had to
1:03:39
Speaker 3: get done and it was still there, and I realized
1:03:43
Speaker 3: that part of the problem was there were some casting
1:03:46
Speaker 3: decisions that we made when we used those unknown actors
1:03:49
Speaker 3: that when I looked at the dailies of the stuff
1:03:52
Speaker 3: that we did shoot before we shut down, it just
1:03:54
Speaker 3: wasn't working for me. There were some physical resemblances that
1:03:59
Speaker 3: were supposed to have and one of the characters that
1:04:01
Speaker 3: wasn't really quite there. We were trying to work around
1:04:03
Speaker 3: it with some makeup and effects and stuff like that,
1:04:05
Speaker 3: but contact lenses things like that, trying to pull some tricks,
1:04:09
Speaker 3: but it just wasn't really working for me, and I
1:04:12
Speaker 3: was having a hard time imagining raising another fifty thousand
1:04:15
Speaker 3: dollars for this project, relaunching this whole thing after the
1:04:18
Speaker 3: massive loss that we took on the first one for actors,
1:04:21
Speaker 3: I wasn't absolutely thrilled about, and I realized that that
1:04:25
Speaker 3: was holding me back and it was paralyzing me, and
1:04:28
Speaker 3: it was keeping me from moving forward with the project.
1:04:31
Speaker 3: So again James and I much debate. We had many,
1:04:35
Speaker 3: many discussions about it. I had become friends with these people,
1:04:38
Speaker 3: I was loyal to them, I love them to death.
1:04:40
Speaker 3: But it just came down to I had to do
1:04:44
Speaker 3: what I had to do that was best for the film.
1:04:47
Speaker 3: So I made the calls. I pick up the phone
1:04:49
Speaker 3: and I told the actors, much to their heartbreak. Unfortunately,
1:04:52
Speaker 3: this was so tough to make this call that we
1:04:54
Speaker 3: were going to recast them. And at this point I'm
1:04:56
Speaker 3: feeling like such a loser. I'm like, oh my god,
1:04:58
Speaker 3: I've had to recast all these acts. There's wanted the
1:05:01
Speaker 3: film shut down. I fired three directors. It's like, oh
1:05:03
Speaker 3: my god, this is such a mess. But it's amazing
1:05:08
Speaker 3: because once I hung up the phone. From those phone calls,
1:05:11
Speaker 3: that little warrior jumped back up again, and I made
1:05:15
Speaker 3: those calls the end of August, and by the end
1:05:17
Speaker 3: of September we were shooting. That's how fast it happened,
1:05:21
Speaker 3: because once I was unburdened from the things that were
1:05:24
Speaker 3: really kind of holding me back, I was like a
1:05:27
Speaker 3: locomotive and everything just went on hyper speed. And so
1:05:33
Speaker 3: while I initially wanted to use unknown actors for this film,
1:05:36
Speaker 3: I started thinking, at this point, it's like, you know what,
1:05:38
Speaker 3: We've invested so much money in this film at this point,
1:05:40
Speaker 3: it's like, we need an actor, we need a name
1:05:42
Speaker 3: at this point to just really you know, give the
1:05:47
Speaker 3: film some credibility, to kind of raise the bar. It's like,
1:05:50
Speaker 3: you know, it just felt like the right thing to do.
1:05:54
Speaker 3: And as we were researching actors in that age range,
1:05:57
Speaker 3: Lance Hendrickson came across our radar and as soon as
1:06:00
Speaker 3: I looked him up, I mean, I knew who he was,
1:06:02
Speaker 3: of course, but I hadn't like, as soon as I
1:06:04
Speaker 3: looked him up, like what he looks like now, I
1:06:09
Speaker 3: was like, that's it. That's the character. That's Norman. And
1:06:14
Speaker 3: I'm like, there's an We were still talking about some
1:06:17
Speaker 3: other names, but I'm like, no, nobody else makes sense,
1:06:20
Speaker 3: Nobody on this planet makes sense. But Lance Henrickson. He's
1:06:22
Speaker 3: our guy. He's the one, and he's and I literally
1:06:26
Speaker 3: told my people, if we don't get Lance, we're not
1:06:28
Speaker 3: doing the film. And so we picked up the phone
1:06:33
Speaker 3: and we called his manager and she loved the script.
1:06:37
Speaker 3: And it was a tough negotiation because you know, these
1:06:40
Speaker 3: guys don't work for free and they very rarely do
1:06:42
Speaker 3: short films, so it was a tough negotiation and we
1:06:47
Speaker 3: ended up not being able to negotiate. I tried and
1:06:50
Speaker 3: tried and tried, but you know, basically, at the bottom,
1:06:52
Speaker 3: at the end of the day, you have to give
1:06:54
Speaker 3: them what they asked for, and we did. And you know,
1:06:58
Speaker 3: the other thing that we had to do as a payer,
1:07:00
Speaker 3: which is very typical, and that was very stressful on me,
1:07:03
Speaker 3: but in a way, that's what helped it happened so fast.
