ARE THE BRITCHES TOO SMALL, OR...?

My friend got evicted.

Not from his home. Don't worry, he still has somewhere to sleep.

From his film production studio space.

It wasn't his fault.

The studio was a VERY large space, controlled by one supreme overlord who rented it from a landlord.

Within the space were an eclectic mix of web designers, promo makers, music producers and so on.

Unfortunately, while the group was certainly talented, there was not much happening in the way of cash flow.

Idealists.

But they still wanted a safety blanket in the form of a "studio".

What do I mean by a safety blanket?

For anyone pursuing a career independently, which covers a lot of entertainment professionals, there is a lingering uncertainty in not having the traditional career path.

A 'career path', for you realists out there, is a psychological safety blanket. It doesn't really exist, but it certainly makes a person feel better if they are suffering through an awful job or a career setback.

"It's OK, I'm on the right career path", they say.

The only reason the illusion of a career path exists, is because there are actual employers out there to feed the myth.

In the film, TV or media industries, this is not really the case. The employers exist, but you are cast as one of a million plebians trying to get in, and the walls are allegedly VERY high.

The truth is that there are many ways to get in. But they are not as clear and uniform as most industries.

And, for some people, this uncertainty is too much to bear, so they will latch onto something that makes the whole endeavour feel "real". Something that feels like it is on the "right career path".

Like an indie film studio.

Except that, unless the studio is really producing and selling content, even on a low emerging level, it is not really on any path at all.

So the whole thing folded.

But I don't think this is a bad thing.

There is a reason many businesses start small and build up.

It's called 'overheads'. The cost of running a business.

Running a small business may be a dent to your ego, but it also makes you lean enough to grow at a sustainable rate.

In this case, the studio overlord jumped in too deep, starting a studio when he should have just had a desk.

My friend has no safety blanket any more.

It's scary.

But that fear breeds creativity.

Creativity gives him a better chance at success than the safety blanket ever did.

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PIECES OF EIGHT

Sometimes, you are lucky enough to be spoilt for choice. 

Sometimes choices get taken away from you.

This week, I have two gems for you, to the point where I couldn't really split them. So, I am giving you both.

THE FIRST, THE PEOPLE HAVE NO CHOICES

Ripped off.

That's how I feel.

So do a lot of other filmmakers.

The self-touted 'people's choice awards' of the Australian film industry, the 'Inside Film Awards' have cancelled their 2012 awards run.

http://if.com.au/2012/04/18/article/Inside-Film-Awards-put-on-ice/RPZGTDBHCD

With their decision, everyone who had a chance of being nominated for the 2012 awards was given the shaft.

I understand economics are involved.

The Australian Academy Awards (the AACTAs) were a bigger success than anyone imagined.

Sponsors for film awards in Sydney are therefore thin on the ground. They put all their money into the AACTAs. Geoffrey Rush was there after all!

I get it.

But Inside Film doesn't.

If you take on the important task of recognising an industry with awards that have become 'accredited' via esteem, then you actually have a responsibility to them.

The awards are not your plaything to make money out of.

If you needed to scale back the awards, then you should have done it.

You should have taken a financial hit.

But instead, you chose to breach a trust that came with being a recognised accolade.

Now, I'm afraid, I actually hope you don't recover.

You don't deserve it anymore.

SECOND, LEE STOREY (AND COMMON SENSE) PREVAILS!

She won!!

Lee Storey, the filmmaker I wrote about in March...

http://www.openingactfilms.blogspot.com.au/2012/03/judge-diane-kroupa-vs-filmmakers.html

...has won her case against the IRS and had her documentary film declared a 'for-profit enterprise'.

This avoids any chance of her work being declared a 'hobby', which would have made the expenses associated with the film not tax deductible.

http://www.documentary.org/news/filmmaker-lee-storey-wins-irs-case-all-counts

http://www.forbes.com/sites/janetnovack/2012/04/19/maker-of-up-with-people-movie-knocks-down-irs/

Mrs Storey, inadvertently, has done more for filmmakers by being taken to court by the IRS than many government film agencies. Her case sets a much needed precedent for the long process of film development and production to still be considered a for-profit exercise. This precedent was needed, given the length of time it takes for many films to be completed, let alone profitable.

Interestingly, the case also touched on another important subject, the reality of filmmakers having 'day jobs' whilst they complete a film. In Mrs Storey's case, she is a water rights attorney for a law firm named Ballard Spahr in the USA. Apparently, this day job is quite lucrative for Mrs Storey, and the IRS was suggesting that this showed her filmmaking was an 'expensive hobby'.

Did you hear that sound?

That was the filmmakers who are reading this spitting out whatever they were drinking.

The practice of having a 'day job', while getting a film production moving, is common practice. If this suddenly became the standard by which a film was determined a hobby, a lot of filmmakers would be, quite frankly, starved to death.

But thankfully, Mrs Storey and her team won a victory for herself, for filmmakers and for good sense. Judge Kroupa, to her credit, fully admitted that she now understood that documentary filmmaking was definitely a for profit exercise, and not just to 'educate', as she had previously asserted.

It is slightly concerning that a victory in today's film industry is simply being recognised as a profession at all.

But every little bit helps, I guess.

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THE FUTURE IS COMING FASTER THAN WE GUESSED

Together, we glimpsed into the future.

I thought you might like to know, it looks like we were right.

Last August, I wrote to you about the impending death of traditional broadcast television.

http://www.openingactfilms.blogspot.com.au/2011/08/rip-broadcast-television.html

I suggested that, once you can plug an internet cable into your television, broadcast television will become the Tasmanian Tiger. Extinct.

Extinction will come because, in an internet enabled world where you can watch content you want at any time, why should you be 'told' by the broadcasters what to watch? The traditional TV broadcast schedule becomes irrelevant.

And so do the traditional broadcasters, unless they evolve.

My suggestion was that, in this new world, the traditional broadcasters will have three main roles:

1) commissioning new original content (i.e. pay creatives to make original shows that they have exclusive rights to);
2) curating a catalogue of programs that they offer on demand (e.g. channel 7 will become the home of reality television shows that they buy in bulk from Producers); and
3) uploading their shows online.

Much quicker than expected, Netflix in the USA is doing just that. For the uninitiated, Netflix is a subscription service where you can watch movies and TV shows legally online for a monthly fee. Business has been booming, as viewers in the USA have embraced subscription 'content streaming' services over traditional 'hard' media, like DVD's.

For a while now, Netflix has simply been buying existing content in bulk from film and TV producers, or making exclusive content deals with major producers like HBO (who make favourites like Sex and the City, The Sopranos, The Wire, Curb Your Enthusiasm, Entourage, Deadwood, Six Feet Under, Boardwalk Empire, Game of Thrones, and True Blood).

Now, Netflix has decided to start commissioning original content.

http://www.hollywoodreporter.com/news/netflix-ted-sarandos-original-content-309275

The reason is obvious.

