Happy belated Labor Day Filmmakers and welcome to the 175th edition of Going Bionic!
I certainly hope your Labor Day was relaxing and fun. Mine consisted of my wife and I walking our daughters to Hermosa Beach to enjoy Fiesta Hermosa, an oceanfront celebration filled with awesome cover bands (I saw Paberback Writers, a Beatles cover band), pony rides, simmering hot unhealthy food, and of course, pristine sand laid against the whitewater waves of the pacific ocean. In short, days like yesterday are why I put up with Los Angeles traffic.
As we celebrate our 175th edition today, I’m going to serve you a handful of slices of the “celluloid pizza” we’ve been digesting here at Going Bionic,” since the Spring. So, a hope you’re hungry because here’s a look into what we’ve been feasting on:
How Second Weekends Tell The Real Story (April 23, 2013)
Here’s a slice:
As for today’s article, we’re going to focus on something that I briefly mentioned last week: the importance of a second weekend to a film’s success. While the media focuses on how well a film does on its opening weekend, it’s usually how the picture does on the second weekend, which determines if it will grow “legs” and run its way to box office success.
Reinvigorating Your Creative Juices, Part 1 (May 7, 2013)
Here’s a slice:
Since enjoying your career in the film industry is largely dependent on loving what you do for a living, even if you’re not getting regular chances to do it for a living, it’s vital to find a way to stay inspired through the grind that is our careers.
If you could see the smile on my face right now, you’d think I overdosed on a gallon or two of Botox. If you’re wondering why am I so silly-happy, that I don’t even care my flight to Cannes was delayed nine hours, and I may not see my luggage all week because the baggage handlers in Brussels are currently on strike? Because I just spent an awe-inspiring weekend in Liverpool, England, the birthplace of The Beatles! My reason for doing so (or at least the reason I tell people) is because I was scouting for a screenplay I wrote titled, Get A Life, which is currently being packaged. While that’s 1,000% true, the real reason is because I knew doing so would inspire the hell out of me, which is a great state to be in as I roll into the Cannes Film Festival.
I’m talking about the low-life, scum of the earth “internship” programs that are ripping off otherwise broke students. One such program scams students for about $600,000 per year at Cannes! That’s right, these cinematic gangsters loot about 200 college students per year, to the tune of $2900 each, plus a $300 festival pass, plus airfare! What’s more, these guys have some of the biggest talent agencies, studios and public relations firms in Hollywood sponsoring them, but I highly doubt those sponsors have any idea what scam they’re being looped into-all they know is that they’re getting free interns.
This recently passed tax code is heaven sent for filmmakers, because it gives investors a real reason to consider a motion picture investment. Section 181 of the IRS Tax Code allows for a motion picture shot within the United States to become a 100% tax deduction for the investor, if the deduction is taken in the year the film investment was made. All productions with budgets under $15,000,000 USD qualify. Furthermore, productions up to $20,000,000 also qualify, as long of 75% of the budget is completed in the United States (75% of $20,000,000 is $15,000,000, so $15 million is the max).
If there’s one thing you take away from this article, please let it be that there is no reason to chase an agent who doesn’t want you. The bottom line is, you should have some self-respect. If it takes several weeks for an agent to get back to you, then he or she is simply not interested in represented you. Thus, rather than keep beating a dead horse, you should refocus your energies to finding someone who does respond to your writing.
Choosing Your Alpha Dog (July 2, 2013)
Here’s a slice:
Your favorite project may not be your most commercial piece, and if not, you’re doing your career a great disservice by pushing that project ahead of your more commercial properties. Thus, you should take the time to consider the casting viability of each of your projects, and find the one that A-list actors are most likely to gravitate toward.
The Anatomy of Casting Part 1 (August 6, 2013)
Here’s a slice:
While casting your film is an exciting time, because it means your scripted gem is on the way to becoming a celluloid dream, it’s also treacherous and financially dangerous. Whom you cast are the most important decisions you will make on your project, and those decisions will usually make or break your film even before you start lensing.
I hope you’ve enjoyed this little slice of what we’ve been discussing lately. I could say a lot of things right now, bit let me just say that I’m humbled by your commitment to reading Going Bionic, and in turn, I am enthusiastically committed to continuing to you
Thus, for the 175th time, I thank you for lending me your eyes, and I look forward to borrowing them again next Tuesday, when we head toward 200! Until then, I wish you a happy, luck-filled week! I can be followed on Twitter @Lonelyseal.