1:07:07
Speaker 3: It's because once we had to lock into a shoot date,
1:07:10
Speaker 3: you know, paying his fee and being locked into a
1:07:13
Speaker 3: shoot date. That'll motivate you. I'm telling you right now,
1:07:18
Speaker 3: if you're having trouble get in the film, made just
1:07:20
Speaker 3: lock yourself into a pay or play date with the
1:07:21
Speaker 3: big actor and you'll get your film made. And that's
1:07:27
Speaker 3: what happened. So, you know, thirty days later we were
1:07:29
Speaker 3: on set and we were shooting, and Lance Hendrickson is
1:07:34
Speaker 3: so amazing. It was my first time working with the
1:07:36
Speaker 3: name actor, and he was He's so passionate, he's so dedicated,
1:07:42
Speaker 3: he's so talented, and also just a beautiful spirit and
1:07:46
Speaker 3: a beautiful person, and everybody on set just fell in
1:07:49
Speaker 3: love with him. And the girls were all like these
1:07:51
Speaker 3: you know, crushes on it, and they're like, you know,
1:07:54
Speaker 3: it was just like it was. It was wonderful and
1:07:56
Speaker 3: the chemistry between him and our actors with other actors
1:08:00
Speaker 3: was amazing. And unfortunately, because of the rate we had
1:08:07
Speaker 3: to pay, we could only have him for two days,
1:08:10
Speaker 3: and the film was never scheduled for less than three,
1:08:12
Speaker 3: and we even wanted four at one point to shoot it.
1:08:16
Speaker 3: So I unfortunately had to go back and shave back
1:08:18
Speaker 3: the script a little bit, make it a little bit
1:08:20
Speaker 3: more lean, and so that we could so that the
1:08:24
Speaker 3: scenes we did shoot in two days weren't really compromised.
1:08:26
Speaker 3: But I have to I'll be the first to admit,
1:08:29
Speaker 3: you know, we we were pushing it to shoot this
1:08:32
Speaker 3: film in two days. So you know, I think there's
1:08:36
Speaker 3: a few things that got sacrificed along the way story wise,
1:08:40
Speaker 3: but I think to have Lance Hendrickson in our film
1:08:42
Speaker 3: and to still have the film tell the story, the
1:08:44
Speaker 3: amazing story that we were trying to tell, it was
1:08:46
Speaker 3: completely worth it. And so that film that shot the
1:08:49
Speaker 3: end of September and we're currently in plus production.
1:08:52
Speaker 4: Awesome.
1:08:53
Speaker 5: And you know, excuse me, you know, it's great that
1:08:57
Speaker 5: you were able to get Lance Hendrickson.
1:08:59
Speaker 4: I've heard nothing to make things about him from people
1:09:01
Speaker 4: who've worked with him.
1:09:02
Speaker 3: He's unbelievable. He really is an amazing person and we
1:09:06
Speaker 3: were totally blessed that he agreed to do our script.
1:09:08
Speaker 3: We really feel very fortunate.
1:09:12
Speaker 5: So you know, just you know, and again, you know,
1:09:15
Speaker 5: congratulations and everything with found and I'm glad you know
1:09:17
Speaker 5: you're able to get you know, your redemption, and you're
1:09:20
Speaker 5: able to you know, actually prove to yourself you can
1:09:22
Speaker 5: do this, and you know, you know, forget those negative
1:09:25
Speaker 5: voices that we all face sometimes.
1:09:28
Speaker 4: So you know, you know.
1:09:29
Speaker 5: Recently you've started your own fund, your own short film seminar,
1:09:33
Speaker 5: and this is what I want to talk to you about.
1:09:36
Speaker 5: With terms of crowdfunding. You know, I saw you actually,
1:09:39
Speaker 5: you know, did a live event of this, so.
1:09:43
Speaker 4: Meaning in person.
1:09:44
Speaker 5: So if you could just give us like a brief
1:09:46
Speaker 5: synopsis of we know what you go over and things.
1:09:50
Speaker 4: Of that nature.
1:09:51
Speaker 3: Well, yeah, teaching has always been something that's been a
1:09:54
Speaker 3: goal of mine because I really truly enjoy enjoy it
1:09:57
Speaker 3: and I find it extremely rewarding.
1:10:00
Speaker 2: We'll be right back after a word from our sponsor,
1:10:06
Speaker 2: and now back to the show.