If you make the TV show, and it is a major hit, then you have the exclusive right to show it. Anyone who wants to see your TV show, and this could be millions of people, has to subscribe to your service to get it.

Netflix is leading the way into this revolution. First with streaming of movies, legally, to replace traditional DVDs. Now original content.

Watch for the major broadcasters to follow or fall.

If only we could predict lotto numbers this well.


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HITTING THE WALL

Right now, a huge wall is being slowly erected that will affect you and a lot of people you know.

It is being constructed slowly, so that you won't notice. Until of course, you do.

The wall is not something you can see or touch. But it exists.

It is the 'paywall'.

You see, in the new frontier of the internet, there are no experts. This includes from the ranks of the experts in the 'old world' of TV and radio.

The possibilities, and the risks, online are just so vast, that no one has really worked out the rules yet.

Except one: THE CUSTOMER IS KING.

In a world of infinite choice online, you can vote for what you like by very easily shopping elsewhere.

As you can imagine, getting paid for your creative work in this new world is very difficult. Why would I pay for your news website when I can get it for free from somewhere else?

Why would I buy a movie from your website when I can download it for free?

Et cetera, et cetera, et cetera.

This has been the thinking pattern on the internet for years. The status quo that internet users have been operating under.

Until now.

With DVD sales dwindling, newspapers disappearing, and more people owning internet-connected devices (like the ipad), the content providers have seen enough. They want to start taming the internet beast and making online content generate more revenue.

And how do you do this? With a paywall.

Picture this. You hear about a great news article. You rush over to the site. You get the headline and the first three lines and then....

Nothing.

Then a box appears.

"If you would like to continue reading, you can subscribe to (insert name here) for the low low price of $X's per month."

The New York Times has done it. They lost nearly 600 million monthly online readers overnight. But they did it.

Variety, the trade publication for the Hollywood Film Industry, did it too.

http://www.variety.com/article/VR1118052111

In the USA, Netflix has exploded as a way for people to legally pay for the films they watch online, via a subscription, rather than download a pirated version.

Quickflix, the Australian version of Netflix, and Bigpond movies are looking to do the same.

The film 'Melancholia' grossed as much money through paid online viewers as it did in traditional cinemas.

http://thefyzz.com/blog/vod-rides-to-the-rescue-of-indie-film

What does all this mean?

It means that you will still get things for free online. They will be the cheap and easy things like news headlines or movie trailers.

But the really good content, the in depth news article or the film you want to watch, will no longer be free. Unless you want to steal them of course.

This change will be introduced very gradually, to get you used to the new 'status quo' of paying for things, but take heed. It is coming.

Personally, and I am biased I know, being a filmmaker, but I can't help but think this is a good thing.

I actually want my journalists to be able to pay their rent, so that they don't have to have a second job at McDonalds to house their family. That way, they can focus on what I want from them: in depth and good quality news articles.

It is a double edged sword, however. In a world used to free, you will have to produce very good quality work, consistently, to keep people paying.

You also have to make sure the access is convenient and the price is reasonable. Netflix seems to be doing this in the USA, hence why they are adding millions of subscribers at an impressive rate.

So, the paywall will mean the content producer gets paid, but with it will come the heavy responsibility to keep your interest. You have many other options online after all.

But I'm a filmmaker. For the most part I am on the other side of the wall to you. Trying to make you love me. Hoping you will support my work because you believe in it.

And then there is you. Looking through a gap in the wall. Trying to decide if you want to save a few shekels, or to support the content makers who enrich your life through words and film.

Whose side are you on?

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VIDEO KILLED THE VIDEO STAR

When it came to girls, I was never the most popular kid.

A lot of other guys had charm and charisma. I had a quirky sense of humour and 20 extra kilograms.

Sure, give me enough time to chat to a girl and I could make her laugh, but the funny fat kid doesn't get much in the way of valentines cards.

Skip forward to my early twenties, and I had lost 27 kilograms. I had also scraped together enough for a new wardrobe. The things we do for love. Even brief, morally ambiguous love.

The realisation that took years to come to me, was that overcompensating is a band aid. If the situation requires you to become an extreme version of yourself, it is probably time to ask why you want to be there in the first place.

The famous Groucho Marx quote says it best: "I don't want to belong to any club that will accept people like me as a member." 

Somebody needs to give this same lesson to the filmmakers making music videos.

Making music videos has almost become an extreme sport, as the filmmakers involved have to work harder and harder just to get attention.

You may remember the 'golden age' of music videos, somewhere in the 80s and 90s, where every band HAD to have a great music video. And people actually WATCHED music videos, ad nauseum, via dedicated music video TV channels, like MTV, Channel V and Rage.

Not any more.

The channels still exist. But the viewers are dwindling. MTV programmes mostly reality TV shows now; dreadful stuff like 'Jersey Shore'.

And for the filmmakers still making music videos, they are having to go to EXTREME lengths to get anyone to pay attention. 

The best example is OK GO's latest music video. You have to see it to believe it.

http://www.youtube.com/watch?feature=player_embedded&v=MejbOFk7H6c

They use a car, driving on a specially constructed course, to play their song by bashing on instruments, at speed, placed along the course. Not just a few instruments either: xylophones, 280 guitars, pipes, pianos, and the list goes on.

But that wasn't their first extreme effort. Their previous video was an outdoor, choreographed stop motion performance over 24 hours.

http://www.youtube.com/watch?v=V2fpgpanZAw&feature=related

And before that, an amazing giant machine, running like cascading dominoes over two floors of a warehouse.

http://www.youtube.com/watch?v=qybUFnY7Y8w&feature=relmfu

And before that the choreographed, one-take, multiple treadmill dance that took them 27 takes to get right.

http://www.youtube.com/watch?v=dTAAsCNK7RA&ob=av2e

These were all very impressive efforts.

But where does it end?

Do they stop at one point and say, "OK guys, maybe we shouldn't fire the rocket, shaped like a unicorn, into the sun?"

Once upon a time, a good music video could help launch a filmmakers career, like Michel Gondry, Spike Jonz or Brett Ratner.

But those days are pretty much over. There is no future in music videos anymore.

If you have to fight this hard just to get attention, you should stop and ask yourself if you want to be in this club.

Instead, use your creative talent where you'll be appreciated and where your good work will be recognised.

Even I got the girl in the end.

I just had to change clubs.

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IT'S NOT EASY BEING GREEN

For some reason, Hollywood hates fun.

I don't know if it is because they are terrified of not being taken seriously, or because fun is inefficient.

I am on the outside looking in, after all.

In any case, we are losing what could be classic memories before they happen. 

This time it's The Muppets.

Beloved by millions.

Educators and friends to generations of children and adults. 

But not good enough for the Oscars, apparently.

During the recent Academy Awards telecast, the Muppets were banned from singing their Oscar nominated song, "Man or Muppet".

http://www.avclub.com/articles/the-oscars-doing-their-best-to-make-sure-you-wont,68933/?mobile=true 

http://www.youtube.com/watch?v=-WWWTW1P8rQ = the song.

