Deadlines Matter, Even for Indies

For me, one of the toughest things about independent film is the complete lack of studio-imposed deadlines. I know, you're thinking I'm completely nuts and you're just about to click that little "x" to close the window. Before you do, consider this:

1. Projects that take years to complete suffer issues of relevancy once they finally wrap. I had a friend who started a wonderful story about the Cold War in the 1980's. I heard from her recently: it was finally finished, could I read it? Sure! The writing was brilliant, for 1985. It now needs a complete rewrite because younger audiences won't connect and it's no longer relevant to those who lived through that era. While it could have a cool retro feel as a film today, the story has to include more exposition than it did when the writer started it because of the loss of relevancy.
2. Casting can become a major issue. A filmmaker friend obtained the film rights to a book and went to work writing his screenplay. He was able to find the perfect lead, a local unknown, to star in his project, and shot a few scenes to garner interest in funding the project. However, he kept putting the finished screenplay on the backburner as he worked on other projects. By the time he was ready to start filming, that perfect actor had been cast in a TV series and was no longer available. He's now having to start over with casting and still, more than a year later, doesn't have a completed screenplay ready to shoot.
3. Actors' appearances change over time. The headlining film at our local festival a couple of years ago took several years to complete. This might have been okay except that two of the main characters were young girls when the project started, teens when it finished. The story itself covered less than a year of elapsed time, so the change in the younger actors' appearances was jarring and left audiences confused.

     These are just a few real-world examples where the lack of a hard deadline undermined what might have been successful projects otherwise.
     As an independent filmmaker or screenwriter, it's important to set deadlines for yourself to ensure your project remains relevant, you keep funding you've secured and you don't lose resources attached to the project. Make sure the deadlines you set are reasonable - you don't want to rush the project and produce something crappy, but you also don't want to take so long to get it done that six other people beat you to the punch.
     If you're not sure what makes a reasonable deadline, I recommend choosing a film festival or contest to which you'd like to submit your work. (Don't pick one that closes entries next month.) Alternatively, figure out the pace at which you best work and approximately how long it would take to finish your project at that pace. (Tip: it shouldn't be more than a year out.) For example: if you're a writer, setting a goal of 10 to 20 pages per day would set the goal of first draft for you in approximately 1.5 to 2 weeks out. Factor in time for your detailed proof-read and three or four review passes, and 2 months may be a reasonable deadline for you to have a copy ready to pass around to others to read before your final copy is complete.
     All in all, a deadline should give you a reasonable goal to work toward and put just enough pressure on you to get the work done before completing the project becomes impossible or pointless. It will also show others you want to bring into the project that you are serious about getting it done and that you are a true professional, improving the odds that they will commit the time and effort you need from them to produce quality work.
     So, get to it! Whip out that smartphone and add an appointment, as well as a few reminders, to get that project done. As we all know, once it's in the smartphone calendar, it's real.

Review: The End of the Tour

I am only slightly embarrassed to admit that I was expecting a comedy when I first walked into the theater, bucket of M&Ms and popcorn in one hand and a giant soda in the other. I like to avoid any pre-conceived notions regarding movies I plan to review, to ensure perfect candor, so I'd only read a three-line synopsis that basically told me it was about the road trip Rolling Stone journalist David Lipsky (played by Jesse Eisenberg) took with professor/author David Foster Wallace (Jason Segel) at the end of his Infinite Jest book tour. Given Joan Cusack's appearance in the cast list, "comedy" was a natural assumption.

It wasn't long into the film that I realized it was pretty much a drama about two guys sitting around talking to each other. Sometimes they walked around and talked to each other. Briefly, they talked to other people or Wallace's two adorably overweight Labradors. By most measures, the movie should've been incredibly boring.

It was not.

Before we'd even gone in, my friend and I had vowed to sit on the end of the row and quietly depart if the film turned out to be below our expectations. Instead of sneaking out, we forgot to eat our popcorn, even with the unhealthy dose of chocolate we'd dumped inside. My soda remained nearly full. Not only was this little film about two guys talking to each other vastly interesting, it was entertaining and moving. I forgot to eat.

As expected where Segel and Eisenberg are present, there were moments of humor and awkwardness. Eisenberg's delivery was his typical tic-laden quirky nerd. No real surprises there. Segel, on the other hand, disappeared and was replaced by someone who easily could've been mistaken for the 90's era Wallace. (Okay, his hair wasn't quite as awesome, but we can overlook that.) Segel's performance was not only believable, but nearly invisible, and that is the perfection every real actor should strive to achieve. Thanks to that perfection, it was easy to understand how people could form the type of bond toward Wallace that his "DFW" fanatical followers seem to possess. (Many have vowed to skip the movie because they believe DFW would never have sanctioned such a narcissistic endeavor. Wait, didn't he agree to the original interview, book tours, speaking engagements...? Never mind. I don't want to stir up trouble.)

In the end, this film WILL tug at your heart strings, if they are there to be tugged. It will appeal to those who want to get insight into Wallace through Lipsky's eyes without taking the time to read the book (Although of Course You End Up Becoming Yourself). It will appeal to indie film lovers, bio and book lovers, and anyone who simply enjoys a good drama. It won't make tons of money, but the best films rarely do. If you're not one of those previously listed folks, go see it for the outstanding cameo performances by the inimitable Joan Cusack and Mamie Gummer, looking more like mama Meryl Streep than ever before.