1:10:09
Speaker 3: And ever since I've moved to LA, as you've heard
1:10:12
Speaker 3: from my history, I haven't really gotten the credentials, you know,
1:10:16
Speaker 3: to teach and to justify charging people for seminar, you
1:10:18
Speaker 3: have to have a certain amount of credentials, and that's
1:10:21
Speaker 3: what I was working towards and trying to build up
1:10:23
Speaker 3: this past decade. And it was just a real struggle. Finally,
1:10:26
Speaker 3: with Found being made and winning awards and doing as
1:10:30
Speaker 3: well as it did. Plus the fact that I've crowdfunded
1:10:32
Speaker 3: now eight short film projects actually a I actually eight
1:10:38
Speaker 3: of them we crowdfunded, I feel like I have some
1:10:43
Speaker 3: knowledge now and some credentials to speak knowledgeably about that
1:10:47
Speaker 3: particular subject. So I'm very clear about I'm only teaching
1:10:52
Speaker 3: raising money for short films because I have not raised
1:10:54
Speaker 3: money for a feature, and I think that is different
1:10:56
Speaker 3: if you're trying to raise more than like fifty sixty
1:10:58
Speaker 3: thousand dollars. And I've never used any other platform other
1:11:01
Speaker 3: than Indigogo, So in my classes, I'm very specific and
1:11:04
Speaker 3: in my marketing, I'm very specific to tell people this
1:11:07
Speaker 3: is a specific class on how to raise money for
1:11:09
Speaker 3: a short film on Indiegogo, and the amounts of money
1:11:14
Speaker 3: that I feel like I can specialize in helping people
1:11:16
Speaker 3: raise is between five thousand and ten thousand dollars. That's
1:11:20
Speaker 3: a real sweet spot with me. I feel like I
1:11:21
Speaker 3: could raise that much money for film like every time.
1:11:25
Speaker 3: Where I've gotten into trouble, and I'm also very honest
1:11:27
Speaker 3: about this in my seminars. Where I've gotten into trouble
1:11:30
Speaker 3: personally is trying to raise money in the amounts of
1:11:32
Speaker 3: thirty thousand or more. I've raised up to twenty five thousand,
1:11:36
Speaker 3: but not in one single campaign. That's where I have
1:11:40
Speaker 3: a sore spot. And I think part of this is
1:11:42
Speaker 3: because it's for a short. Although there have been several
1:11:45
Speaker 3: people who have raised more than fifty thousand dollars for
1:11:48
Speaker 3: their shorts, and I can speak to that, and I
1:11:51
Speaker 3: can tell them what I think they need to do
1:11:52
Speaker 3: in order to make that happen. But it's a different
1:11:55
Speaker 3: process because there's raising money inside your circle and then
1:11:58
Speaker 3: there's raise money outside your circle. And to hit those
1:12:02
Speaker 3: high numbers of twenty thirty, forty thousand or more, you
1:12:05
Speaker 3: have to go outside your circle. You have to keep
1:12:07
Speaker 3: communities and organizations, and you have to get press and
1:12:10
Speaker 3: publicity and marketing, and that's like a whole nother animal.
1:12:13
Speaker 3: But I can't but I can't speak to that. I
1:12:15
Speaker 3: do understand that. I've just never actually done that. And
1:12:20
Speaker 3: the two campaigns that we did try to run that
1:12:22
Speaker 3: were thirty thousand or more, there were various reasons those
1:12:25
Speaker 3: campaigns didn't succeed. But what I like to do in
1:12:27
Speaker 3: the seminars, I use those as an exam as examples
1:12:29
Speaker 3: to show what does not work, because I because it
1:12:32
Speaker 3: didn't work for us, and I know exactly why it
1:12:34
Speaker 3: didn't work. So I think sometimes you can learn from
1:12:37
Speaker 3: people of what to do, but I think you can
1:12:39
Speaker 3: also learn from what not to do. Like I could
1:12:41
Speaker 3: tell people all day long with my experience with Shattered Love,
1:12:43
Speaker 3: I'll tell you what not to do.
1:12:47
Speaker 5: You know, so Dan, now let you you know you've
1:12:49
Speaker 5: had some of these live seminars. Are you playing on
1:12:51
Speaker 5: you know, having any online seminars for people who couldn't
1:12:54
Speaker 5: make it out in LA.
1:12:55
Speaker 3: Yeah, it's really funny. When I posted the first live
1:12:58
Speaker 3: one on Facebook, I was like, oh, yeah, hopefully all
1:13:01
Speaker 3: these people in my area will come. But what happened
1:13:03
Speaker 3: was everybody started sending me emails and messages going I
1:13:07
Speaker 3: don't live in LA, but I really want to take
1:13:09
Speaker 3: this class, and so I'm like, maybe I need to
1:13:12
Speaker 3: do an online version, and everybody was like, yeah, yeah,
1:13:14
Speaker 3: I do an online version. So I'm like, okay, well
1:13:15
Speaker 3: that might actually even be more popular because a lot
1:13:18
Speaker 3: of my followers aren't in LA. So I've been working
1:13:21
Speaker 3: real hard on an online version, and I'm actually launching tonight,
1:13:25
Speaker 3: as a matter of fact, my very first webinar, it's
1:13:29
Speaker 3: Secrets to Funding your Short Film on indiegog and it's
1:13:33
Speaker 3: going to be tonight from six thirty to eight thirty
1:13:38
Speaker 3: Pacific Standard time, so that's Los Angeles time, six thirty
1:13:41
Speaker 3: to eight thirty live live webinar that you can sign
1:13:45
Speaker 3: up for and interact and ask questions and all that
1:13:48
Speaker 3: a kind of stuff and I will be that's posted
1:13:52
Speaker 3: on my wall and on my on my website.