Now, I know acting and filmmaking are an art, on some level, and are not to be taken lightly.

I know that in Hollywood, sometimes all people have is their credibility.

But, I don't care.

The film industry has many responsibilities, and one is entertaining people. Forget the audience at your own peril.

I meet so many wonderful creatives and filmmakers who are beautifully attuned to good storytelling and can also put themselves in their audiences perspective. It makes them great filmmakers.

And telling a great story is about taking risks. All creatives are at risk of looking foolish and being ridiculed for their art. But when they get it right, you can change lives.

Or, at the very least, you can guide people to that thing we all crave: fun.

Imagine Kermit and Billy Crystal on stage together. We would be talking about it for years. Fantastic!

Yes, the Oscars are steeped in esteem and prestige.

But come on, the Muppets have been around since 1954. They've earned it.

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OAFILMS NEWS - 'The Good Neighbour' is off to America and is eligible for an IF Award nomination!!

The Good Neighbour has been selected for the Rochester International Film Festival, which is the oldest continually running film festival in the world!

http://www.rochesterfilmfest.org/2012%20program/page4.html

This will be The Good Neighbour's North American Premier, which is a fantastic next step for the film. We are screening on Saturday, April 21st, in the final session of the festival, at 8:00pm. Our Director, the one and only Mr James Crisp, will be representing the film there and collecting our 'Official Selection' trophy. Make us proud Crispy.

The screening at the Byron Bay Film Festival also went really well and the film was very well received. I made the trip to Byron for the screening and the feedback on all aspects of the film, the performances and the production values, was all really positive.

You should also know that The Good Neighbour is now eligible for an Inside Film Awards nomination! This is because of our screening at the wonderful Byron Bay Film Festival, and is something that you can influence by voting for the film online. For those who don't know, the IF Awards are one of the two main film awards on the Australian film calendar, the other being the Australian Academy Awards.

The IF Awards are open to voting from the public via the internet. To help our chances of being nominated, we have put a version of 'The Good Neighbour' online on Vimeo (http://vimeo.com/openingactfilms/the-good-neighbour-full) so that people can watch the film and then vote for it on the IF Awards website. Please note, the VIMEO site is password protected (password: THEGNFULL2011) to make sure we don't disqualify ourselves from screening in other festivals.

Please watch the film (if you haven't already seen it) and then rate the film at:

http://www.ifawards.com.au/film/the-good-neighbour

If we get enough good ratings, we can be IF Award nominated. Also, please feel free to PASS THIS ON TO YOUR FRIENDS!! Together, we might be able to win our film its biggest honour yet!

Remember, we are also posting information to our Facebook Page (http://www.facebook.com/pages/The-Good-Neighbour/131722040230896)

IS LOUIS THEROUX MAKING THE WORLD BETTER OR WORSE?

This has been one of those weeks when I thank (insert deity here) for a moment to scratch myself.

When I did finally get a moment, I did what we all do when trying to clear one's head yet avoid complete silence. I prostrated at the altar of television.

While I could have settled for mindless fluff like the Kardashians, I instead was drawn to a gangly Briton named Loius Theroux.

I had seen some of his work before, but nothing like this. Louis visited the city anecdotally referred to as the most Methamphetamine ("Crystal Meth") addicted in America.

http://watchdocumentary.com/watch/the-city-addicted-to-crystal-meth-video_57d94ccae.html

With humanity and honesty, he delved into the lives of the drug addicted and the desperate. Very moving.

I'm not here, however, to do a review on the program. You can watch and do that yourself.

What struck me was the depth to which it delved into people's lives. For better or worse.

It occurred to me that, while I was interested in the program and what I learned about these people who's lives had become slaves to a drug, I was discovering an awful truth that would have remained otherwise unseen.

I couldn't help but think: is the growing role of the filmmaker to illuminate truths in the world making things better or worse?

Before Facebook, for example, there were certain things you didn't know about complete strangers. Then, when Facebook appeared, everyone was so excited by this new technology that they uploaded their whole lives online. Slowly, however, we have realised that discretion can be a good thing. Don't believe me? Ask the people who lost their jobs for putting information on their Facebook wall. (http://www.dailymail.co.uk/news/article-1155971/Teenage-office-worker-sacked-moaning-Facebook-totally-boring-job.html)

The same is true for filmmakers, in that the technology to make our films (cameras and such) has become very cheap. As a result, there are more and more documentaries being made, leading to a deeper and deeper examination of the human condition.

If one were to judge the welfare of the world, based on this wave of documentary films, you might assume that the we are all doomed.

The question therefore, of responsibility for the filmmaker's message, is becoming particularly important. Are filmmakers, like Louis Theroux, making the world a worse place by exploring our deepest and darkest secrets?

Personally, I think this is simply a matter of visibility. I read once about 'Golden Age Theory', which suggested people always yearn for a "Golden Age" (where the world was a better place) that never really existed in the first place.

Similarly, in the modern age, we are gaining drastically more visibility of each others' lives through documentaries and technology, and therefore it would be easy to think there are more social problems than in the wonderful past ('The Golden Age').

The truth is, however, people have always been weird, perverted and strange. They just kept it a secret.

One of my favourite stand-up comedians, Stewart Lee, articulated this much better than I can. Mr Lee stated that, while we judge the people we see on programs like Jerry Springer, the themes of these shows can easily be found in classic literature. Shakespeare's plays for example were about incest, murder, rape and adultery.

The behaviour, therefore, isn't new. We just couldn't see it in high definition piped right into our living rooms in Shakespeare's day.

While all these thoughts were crossing my mind, Louie's documentary on Crystal Meth addiction suddenly illuminated the truth for me very clearly. As one of the drug addicted young men was preparing to smoke meth, he detailed the fact that his father used to cook the drug and sell it in the 1970's. According to the man, the market for crystal meth was large in the city, even as far back as the 1970's.

In his own words, this man was saying that Louis Theroux, therefore, is not exacerbating this problem by making a film about it. The problem exists, regardless of whether there is a filmmaker there to explore it or not.

Having said that, I can't be completely sure that these documentaries are not making the world worse. After all, someone could argue that awareness breeds curiosity and therefore more of the problem.

I can be certain of two things, however.

First, the capabilities given to us by technology are growing faster than our ability to determine whether we should use it.

And second, I should have just watched the Kardashians.

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JUDGE DIANE KROUPA VS. FILMMAKERS

What if one person decided that you, and all the people you work with, suddenly owed thousands of dollars?

What if that same person decided that the work you do should not even be called a profession?

How would you react?

In a strange case of reality writing better stories than Hollywood screenwriters, one such person actually exists.

Judge Diane Kroupa.

Judge Kroupa is a Federal Tax judge in the United States from South Dakota. In what should surprise very few of you, Judge Kroupa was appointed to the United States Tax Court, in 2003, by none other then George 'Dubya' Bush. With that in mind, you may form your own opinions on where Judge Kroupa falls in the liberal-conservative spectrum.