If you're over 18 and have half a brain, seek this film out. Order a small popcorn and soda, sit down and watch it with a pal, then feel smarter and a little more human when you walk out. For you DFW fans who refuse to see this film because you don't believe it can possibly do him justice or may conflict with his wishes, get over it. Unless you knew him personally, you really have no more right to claim knowledge of what he would've wanted than the filmmakers, who, by the way, honor his memory very well while helping us understand why he both savored and avoided the spotlight. (He might have even been ashamed of your arrogance and uninformed pre-judgment, being such a fan of moving pictures and overall open-mindedness himself.)

During his life, Wallace may have avoided the camera because he struggled with the trappings of fame and the dangers of inadvertently branding himself, but this film absolutely does everything possible to paint him as human as he'd want to be, and as brilliant and wonderful as he was. It treats his foibles and wishes with every bit of the deference he would've wanted and deserved. It also serves to introduce a whole new generation to him, drawing them toward his amazing work. If anything, DFW fans should be happy he is finally getting the type of widespread respectful treatment he never allowed himself to receive. So what if it's only a snippet of his life? It's a work of art and rare insight into a brilliant but (mostly) reclusive artist.

The End of the Tour opens in Houston on August 13, limited release.

"Home" = The Perfect Screenplay

While many screenwriting gurus vary greatly in the advice they give, there is one thing they agree on consistently for a feature-length screenplay: plot structure. If you're a budding writer, hopefully you've seen this basic rule:

It's simple, tried and true...and often ignored by screenwriters and filmmakers, especially in the independent side of the industry. (Hey, sometimes this works, sometimes it leaves audiences scratching their heads.)

For a new screenwriter, sometimes it's difficult to see this structure in modern films. (Try watching action films - they usually throw it in your face.) Since I'm a mom, though, I was compelled to see "Home" with my daughter, who absolutely LOVED that movie. I will be the first to admit, I did, too. So we watched it again and to my everlasting surprise, I realized why: that writer was a genius when it came to adherence to classic plot structure. Okay, and the film was a lot of fun to watch in general.

Not only was the overall story an excellent blend of fun, silliness and heart-string tugging, but the plot was easy for both me and the 10-year-old I brought with me to follow. Our well-trained movie-loving brains subconsciously responded positively to the near perfect adherence to classic plot structure without the slightest thought the story might be formulaic in design.

Whether you're a new screenwriter or an experienced pro, try drawing up your chart (based on the above), pop "Home" into your DVD, and see if you can attach the scenes in this perfectly-designed kids' movie onto the right points in the chart. How does the timing align? (Tip #1: times in the chart are approximate but should divide your movie into thirds at each of the turning points.) Does the setup establish the rules of the world it creates? Does the story stay within those rules (to maintain believability)? Does the action build from each point to the next? Where does the action peak? (Tip #2: It happens twice, as formula demands.) Does the resolution actually resolve every open thread? Evaluate other screenwriting elements "Home" executes well: Does each character have a unique voice? Do we care about what happens to the primary characters? Can you identify the primary antagonist(s)? Does each primary character have a friend/advisor? If you don't find the answer to each question, I have a now 11-year-old who will be happy to help you. :)

If you're not a screenwriter but a burgeoning filmmaker, I encourage you to view this as a guide to identifying excellent screenplays. In the end, they should follow the formula without appearing formulaic. That, my friend, (along with a killer cast and toe-tapping soundtrack), is how you pull in a $54 million weekend box office with a kid-friendly film that doesn't feature a princess or well-known toy anywhere in the story.

4 Ways Social Media is Changing Independent Filmmaking

About two years ago there was a rush by independent filmmakers to jump on the social media bandwagon for low cost film promotion. (Just search "social media independent film" for a rash of blogs, how-to's, etc., generally circa 2013.) Today, it's almost impossible to get your film seen without "posting" incessantly about it across a range of social media outlets, and it works.


There are more ways to leverage the power of social media to improve your success as an independent filmmaker than simply promoting your finished product. Here are some of the coolest/most creative uses of our social world I've seen recently (in no particular order):

1. Group story-building: As modern creative geniuses like Joseph Gordon-Levitt have proven, your followers on social media are a great source of creative, collaborative story-building. Check out his #MonthlyScriptWorkshop on Twitter. From developing an idea to finalizing a screenplay, there are hundreds of talented writers out there willing to contribute their time and energy if you just ask.
2. Fund your project: Crowd-funding is definitely the word of the day not only for independent filmmakers, but for many industries. Sites like Indiegogo and Kickstarter are excellent sources of funds for those with a project that's ready to go but needs a little extra kick to get started. (Most crowd-funding sites have rules around setting and making goals, so plan your campaign carefully.)
3. Meet your cast & crew: Creative independent filmmakers are expanding their reach to find locals who are willing to help make their dream a reality. I'm personally part of two Meet-up groups specifically targeting the local film community - one a general film-making group, the other targeting actors to cast current and future projects. (Make your group successful by including an educational element for newbies and networking with agencies, studios, etc.) The usual "casting" methods can be pretty difficult to navigate, and even harder to leverage effectively, when the pay for your stars is publicity (maybe) and peanuts. The promise of residuals will draw un-carded, experienced help, but we all know that's more a hope than a guarantee with most indies.
4. Test screening safely: With the increased focus on privacy, security and data protection, filmmakers now have several options to share their projects without losing their rights to them in the process. (Beware of user-agreements that hand your film over to the host. The most popular video-sharing service, to remain unnamed, is of particular concern if not used properly.) I personally like services like SmugMug and OneDrive to set up private shares that prevent download and duplication while providing support for comments and that social media feel. Instead of waiting to test the whole finished project, take advantage of social media and your circle of trusted friends to test specific scenes, different endings, even costumes, make-up, effects...you get the idea.

The digital age is a great thing for independent filmmakers. Take advantage of it!