1:13:55
Speaker 4: Okay, excellent, And you know I'll make sure to look
1:13:57
Speaker 4: they're that in show notes as well.
1:13:58
Speaker 3: Yeah, that would be La film Seminars dot com. You
1:14:01
Speaker 3: can register there or Palm Street Films dot com. You
1:14:03
Speaker 3: can register there as well.
1:14:05
Speaker 5: Awesome, cool, Okay, yeah, I'll make sure linked is in
1:14:09
Speaker 5: the show notes by the way.
1:14:10
Speaker 3: Oh, that'd be great.
1:14:13
Speaker 5: And you know, speaking of uh, you know, you know
1:14:15
Speaker 5: pump Films by the way, you know, is there you know,
1:14:19
Speaker 5: just to get to your short script competition? I know
1:14:22
Speaker 5: you this is you've held us for a couple of
1:14:23
Speaker 5: different excuse me, held us for a couple of years,
1:14:27
Speaker 5: you know, is uh is there an impetus to you
1:14:30
Speaker 5: know why you started this? I mean, I know you
1:14:32
Speaker 5: kind of touched on that earlier, but is there you know,
1:14:34
Speaker 5: have you really sort of evolved this meaning like is
1:14:37
Speaker 5: there like you know, uh, any other reasons that why
1:14:40
Speaker 5: you may have do these competitions?
1:14:42
Speaker 4: Oh?
1:14:42
Speaker 3: Yeah, absolutely. There's a very specific history with these. The
1:14:45
Speaker 3: first script the first script contest we're calling the one
1:14:49
Speaker 3: with with that callarly one with fragments and Shattered Love
1:14:52
Speaker 3: where I just put out a call on my Facebook
1:14:53
Speaker 3: that's we're calling that our first Palm Street Films contest. Uh.
1:14:57
Speaker 3: Later that year, we got access to a series of
1:15:01
Speaker 3: standing sets in Orange County where it's a stage where
1:15:04
Speaker 3: they built a couple of standing sets. A standing set
1:15:06
Speaker 3: is like a pre built living room or hospital room,
1:15:10
Speaker 3: or it's a set. Everybody knows what a film set is.
1:15:12
Speaker 3: It's like it's pre built sets that all exist in
1:15:14
Speaker 3: one space, and it's a series of them, like all
1:15:17
Speaker 3: spread out throughout the space. And we were given access
1:15:22
Speaker 3: to use one of the standing set space where they
1:15:25
Speaker 3: had a house, the house where we actually shot Shattered Love.
1:15:27
Speaker 3: Actually it's the same stage. They had a house, they
1:15:31
Speaker 3: had a jail cell, they had an executive boardroom at
1:15:34
Speaker 3: the time, they had a hospital set, and they had
1:15:38
Speaker 3: even an airplane things. It's called Silver Dream Factory in
1:15:41
Speaker 3: Orange County. If you haven't heard about it, it's fantastic.
1:15:43
Speaker 3: It is within the sixty mile zone thirty mile zone.
1:15:46
Speaker 3: Sorry ask for rolling Kanamar. He's a good friend of mine.
1:15:49
Speaker 3: He's treated us very well every time we've shot there.
1:15:52
Speaker 3: But we had access to the stage and we wanted
1:15:54
Speaker 3: to shoot something last minute. So I put another call
1:15:57
Speaker 3: out to my Facebook, you know, no submission and fee,
1:16:00
Speaker 3: nothing like that, just because of an informal call for scripts,
1:16:04
Speaker 3: and we told people we needed like a five page script,
1:16:06
Speaker 3: something we could shoot in one day that's set in
1:16:08
Speaker 3: one of these locations, and we listed all the locations
1:16:11
Speaker 3: and John Whetstone was one of my Facebook followers who
1:16:15
Speaker 3: sat down and actually found this really brilliant way to
1:16:19
Speaker 3: utilize two of the sets. And that was the Interrogation.
1:16:25
Speaker 3: And so Shattered Love was the first script contest and
1:16:29
Speaker 3: that film got made eventually into a film starring Lance Henrickson.