Lee Storey, on the other hand, is a water rights lawyer from Arizona. After 15 years of marriage, Mrs Storey found out that her husband was keeping a secret. Mrs Storey discovered that, in the 1960s, Mr Storey had been part of the quasi-right-wing-religious-cult-music-group 'Up With People'. 'Up With People' became famous for touring their group of fresh-faced wholesome American youth, who also just happened to have conservative political and religious beliefs, around the country to sing about good old fashioned values and morality. They were actually parodied in the brilliant mock-umentary film 'A Mighty Mind'.

Now, though her husband had distanced himself from 'Up With People' due to their 'interesting' beliefs around organised marriage and marital sex, Mrs Storey knew this was a tale that needed to be told.

With no experience, Mrs Storey set about producing and directing a documentary telling the story of her husband and 'Up With People'. In 2009, despite having to learn filmmaking from scratch, Mrs Storey finished her film: 'Smile Till It Hurts - The 'Up With People Story'. http://www.youtube.com/watch?v=FWgXAuFmU3M

The film screened at the Slamdance Film Festival and the Florida Film Festival in 2009 and Mrs Storey won best director at First Glance Film Festival. Not bad for a first effort.

Joy soon turned to concern, however, when Mrs Storey was called to a tax audit in 2010 regarding the claiming of production expenses for 'Smile Till It Hurts' as 'business expenditure'. Claiming expenses as 'business expenditure' is a common practice for any business in the world, so Mrs Storey had a right to feel quietly confident.

Then, in March 2011, the audit turned into a tax trial. During the trial in the United States Tax Court, Judge Kroupa made a statement that made every documentary maker break out into a cold sweat.

Judge Kroupa declared that documentary films 'mainly served to educate rather than make money'.

http://www.indiewire.com/article/ida_issues_amicus_brief_on_behalf_of_audited_documentary_filmmaker

http://austin.culturemap.com/newsdetail/06-16-11-arizona-ruling-threatens-documentary-filmmakers-austin/

Wow.

Judge Kroupa's contention, which would then be the view of the tax authorities in the United States, is that documentary filmmaking is therefore a not-for-profit venture and holds the tax status of a HOBBY.

Production expenses incurred for a hobby, are not tax deductible. If this view were to be upheld, Mrs Storey, and many other documentary filmmakers, would owe hundreds of thousands of dollars in back taxes and penalties to the United States tax authorities.

All because a conservative judge, with no film production experience and therefore no understanding of the time it effort it takes to finish a film, believes that there is no profit motive in making a documentary.

And apparently, Mrs Storey is not the first to experience this.

http://www.filmmakermagazine.com/news/2011/07/why-filmmaking-cannot-be-a-hobby/

But at least, for this filmmaker, his case was restricted to his own personal finances. Judge Kroupa has decided that her case will determine whether all documentary films can be considered a for-profit exercise.

Where does she get off?

Any documentary filmmaker, even some I know of that work for a charity, will tell you that they ABSOLUTELY want to make a profit.

But that's not actually the point.

The point is that the logic of Judge Kroupa's contention is wafer thin. Regardless of what I know to be the perspective of actual filmmakers, does she honestly believe that anyone putting their blood and sweat into finishing a film for YEARS, then doesn't want it to make any money? On what planet?

How else are they meant to live and make more films?

Filmmaking is a lot like oil prospecting. The investment is huge and a dry well can happen easily. The result is a bust and a lot of financial loss. But, if you strike oil, the returns can be substantial.

Would anyone in their right mind say that oil prospectors are not motivated by profit?

Do oil prospectors quit when they find one well?

No. And neither do filmmakers. They use the profit they make to eat, create jobs and create more films that entertain, educate and inspire.

But I am sure Judge Kroupa knows all of this, being a Federal Taxation Judge.

Seriously, you couldn't make this stuff up.

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GLAMOUR

I am writing this on a plane on the way to the Byron Bay International Film festival. So far my phone hasn't caused a major failure in the plane's navigational system, but if you are now reading this newsletter posthumously, the jokes on me.

It's a cliche I know, but I actually worried about what I would wear to the red carpet opening night tonight. There is no getting past it though. In the film industry, where the entire product is based on pretend characters, played on false sets or locations, appearances matter.

But how much?

Last year I made an exploratory trip to Los Angeles, to see how the ideological centre of the industry operates. It was certainly eye opening, but not for the reason you think.

What struck me was how many disappointed tourists there were. They had grown up watching the glorious facades of Hollywood, only to get there and find out it was a working town. Hollywood is a lot like Detroit, extremely functional with only a few real tourist fun spots. The only difference is Detroit exports the blue collar car industry and Hollywood the glitz of entertainment. But that's not what they tell you on TV and the movies.

The same thing has happened at filmmaker "meet and greets" I've been too. There are always people at these events who put a lot of effort into looking 'successful' or appearing to be 'developing projects', when their film slate or CV shows they have barely finished a script or a short film. They try their best to look the part, can actually be quite rude (because they are trying to avoid being caught out) and have little experience to talk about and add to the knowledge of the other filmmakers in the room.

They certainly have 'cool' clothes though.

There is something to be said for good grooming, but even more to be said for authenticity. Lady gaga hasn't learned this lesson yet, but she's working on it.

The realisation for me, as I critiqued my way mercilessly through my own wardrobe, was that its easy to be distracted by appearing to be successful. It's much harder to actually be a success.

In the end, rather than trying to construct a veneer of impressive glamour, or pretending to be a major success, I decided to just dress like myself.

Jeans, a white tshirt and a suit jacket.

I'll impress them with my jokes.

Assuming the plane lands safely.

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SIMPLICITY

Geoffrey Rush has a peculiarly large head.

It's true.

Not in ego terms. This is purely literal.

Last weekend, I attended a day of film seminars, from established and successful filmmakers, called 'Tropfest Roughcut'.

During a talk from a director who's debut feature film opened at Sundance this year, I heard someone whispering to someone else, on my right, with a voice that seemed oddly familiar.

I looked over and realised I was sitting directly across the aisle from Mr Rush.

I played it cool. I mean, how often do you sit next to an Oscar winner?

When I stole a glance the second time, I noticed it.

His head.

It was HUGE. Like a caricature.

And I remembered something from an episode of the TV Series 'Entourage' on this very subject. One of the characters in Entourage claims "the bigger the head, the bigger the star".

The simple logic of this statement is that a bigger head means an easier to perceive performance on camera and therefore bigger film industry success. Fairly straightforward, really.

It's funny how often, in the film world, the best answer is often the simplest.

So, you need to capture an actor's facial performance better? Find an actor with a bigger head!

Mr Rush actually illuminated this point on simplicity best when he spoke on stage. He was asked about acting, with a special focus on the difference between comedic and dramatic acting. He stood up and played out a brief scene. A man comes into the room and answers the telephone with a straight/slightly concerned face.

"Hello? Yes? Oh I see. Yes. I'll be right there."

The very essence of dramatic acting.