1:16:32
Speaker 3: And then the second contest was the Interrogation, which ended
1:16:36
Speaker 3: up getting made and actually in my seminars, both live
1:16:40
Speaker 3: and online, I show the Interrogation, even though we never
1:16:43
Speaker 3: actually released it publicly online. That one's still because Virgin
1:16:47
Speaker 3: Produced is still considering showing that on their airlines, so
1:16:51
Speaker 3: we haven't. And that's a deal that we got through
1:16:53
Speaker 3: Dances with Films because the Interrogation had premiered at Santa
1:16:55
Speaker 3: Barbara in International Film Festival. That was its world premiere,
1:16:58
Speaker 3: and then it had its La premier Dances with Films,
1:17:01
Speaker 3: and through Dances with Films is how we made the
1:17:02
Speaker 3: connection with Virgin Produced. So we're still waiting to hear
1:17:05
Speaker 3: about that, So we haven't released that officially, but I
1:17:07
Speaker 3: do show that film in my seminars, which is really great.
1:17:10
Speaker 3: People love seeing that. I also in my seminars I
1:17:13
Speaker 3: show the original ZOMBIELLS campaign video, which a lot of
1:17:17
Speaker 3: people thought was like at the time, it was like
1:17:20
Speaker 3: people thought it was like, oh, that's a great hook,
1:17:21
Speaker 3: that's a really cute video. There's been a whole lot
1:17:24
Speaker 3: of really great video since then that have kind of
1:17:27
Speaker 3: eclipsed that. People do some really great and wonderful and
1:17:30
Speaker 3: creative things with their campaign videos these days, but we
1:17:33
Speaker 3: still thought it was kind of a fun little thing,
1:17:36
Speaker 3: so I show that in the seminar. But and then
1:17:40
Speaker 3: last year we were starting to think about our first
1:17:43
Speaker 3: feature film and what we were going to do. So
1:17:45
Speaker 3: last year was the first time we decided to launch
1:17:49
Speaker 3: an official script contest where there was a submission fee
1:17:52
Speaker 3: and a cash prize, a significant cash prize. So we
1:17:57
Speaker 3: launched a contest, charged a submission fee. We got just
1:18:02
Speaker 3: under one hundred submissions total. So the good news about
1:18:05
Speaker 3: this festival is you're not competing with thousands of other scripts.
1:18:09
Speaker 3: So I really encourage anybody listening to this if you
1:18:12
Speaker 3: have a short film and we open it up to both.
1:18:14
Speaker 3: This year we did short films and feature film scripts,
1:18:16
Speaker 3: so I really encourage you. We're about to launch the
1:18:18
Speaker 3: fourth annual FALM Street Films Contest. You guys should really
1:18:22
Speaker 3: enter your scripts because you're not going against thousands of
1:18:25
Speaker 3: other scripts. You may not even be going against hundreds
1:18:27
Speaker 3: of other scripts because we're a very small, intimate kind
1:18:30
Speaker 3: of in you know, contest. But the prize is five
1:18:34
Speaker 3: hundred dollars for winning short and one thousand dollars for
1:18:38
Speaker 3: winning feature. So that's that's pretty groovy. Also, and this
1:18:44
Speaker 3: is announcement I just made last last week. We've decided
1:18:48
Speaker 3: the winning short film script from last year was a
1:18:51
Speaker 3: really wonderful script called five Days in Calcutta, which was
1:18:54
Speaker 3: written by Fred Perry. That script not only won our contest,
1:18:59
Speaker 3: but I didn't realize this, so after we had awarded,
1:19:01
Speaker 3: it has also won like a dozen other short film
1:19:03
Speaker 3: script contests. That's how good it is. It won Houston
1:19:06
Speaker 3: Comedy Fest and it also won DC Shorts. And we
1:19:11
Speaker 3: love that script and we love Fred, and so we've
1:19:13
Speaker 3: decided that we're gonna produce that one and I'm directing.
1:19:18
Speaker 3: So every single script contest that we've had, the films
1:19:22
Speaker 3: have gotten made. That is huge. That's to some people
1:19:27
Speaker 3: that's more important than a cash prize. But this year,
1:19:30
Speaker 3: as in last year, we're offering a cash prize and
1:19:32
Speaker 3: the chance for your film to get produced. But this
1:19:34
Speaker 3: year I'm specifically looking for features because I'm looking I'm
1:19:37
Speaker 3: looking to direct my first feature.
1:19:39
Speaker 5: So basically it kind of ties with my next question,
1:19:42
Speaker 5: which is, you know what is your next project you have?
1:19:46
Speaker 3: Uh, well, I'm in post production on Fragile Storm right
1:19:51
Speaker 3: now and one other short film that we did early
1:19:53
Speaker 3: this year that's a small, smaller film. We're trying to
1:19:55
Speaker 3: get those two things wrapped out in post and then
1:19:57
Speaker 3: we're gonna shoot. Once that's done, we're gonna shoot five
1:20:00
Speaker 3: days in Calcutta.
1:20:02
Speaker 2: We'll be right back after a word from our sponsor
1:20:08
Speaker 2: and now back to the show.
1:20:11
Speaker 3: And we hope to do that in the summer. It
1:20:13
Speaker 3: depends on how long it takes to actually get Fragglestorm finished.
1:20:16
Speaker 3: There's a lot that still needs to be done on
1:20:17
Speaker 3: that and we want to focus on that exclusively before
1:20:20
Speaker 3: we move on to anything else. But Five Days in
1:20:23
Speaker 3: Calcutta is up next, and then, like I said, after that,
1:20:26
Speaker 3: I'm looking to jump into my first feature, and then
1:20:28
Speaker 3: after that, I want to do Zombiells. So that's kind
1:20:30
Speaker 3: of the I guess two year plan.
1:20:34
Speaker 5: And you know, I really wish you the best with
1:20:37
Speaker 5: Zombie Ells and everything else too. I think, I think,
1:20:40
Speaker 5: honestly doing I think Zombie Elves when you go we
1:20:43
Speaker 5: revisit that you're going to have a whole new no
1:20:46
Speaker 5: pun intended, a whole new life to it.
1:20:48
Speaker 3: Yeah. Well, because I look at you know, since I
1:20:51
Speaker 3: started directing two years ago, I look at everything differently.
1:20:54
Speaker 3: I look colors seem different, people seem different, I see
1:20:58
Speaker 3: movies differently. I have literally a whole new perspective, not
1:21:02
Speaker 3: on not only on life but or not only in
1:21:04
Speaker 3: the film business, I guess, but also on life. But
1:21:06
Speaker 3: I see movies differently now, I see them in my head,
1:21:09
Speaker 3: and I form visions more quickly, and I and everything
1:21:13
Speaker 3: comes to me more quickly, and I'm super excited about
1:21:16
Speaker 3: all the visual possibilities of Zombie Elves.
1:21:21
Speaker 4: Yeah, and also also meant to us, you know, just
1:21:24
Speaker 4: the market is changing too, and you know, I just
1:21:27
Speaker 4: think there's gonna be even more opportunities. I mean, because
1:21:30
Speaker 4: you know, when you first started that, I don't think
1:21:33
Speaker 4: Amazon Studios was around. They weren't looking for new stuff.
1:21:36
Speaker 4: But now if you look at it, everyone's looking for
1:21:38
Speaker 4: new material.
1:21:39
Speaker 5: I mean, I mean, I as I was talking to
1:21:40
Speaker 5: you know, Richard Botto from say thirty two, he has
1:21:44
Speaker 5: you know, he never going back and forth vish with
1:21:46
Speaker 5: all of the new content. Uh stress streams out there
1:21:51
Speaker 5: that are just looking for that that need content.
1:21:53
Speaker 4: So honestly, I think.
1:21:54
Speaker 5: You will have you know, more of a of an
1:21:56
Speaker 5: opportunity with zombie Elves.
1:21:58
Speaker 3: Yeah, I think so too excited. And you know, it's
1:22:03
Speaker 3: just that film has so much potential on so many levels.
1:22:07
Speaker 3: But it's also an awesome responsibility because you know, you
1:22:10
Speaker 3: have to be loyal and true to Christmas, you have
1:22:11
Speaker 3: to be low and true to zombie fans. It's it's
1:22:14
Speaker 3: quite you know, it's a bit daunting, to be honest
1:22:16
Speaker 3: with you, But I am excited for the challenge. And
1:22:18
Speaker 3: we were even for a time we were even thinking
1:22:20
Speaker 3: about doing it in three D. But I'm not sure
1:22:22
Speaker 3: if that makes sense. These days, it doesn't seem like
1:22:24
Speaker 3: three D is taken off the way people had hoped
1:22:26
Speaker 3: it would.
1:22:27
Speaker 5: Yet it just seems to be in certain movies that
1:22:30
Speaker 5: three D is accepted. Obviously, anything that James Cameron does
1:22:34
Speaker 5: and a few things here and there.
1:22:36
Speaker 4: But yeah, three D.
1:22:37
Speaker 5: I don't think even the three D TVs that they released,
1:22:41
Speaker 5: I haven't seen much for them.
1:22:42
Speaker 3: Oh gosh. I got a three D TV for Christmas
1:22:47
Speaker 3: three years ago and I watched maybe five movies on it,
1:22:49
Speaker 3: and now it's collecting dust. It's like, you know, and
1:22:53
Speaker 3: it's a great experience. I love stuff in three D.
1:22:55
Speaker 3: I'm a total fan. But it's just you know, putting
1:22:58
Speaker 3: on the glasses and charge them up. You know. I
1:23:00
Speaker 3: had one of those systems and it just, you know,
1:23:03
Speaker 3: it just I don't know, it's just not the experience
1:23:06
Speaker 3: that that I think people were hoping for. And finding
1:23:09
Speaker 3: content in three D that you could buy for your
1:23:11
Speaker 3: home system was a huge challenge at the time, you know,
1:23:14
Speaker 3: like three years ago when I got it, you couldn't
1:23:17
Speaker 3: buy anything for less than fifty bucks. M that's true,
1:23:20
Speaker 3: there was and there was very little content available in
1:23:23
Speaker 3: the stores, and that became really frustrating.