"And how to do comedy acting then?", Mr Rush was asked.

His answer was a perfect example of keeping it simple. He said:

"Well, you do exactly the same thing, but you do it with your eyebrows raised."

Then he played the whole scene again with his eyebrows raised. And it was funny. Somehow, that simple act made it funny.

For filmmakers, creatives and the general population, Mr Rush's performance demonstrates sage advice. We often make simple things far too complicated, especially in a script or film. In truth, however, it is the small simple moments (a frown, a smile, a raised eyebrow) that are often the the things we remember most, and the difference between a film we know and a film we love.

It is a principle that is definitely worth carrying into your film, script, book, painting, song, etc etc etc.

People may disagree with Mr Rush's simple 'raised eyebrow' acting advice, but it's hard to argue with an Oscar winner.

Even if he does have a freakishly large cranium.

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OAFILMS NEWS - ANOTHER FESTIVAL SELECTION FOR 'THE GOOD NEIGHBOUR'!

Starting to get on a bit of a roll. This time it is in a smaller festival gem in Victoria, Australia - The Warrambeen Film Festival.

http://www.warrambeenfilmfestival.com.au/the-films-pm-131.html

Our Australian interstate debut for 'The Good Neighbour'!

CROWDFUNDING

'Nobody knows anything...the single most important fact, perhaps, of the entire movie industry'
- 2 time Oscar winning screenwriter William Goldman, 'Adventures in the Screen Trade' (1983)

I got a free invite, and there was free beer. Just to give you some context.

It's amazing how free beer and wine can draw in a room full of creatives. Alcoholism or poverty?

In any case, a startup company, Pozible, hosted an event on 'crowdfunding' this week. Pozible, as it turns out, is a website that helps you run a 'crowdfunding' campaign.

http://www.pozible.com.au/

For the unitiated, 'crowdfunding' is an idea 3 to 4 years old. Essentially, it is about offering rewards to people to get them to donate cash to your creative project. The cash you receive is then used to actually make the film/song/book, etc. The donator then receives their promised reward (e.g. a DVD copy of the completed film) when the creative work is completed.

For people in the USA, they have an almost identical website called 'Kickstarter'. Both websites do basically the same thing, but Pozible is better for those of us based in Australia and the Asia-Pacific.

But why is this relevant to you?

Well, 'crowdfunding' is the result of the wave of technology and social media changing all of our lives, enabling us in ways we thought previously impossible. Dreams are there for the taking, for the patient and impatient alike. There is no immunity to the future, only adaptation.

Think of a world without Facebook. Without Google!

Tough isn't it?

And that is the world that is evolving. Connected. Full of opportunity.

But with these opportunities comes a new form of uncertainty. The old rules are cast aside. How do we make the new world work?

To help answer this question, the Pozible team asked several people to talk about their successful (i.e. achieved their $ funding goal) funding campaigns. As they spoke, what became clear to me was, not for lack of effort, talent and intelligence, that these people were not really sure what it was that made their funding campaigns successful. Their success still had all the hallmarks of lightning in a bottle.

Is there a moral to this? In a manner of speaking, yes.

The Pozible guys are savvy. Their website has enabled creatives to raise, collectively, over $1 Million in funding for a large number of projects that would not have happened otherwise. In my view, they are a force for good.

But William Goldman's words remain valid.

Technology is opening up new frontiers. In the end, however, nobody really knows whether something will be a success or not.

So, be aware and open to wonderful new opportunities like Pozible, but never lose sight of the fact that your greatest opportunity is when a project is yours alone to craft and polish.

Make great work and the crowd will come.

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STARTING OUT WITH A BANG

Well, hello...hello...hello.

To be honest I wasn't sure you would all make it back. 2012 is the year it all ends after all. Or was the Mayan Calendar maker just lazy?

The first 'new thing' of the new year is always the most scrutinised. I often wonder if that poor baby who makes headlines for being 'the first born in 2012' just reached the peak of their entire lives at the age of 38 seconds.

To live up to any 'first of the new year' expectations you have for me is like catching a unicorn. By that I mean extraordinarily difficult, not awesome. Maybe it's both.

So, to do my best, I have three offerings for you: a revelation, an update and a gift.

First, the revelation.

I have to put the gift last. To keep you reading. It's an honour system.

The revelation: I've missed you.

I have been quietly looking forward to the return of 'Tales From the Opening Act'. You keep my mind sharp. Hopefully I can return the favour.

Second, the update.

As you know, I like to make predictions. It is way more interesting and insightful than dwelling on the past.

So, how has my radar on prognosticating been?

In November, I said I thought it odd that Kodak took the time to respond to negative rumours and announced that everything was going great (http://www.openingactfilms.blogspot.com.au/2011/11/exaggeration_11.html). According to them, they were producing loads of film and things were on the right track. It seemed strange to me that they even took pains to make that announcement. Why bother?

The answer was MUCH faster than I expected.

In early January it was announced that Kodak was teetering on the edge of filing for Chapter 11 bankruptcy protection in the United States.

http://online.wsj.com/article/SB10001424052970203471004577140841495542810.html

By late January, they were already there:

http://if.com.au/2012/01/20/article/Kodak-files-for-Chapter-11-in-US-bankruptcy-court/FQOZKFPKQO

This does not mean they are bankrupt. It means they are at risk of becoming so, if they don't reorganise, and need protection from the people they owe money to coming to get them. So, they file for Chapter 11 Protection from their creditors. It may not be bankruptcy, but it certainly isn't good.

How did the company that INVENTED the digital camera get destroyed by it? Even the inventor of the 'Uzi' machine gun died of natural causes. Curious.

Finally, if you have made it this far, your gift.

Now, keep in mind this is a Film, TV and Media related newsletter. If you are expecting earrings, you may be disappointed.

In my travels, I came across an Academy and Emmy award winning professional-grade editing program, 'Lightworks'.

The software has over 20 years of history in the film and broadcast industries and you can download it for FREE at http://www.lightworksbeta.com/

Keep in mind that I paid $1400 for my Final Cut Pro film editing software, so free is a pretty good deal.

So, if you have a camera (even an iphone with a camera!), and a story to tell, now you have NO reason not to be shooting and editing it into your magnum opus in 2012.

With that in mind, I know 2012 will be a great year for us. Productive, challenging and fun.

It won't be perfect, but who has use for a unicorn these days anyway?

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OAFILMS NEWS - 'THE GOOD NEIGHBOUR' SELECTED FOR THE BYRON BAY INTERNATIONAL FILM FESTIVAL 2012!!

Great way to start the year at an excellent festival! We will be screening on Saturday 3rd March 2012.

http://www.bbff.com.au/preview?film_id=232&session_id=3

I Shall Return...

First things first, Happy 2012.

Now down to business.

I know you have missed me.

I have missed you.

But we needed a break.

A holiday from our relationship.

But now I'm ready.

I think you are too.

January is almost over.

The holiday will end.

The 'Tales From the Opening Act' will begin again.