1:23:26
Speaker 5: Yeah, and a lot of the stores too, were even
1:23:27
Speaker 5: getting rid of their blue rays. I mean it's just
1:23:29
Speaker 5: you know, if you go like a best Buy, they sort.
1:23:32
Speaker 4: Of consolidated, they've bumped out all the DVDs, and.
1:23:35
Speaker 5: Now you know that's that whole entire area is getting
1:23:37
Speaker 5: smaller and smaller basically, right, Yeah, no good. I was
1:23:41
Speaker 5: gonna say, basically, they want you to go online or
1:23:44
Speaker 5: they issued you're to buy a digital copy. But I'm sorry,
1:23:46
Speaker 5: what were we going to say?
1:23:47
Speaker 3: No? I just remember a couple of years ago, I
1:23:49
Speaker 3: bought a Blu ray burner and I went out to
1:23:51
Speaker 3: like Office Max and Best Buy. In all these places,
1:23:53
Speaker 3: I couldn't even find like blank Blu rays.
1:23:56
Speaker 4: Yeah.
1:23:57
Speaker 3: It was like, what's happening to the Blu ray market?
1:23:59
Speaker 5: And why?
1:23:59
Speaker 3: Yeah, yeah a special order? I'm online. You can't even
1:24:01
Speaker 3: just walk into a store and buy blank Blu rays
1:24:03
Speaker 3: like really.
1:24:06
Speaker 5: Yeah, it's uh, I mean it really depends too. I've
1:24:10
Speaker 5: noticed unlike the area and whatever they seem to stock.
1:24:13
Speaker 5: But I even had trouble getting black blue rays before.
1:24:17
Speaker 5: I actually had to order them from online from somewhere
1:24:19
Speaker 5: I think maybe the Amazon I heard them from.
1:24:21
Speaker 3: Wow.
1:24:22
Speaker 5: Yeah, so, uh, you know, don We've we've been talking
1:24:26
Speaker 5: probably close to two hours now.
1:24:28
Speaker 3: I told you I'm a talker, So what I might
1:24:32
Speaker 3: have doing.
1:24:33
Speaker 4: Is I might end up splitting this into I'm not
1:24:35
Speaker 4: sure yet.
1:24:35
Speaker 5: I'm gonna When I put these together off, I can,
1:24:37
Speaker 5: you know, have a better picture of everything. But just
1:24:40
Speaker 5: you know, in closing, is there any anything you want
1:24:42
Speaker 5: to discuss that we haven't touched on.
1:24:45
Speaker 3: There's a thousand things I could talk about that. I
1:24:47
Speaker 3: have so many stories. I have so many thoughts on
1:24:50
Speaker 3: this business, so much in my head I want to
1:24:53
Speaker 3: share with people. You know, I could go on for days,
1:24:55
Speaker 3: but you know, just to just to give people some
1:24:58
Speaker 3: ideas about the script content. I believe we're gonna launch
1:25:02
Speaker 3: that sometime this month, sometime in March. And if you
1:25:06
Speaker 3: follow me on Facebook, it's Facebook dot com forward Slash
1:25:11
Speaker 3: Downfield's producer. I tag that name when I was producing.
1:25:15
Speaker 3: I wish I could change it to director. But if
1:25:18
Speaker 3: you just follow me on that, you'll see all the announcements. Also,
1:25:22
Speaker 3: if you go to Palm Street Films dot com and
1:25:24
Speaker 3: join our mailing list, there's a subscribe button there where
1:25:27
Speaker 3: you can join our mailing list. You'll also be notified.
1:25:29
Speaker 3: But we're hoping to launch that in March, and we're
1:25:32
Speaker 3: super excited. I'm hoping that my next feature film or
1:25:34
Speaker 3: my first feature film is in that group of submissions.
1:25:39
Speaker 4: Awesome.
1:25:41
Speaker 5: So again, everyone, I will link to Dawn's all of
1:25:44
Speaker 5: Dawn's websites that she's discussed in the show notes. So again,
1:25:47
Speaker 5: if you're a screenwriter and you want to you know,
1:25:49
Speaker 5: have an opportunity to you know, have something produced, check
1:25:52
Speaker 5: out Dawn's new opportunities. I mean, you hear the the
1:25:56
Speaker 5: contest sounds amazing and you know, like I was just
1:25:59
Speaker 5: saying on about all the different you know, conscience content streams,
1:26:02
Speaker 5: I mean, this is another opportunity for people now, and
1:26:04
Speaker 5: it's just it's amazing. With everything else, I mean, everything's
1:26:07
Speaker 5: coming up to allt once you know, you got the
1:26:08
Speaker 5: Nicole Fellowship coming up, and you got i mean Stripped
1:26:11
Speaker 5: to Palus I think is coming up. I mean there's
1:26:13
Speaker 5: just so many you know. So Dawn, thank you very
1:26:16
Speaker 5: much for coming on.