Soon.

THE 2012 REVIEW

This time of year, every woman, man, blogger, columnist (and his dog) is publishing a "Year in Review 2011" piece. Why?

Surely looking back on the year, when it's not even finished yet, is somewhat of an exercise in futility.

What if aliens invade on December 30th?

And really, what value do you get out of someone reviewing the year that has just past for you?

The time to reflect, and the lessons you feel you need to learn, surely are your own. For your own time.

Unless, of course, you are someone who likes being told what to think. I hope not.

So, what if we reviewed 2012 in advance instead? Looking forward with an open mind, instead of backward with nostalgia.

What to expect in the year to come?

Starting with the bad news. Well, first of all, movie piracy will continue ad nauseum, but I think you are going to hear more stories about prosecution of movie pirates. The film industry is getting more aggressive than ever before on this, with Internet service blocking deals and legislation against pirates. And then, there was the news, just in the last week, of the film pirate who put 'XMen Origins: Wolverine' online (before it was released in cinemas) being sentenced to a year in Federal prison in the USA.

http://www.geek.com/articles/news/one-year-in-federal-prison-for-x-men-origins-pirate-20111220/

He could have at least pirated a GOOD movie.

In the world at large, the economic news is going to get gloomier, as we break through the European Debt crisis and feel the aftershocks of unravelling the messes caused by 30 years of poorly regulated financial markets. But new ideas will start to come, as bright and optimistic new minds start to think of ways to sustain our economies without bankrupting people who are already below the poverty line (read "Prosperity Without Growth", if you don't believe me). For filmmakers, expect this to result in more and more cries of "There is no money out there for films!", "it is too hard to make films!" and "you should get out of the industry and get a job that pays!". All of these are true in part, but have always been true in an industry of high risk but high rewards.

DVD's will be almost dead in 2012. The sales of DVD's are PLUMMETING fast, and the next big thing, watching movies via the internet, doesn't require any new players or technology (e.g. like a DVD player) for people to purchase to make the switch. They can just use the computer they already have. Blue Rays will likely keep up sales due to their HD Quality and price decreases of late, but there is still the inconvenience factor of having to go out and physically buy them, as compared to just going online and watching the film you want.

As far as the quality of films being released, I can't say whether they will improve or not. I am encouraged by the number of quality independent films coming out, but there will be just as many super hero movies: Spiderman (rebooted), Superman (rebooted), The Avengers and, of course, Batman 3. Overall, expect 2012 to be 'the year of the bat' as the last Christopher Nolan Batman film 'The Dark Knight Rises' makes an absolute fortune and is most likely the highest grossing film of 2012.

http://www.youtube.com/watch?v=GokKUqLcvD8

Which brings me to the good news for the year ahead!

People will start to watch more and more movies on the internet. As a result, 2012 will see much more positive news about the money being made in online video-on-demand (VOD) distribution for films. As a matter of fact, it has already started, with films like Lars Von Trier's 'Melancholia' making as much money in VOD as he did in the cinemas!

http://www.thewrap.com/movies/article/vod-rescue-how-one-format-saving-indie-film-33085

2012 looks like it could be the year of new original films! This is because major franchises like Harry Potter and Twilight have run, or are running, out of books to adapt into films. This is great news for people with original movies to make, or original scripts to sell. In Hollywood, for example, 2011 saw the highest new original (i.e. 'spec') script sales in 4 years.

http://www.reuters.com/article/2011/10/31/idUS150626120620111031

2012 will see the continued return of our cinema audiences and will be the year of the highest worldwide global box office! 2010 was the highest ever, despite the Global Financial Crisis. The 2011 box office is down overall, but are having a record US Summer/Christmas that is being touted to bring them back to record breaking territory. As economic conditions first worsen then improve, and the major blockbuster 'The Dark Knight Rises' is released mid 2012, audiences will flock back to cinemas for cheap (relatively) entertainment.

http://www.reuters.com/article/2011/08/17/us-boxoffice-summer-idUSTRE77G4QN20110817

And finally, the technology to make films will keep getting cheaper. This will mean more people will be making films in 2012 than ever before, with their high quality cheap digital cameras. But, this will also mean that filmmakers who are creative, dedicated and work hard will have the chance to rise to the top. Also, with crowdsourcing now seeing filmmakers raise over $100,000 to make their films, purely from donations from supporters of their film, 2012 will see more filmmakers engaging with their audience to produce great films that people have supported financially AND want to see.

So, what should you be doing to make 2012 your most successful year?

First of all, CREATE!!! No matter whether you are a filmmaker or a plumber, the world is crying out for people who are good at what they do and are actually out there completing great work. Stop procrastinating and make something. The world needs you to take your brilliant new ideas and then use your work ethic to polish them into something amazing!

Second, the bullshit era is failing. The 'hype with no substance model' is a dying, as seen by the catatonic ratings of the once-successful reality music TV shows. The pervasiveness of social media and the internet has changed the world, because finding out if you are a "fake" (or that your film is terrible) has never been easier. 2012 will see the return to being judged by the quality of your work. So, don't be a hype machine with no substance. No matter what your industry, 2012 will reward people who focus on being the best at what they do.

Most of all, be aware! In the era where you can make high quality films cheaply and talk directly to your audience with technology, you need to know what is going on in the world and take your destiny in your own hands. You may not think about the world at large, but the world most certainly has an impact on you and your success. For example, did you know that the Free Trade Agreement with the USA has an impact on how much Australian TV stations can require there to be Australian shows on TV? This has a direct impact on how much Australian TV production there is, and therefore how many Australian TV Production jobs there are. If you didn't know this, why not? The information is freely available, you just have to shake off apathy and be informed enough to make good career choices.

2012 will be big, shiny and new. There will be challenges and opportunities. Winners and losers.

Aliens are unlikely to invade, but you're going to be a winner. I can feel it.

________________________________________

PS: 'TALES FROM THE OPENING ACT' WILL BE GOING ON HOLIDAYS FOR ALL OF JANUARY 2012. BUT DON'T WORRY, IT WILL BE BACK, BETTER AND MORE PUNCTUAL THAN EVER, IN FEBRUARY 2012. MERRY XMAS TO YOU ALL AND HAVE A SAFE AND RESTFUL HOLIDAY SEASON!!!!! CHEERIO, PETE

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ONE GOOD MEETING

As a filmmaker outside of Los Angeles, you get used to hearing "No".

We live in a culture of "No".

"No" that is only possible in Hollywood.

"No" you should get a proper job in mining or accountancy.

"No" way there is room for you in the overcrowded film industry.

For the thin-skinned it's demoralising.

There are far worse alternatives though. Apparently, in LA, compliments are free flowing, but the all important "Yes" to your film project is rarely forthcoming. There is even a famous line about it:

“Hollywood is the only place where you can die from encouragement.”

- Dorothy Parker

And it's worse if you take a lot of meetings. "Death by Meeting", I call it.

Even a thick skinned person has trouble enduring weeks of meetings where all you hear is "No".

This week's meetings were unusual for me, hence the late newsletter. In one evening alone I was fortunate enough to meet luminaries such as Paul Cox (the noted director of 'Exile'), Chris Murray (Popcorn Taxi director who launched Empire Magazine in Australia) and Vincent D'onofrio (acted in everything from 'Full Metal Jacket' to 'Men In Black').

But while this shoulder-rubbing was fun, as was the horrifically blatant name dropping I just did, it wasn't actually the best part of my week.

Earlier in the week, I had a meeting to discuss a strategic proposal around social networking and marketing. It had the potential to be dreadful, truly truly dreadful.

Instead, there was a metaphorical sparring match. It was polite, but we challenged each other. Ideas were thought of, and then replaced with better ideas.

Just over an hour later, we shook hands and headed our separate ways. "No" had not been said once, only "What if instead..."

My mind was flowing with ideas. I was energised.

And I realised, one good meeting will outweigh a calendar full of bad ones.

A good meeting will remind you why you expend the energy in pursuit of an idea.

To be challenged. To connect with peers. To produce your best work.

So, don't be dismayed by the sea of bad meetings you have to navigate. They serve a purpose.

They remind you what a good meeting looks like.

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OAFILMS NEWS - CARELESS LOVE TRAILER!!

Good news! The feature film I worked on, John Duigan's 'Careless Love' has secured a limited cinema release in 2012!

In preparation, check out the trailer at: http://www.youtube.com/watch?v=SQU56DReFoY

In the first 20 seconds, my good friend and collaborator Kyle Sellers features as the guy eating pizza. Never a more impressive debut has been seen.

For more info on 'Careless Love' check out: http://www.imdb.com/title/tt1835920/ or it's facebook page: http://www.facebook.com/pages/Careless-Love-2012-directed-by-John-Duigan/119721174806240

WORD OF THE FUTURE: "GAMESIFICATION"

Have you ever played "buzz word bingo"?

The basic premise is to keep a tally of ridiculous buzz words used in meetings, like "synergy" or "strategic", and laugh quietly to yourself. It makes the meetings go faster, trust me.

Sometimes though, the jokes on you. Someone uses a word that everyone else seems to know...except you. Your only defense is to smile and nod, like a moron, hoping no-one notices your ignorance. Don't worry, it happens to all of us. William Shakespeare is said to have invented up to 1700 new words, including "skim milk". Imagine how often his peers had no idea what he was talking about.

A new word that keeps popping up for me is 'Gamesification'. The first time I heard it was in a new media presentation. I immediately looked around to see if everyone else knew what the speaker was talking about. They were all nodding. This means either they knew what 'Gamesification' was, or they were trying their hardest to appear that they did.

Months later, I was reading an article, and the word came up again. Hearing it twice told me it wasn't going away.

So I looked it up.

The only definition I could find was:

"Gamesification: Turning Other Things into Games".

Vague.

There was not a lot more resources on this available, but over time I have managed to piece a few things together, which I am happy to share.

So, what is 'Gamesification'?

Allegedly, it's the future. 'Real life games'.

Instead of just going to a ski resort, you have a special chip in your ski pass which tracks all of your achievements - like you are a player in a game. Successfully ski the highest peak, and you earn a "badge" that shows you have. This shows up on your online profile, which you share, compare and compete with friends and other skiing fanatics.

http://www.epicmix.com/EpicMix-Photos.aspx?cmpid=PPC114621238

Or you're a holidayer at a resort in Ibiza, and a special chip in a wristband allows you to track which dance party events you went to, like a badge of honour. Using your Facebook account, you can share these experiences with friends and link photos taken by professional photographers at the events. So, attending the parties becomes a game.

http://www.tnooz.com/2011/11/08/news/what-happened-when-a-hotel-armed-social-media-loving-clubbers-with-rfid-wristbands/?utm_source=Tnooz+Mailing+List&utm_medium=email&utm_campaign=b3dd9487ea-RSS_EMAIL_CAMPAIGN

Or the movie premiere, a mystery movie, where you are given clues to follow to find the theatre and engage in the story. Like a game.

http://www.youtube.com/watch?v=8Gzo6gel2mo (Note: a long video, but very good and he mentions the 'Transmedia/Gamesification' campaign for a film)

What is 'Gamesification'? It's about making real life experiences into games.

But, why would you create a real life game?

The money makers will say it's so that people attend your nightclub, ski at your resort, or watch your movie.

But the creators are saying it is about engaging with your audience and making the experience even better. The movie-goer loves the movie because they are more immersed in the world of the story. The skier loves the ski holiday because they can compete with their friends and track their winter vacation. The Ibiza clubbers can say "I was there!" to their friends and share stories.

And they buy things too, so everybody wins.

The consumer of the future is focussed on the "experience", not just buying things. Play to that, and people will show up in droves, like they did for the "3D Experience" of Avatar ($3Billion sales and counting).

That is why 'Gamesification' is not going away.

Making games of real life. Like 'buzz word bingo'.

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THE SHOW MUST....

This one will be very short and sweet.

I wouldn't wish food poisoning on anyone.

I had this great idea for this week's newsletter, about the 'Gamesification' of the world, especially in entertainment content. Like any idea, it was fermenting nicely over a few days.

Then, on the weekend, I went for a lunch with a friend of mine and a mutual acquaintance. We chatted about film, possible moves to L.A. and the idea of living comfortably off of arts grants. It was lovely and we all parted ways after a few hours and a good chin wag.

That night, a wild and violent party broke out...in my stomach.

I'll save you the detail, but 5 days, 2 doctors visits and some strong medication later, and I am starting to feel a bit better. Yeesh.

But the show must go on. So, with that in mind, I thought I would share something small I noticed while on Facebook Chat. I was talking to a writer/director friend of mine, who was contemplating what he should do next. He made a good short film, has a few options now, but is paralysed by the thought of actually choosing something.

There is a lot of debate about whether we are living in a "short attention span" world now. There are a lot of negatives to this development, but one positive is it forces us to be more concise.

When I read back my reply to my friend, I realised that being forced to write small sentences in Facebook Chat, made me give better advice than if I had a page of free text.

I said:

when you're lost in the edit
go back to the script
good advice I got once
you had a story to tell
you told it well
it still has life out there
and is a stepping stone to a next thing
or the weight around your neck of the one great thing you did
up to you which one

That may not mean a lot to you, but it did to him.

So, what advice can I offer you?

Don't eat the grilled chicken sandwich.

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'THE GOOD NEIGHBOUR' AND 'REFLECTION' BOTH AWARDED AT THE SANDFLY FILM FESTIVAL

The Good Neighbour and Reflection were both very well received at the Sandfly Film Festival in Jervis Bay.

'The Good Neighbour' was voted the AUDIENCE VOTE WINNER - SESSION 2 and 'Relfection' was recognised in the Award Ceremony for WINNER - BEST PERFORMANCE - "Sarah Jane Coombe".