1:26:17
Speaker 3: Thank you, Dave. This was awesome. I really enjoyed it.
1:26:19
Speaker 3: You're you're an awesome host. Thank you so much.
1:26:22
Speaker 4: Oh, thank you very much. Ay T. I'm gonna come
1:26:23
Speaker 4: back on.
1:26:24
Speaker 3: Let me know, you know, I feel like with all
1:26:27
Speaker 3: the trials and tribulations that I've been through. I always
1:26:30
Speaker 3: like to say from one of my favorite movies, Galaxy Quests,
1:26:33
Speaker 3: never give up, never surrender, because this business is hard
1:26:37
Speaker 3: and it will tear you down if you let it.
1:26:40
Speaker 3: But if you want it badly enough and if you
1:26:44
Speaker 3: work hard enough, you can accomplish any filmmaking dream that
1:26:48
Speaker 3: you want to accomplish, and you can be anything that
1:26:50
Speaker 3: you want to be. And it's funny now that people
1:26:53
Speaker 3: are telling me that I'm an inspiration. I always felt like,
1:26:56
Speaker 3: oh my god, I'm doing everything wrong and I'm making
1:26:58
Speaker 3: all these mistakes and nothing's going on right. But things
1:27:02
Speaker 3: never go right in this business. It's the nature of it.
1:27:04
Speaker 3: And whether you succeed or fail is going to be
1:27:07
Speaker 3: determined not by how many failures you have, but how
1:27:10
Speaker 3: many times you pick yourself up and make it right.
1:27:14
Speaker 4: And then you know that that's a great piece of
1:27:15
Speaker 4: advice on.
1:27:17
Speaker 3: And that's what I always try to do. I just
1:27:19
Speaker 3: try to keep push them forward and try to do
1:27:22
Speaker 3: the right thing as often as I can, and do
1:27:24
Speaker 3: the right thing for my films and never give up.
1:27:28
Speaker 5: And that that's that's amazing, you know. There there have
1:27:31
Speaker 5: been other people in the podcast too, who have you
1:27:33
Speaker 5: know mentioned that, uh, you know, it's it is something
1:27:36
Speaker 5: we have to just keep going. And you know, once
1:27:38
Speaker 5: you you know you've done a project, just try to
1:27:41
Speaker 5: move on to the next one, you know, and the
1:27:44
Speaker 5: you know, if some of the other stories that I've
1:27:46
Speaker 5: heard too, in yours included, I mean, even if some
1:27:48
Speaker 5: people can use these stories to avoid these pitfalls and
1:27:51
Speaker 5: sort of learn from everybody else's experience, I think, you know,
1:27:55
Speaker 5: they would be it would behoove them to actually, you know,
1:27:58
Speaker 5: make a game plan, actually listen to these these podcasts
1:28:01
Speaker 5: and stories like yours and something like you know, Kelly
1:28:03
Speaker 5: Baker's and piece together.
1:28:05
Speaker 4: You know, how could I avoid.
1:28:06
Speaker 5: The same the same the same instances, the same scenarios
1:28:09
Speaker 5: playing out, you know, and the steps they could do
1:28:11
Speaker 5: to prevent those.
1:28:13
Speaker 3: Yeah, it's it's a tough business. It'll tear you down,
1:28:16
Speaker 3: it really will. And I feel like if I can,
1:28:19
Speaker 3: if I can direct, anybody can direct. Because it does
1:28:22
Speaker 3: not come easy to me, does not come naturally to me.
1:28:25
Speaker 3: I've had to learn it. I've had to practice it,
1:28:27
Speaker 3: I had to hone my craft, and I still feel
1:28:29
Speaker 3: like I maybe twenty five percent there. I have not
1:28:32
Speaker 3: done my best work yet.
1:28:35
Speaker 5: And you know, and I wish you the best because
1:28:37
Speaker 5: I mean, you know that that's we're always looking to improve,
1:28:40
Speaker 5: we're always looking to evolve, So you know, again, Donn,
1:28:42
Speaker 5: I wish you the best with everything.
1:28:44
Speaker 3: Thank you so much, Dave. I really enjoyed this. Thank
1:28:46
Speaker 3: you so much.
1:28:48
Speaker 2: I want to thank Dave so much for doing such
1:28:49
Speaker 2: a great job on this episode. If you want to
1:28:51
Speaker 2: get links to anything we spoke about in this episode,
1:28:53
Speaker 2: head over to the show notes at Fullproof Screenwriting dot tv.
1:28:57
Speaker 2: For it slash for forty nine. Thank you so much
1:28:59
Speaker 2: for listening to guy as always, keep on writing no
1:29:02
Speaker 2: matter what. I'll talk to you soon.
1:29:04
Speaker 1: Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproofscreenwriting
1:29:09
Speaker 1: dot tv.