A wonderful result for both films, and a big thank you to The Sandfly Film Festival for their hospitality.

For more info: http://www.sandflyfilmfestival.com/awards

EVERY MAN HAS HIS PRICE

What are my bids?

Up for auction...your dreams.

Unused. Still in the shrink wrap.

What will you offer for them?

There's an old song called 'The Devil Went Down to Georgia' about a fiddler challenging the devil for a golden fiddle.

His wager?

His soul.

What price would you pay?

In the current climate, Greece, The USA, and independent filmmakers all have something in common.

No-one will give them any money.

Now imagine a millionaire shows up, offering you the money you need to make your film a reality. They have no experience in film, yet have established a production company funding arthouse films.

You are so desperate for a break, you don't pursue any agreements about creative control or final cut of your finished film.

What could go wrong?

http://www.startribune.com/entertainment/movies/134121398.html

http://www.indiewire.com/article/exclusive_is_werc_werk_works_the_hero_or_the_villain_of_independent_film#

The articles are good, so I'll let them speak for themselves.

But remember, if you dance with the devil, you'd better hope the music stops.

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THE TOP 400

I have the secret for you to earn anywhere between $25 million and $250 Million in a single year.

It is so simple, you will wonder how you didn't think of it yourself.

Lean in closer.

Closer.

Are you ready?

Be one of the 400 most successful people in the world, in your chosen profession.

That's it! Easy, right?

Sarcasm aside, you may not have noticed, but we are currently enduring an "armchair analyst" explosion. "Armchair analysts" are people who have no idea what a particular job entails, yet feel qualified to assume that the protagonists are overpaid for doing it.

By way of illustration, professional basketballers in the USA, millionaires themselves, are in the midst of a major industrial dispute with the billionaire owners of their professional teams. They are fighting over the future rules for the player's employment contracts and salaries. In response, sports bloggers decry that these basketballers should accept a bad labour deal from their team owners because, relative to a parking attendant making $30,000 a year, it is obscene for them to be haggling over millions. By comparison, the highest paid player, Kobe Bryant makes $25 Million a year.

http://espn.go.com/espn/commentary/story/_/page/wilbon-111114/the-nba-labor-impasse-reached-particularly-objectionable-economy

In Hollywood, every year, Forbes publishes a list of the highest paid film actors and film directors, ensuring an annual wave of indignation at the millions of dollars these "entertainers" make. Leonardo Dicaprio reportedly made $77 Million in 2010. James Cameron, meanwhile, made $250 Million in 2010 on the success of Avatar, which by that point had grossed $2 Billion at the worldwide box office.

Compare that to the teenager ripping ticket stubs at the local cinema for $7.25 an hour (minimum wage), is the logic these "analysts" use.

But are we really comparing apples with apples here?

Approximately 2700 people attended the Oscars in 2010. Enough to fill one auditorium.

There are approximately 450 professional basketballers in the professional American league (the NBA). Enough to fill one large hall.

In 2010, there were 6.8 Billion people in the world.

Even if you pro-rata it for the guesstimated number of people that are actually in the film or professional basketball industries, worldwide, you are still talking about athletes or film professionals in the top 0.001% to 0.1% of their field, respectively.

I'm not saying that people who do everyday jobs, not earning millions, don't deserve respect.

But comparing the people who work hard for years to become the top 0.1% of the world in their chosen profession - performing feats that the vast majority are incapable of - is lazy thinking at best, and insulting at worst.

But if you think I'm wrong, just pick up a basketball and play.

It's that easy, right?

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OAFILMS NEWS - FESTIVAL SUCCESS FOR 'REFLECTION'

Good news: Reflection, a film I co-produced has begun its festival run and has been selected for some hidden gems on the circuit!

http://www.facebook.com/pages/Reflection/207581575918905

It started with the Offshoot Film Festival 2011 in Arkansas USA.

Then the news that we were selected for the Stepping Stones Film Festival in Bangalore, India - international!

And now the news that we have been selected for the Sandfly Film Festival in Jervis Bay!

http://www.sandflyfilmfestival.com

The festival is on tonight, and I will be there to see how The Good Neighbour and Reflection are received by the festival audience. Among some excellent industry judges will be none other than esteemed Australian musician/actor Ben Lee.

http://www.sandflyfilmfestival.com/judges

Hopefully we can continue the festival run, and get these films seen by as many people as possible!

EXAGGERATION

We humans are social animals. There are really wonderful things that come out of this, and then there is gossip.

I have been gossiped about, back in the small fishpond days of high school. We all have. Jeff Goldblum was declared dead on Twitter. It took a TV appearance to convince the public he was actually alive.

It's always funny to me, however, when a big company decides to respond to gossip. I am sure they think it will help calm the waters, but cynical as we are, it inevitably does more harm than good.

So, with a wry smile, I read about the major film manufacturer Kodak's press release:

"...Kodak says reports of its impending corporate-death have been exaggerated and it is still making billions of feet of film."

http://if.com.au/2011/10/31/article/Kodak-says-reports-of-its-corporate-death-are-greatly-exaggerated/TDMRCTXDPR

By way of context, the world of filmmaking is changing as digital cameras, with wonderfully complicated image sensors, replace traditional film cameras, using actual film negatives. This is true even for major studio films.

This digital revolution has been coming for some time. In the May 2nd, 1999 edition of the New York Times, the renowned film editor Walter Murch (who won an Oscar for 'Apocalyspe Now' and edited 'The Godfather II') made a prediction about the coming 'digital revolution' in film. (http://filmsound.org/theory/nyt5.htm). Mr Murch said that, as soon as high quality digital cameras become available and cinemas start using digital projectors instead of analogue projectors (i.e.that use film prints), the use of film to make movies will be on it's death bed. Metaphorically speaking, of course.

In the last five years, both high quality digital cameras and digital cinema projection have become a viable reality.

Kodak, being one of, if not THE, largest producer of motion picture film is obviously affected by this changing paradigm. Movie productions using digital cameras equals no demand for film, after all.

Obviously, others have noticed it too. Hence the gossip.

So what do Kodak do? Assure the world that they have things well in hand and are continuing film stock production.

Seems reasonable.

Except...

“Someone, somewhere in the world is now holding the last film camera ever to roll off the line.”

http://magazine.creativecow.net/article/film-fading-to-black

http://www.salon.com/2011/10/13/r_i_p_the_movie_camera_1888_2011/singleton/

As it turns out, the major motion picture film camera makers, ARRI, Panavision and Aaton, have stopped making 35mm motion picture film cameras.

There is even a suggestion that the last motion picture film camera was made as far back as 2009.

Whoops.

Does this mean that film will stop being used immediately?

No, cameras have a good shelf life if maintained well.

But film will become rarer. And harder to get developed. And, therefore, costly.

It will get harder to get parts for and service film cameras. And, therefore, costly.

But maybe Kodak is right. Maybe it is all gossip. Goldblum turned out to be alive, after all.

Or maybe Kodak should have just kept quiet.

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