outta the clear blue

The Occupy Wall Street Collaborative Film

by Sheila Seclearr

Here's a look at a wonderful collaborative effort by filmmakers across America to capture the evolving story of the Occupy Movement. This project is funded on Kickstarter and it's not too late to get involved. Please take a look at the trailer. I have a copy of the DVD coming when it's completed for showings in Taos and Santa Fe. Stay tuned!

 

On Oct 1, 2011 a few award-winning filmmakers in NY teamed up to make a collaborative film about the Occupy Wall Street Movement.  They called and wrote to their filmmaker friends, and they to theirs.  Soon, there were over 60 people across the country who had come together to join the collaborative film.

It started with a few filmmakers in NY, but within a couple weeks people were joining in Denver, Portland, LA, Boston, Seattle, Philly, DC, Kansas City, Miami, Pittsburgh, Austin, Dallas, Rhode Island, Nashville, Chicago, San Francisco, Oakland, in short: it took off all over the country.  Skilled editors got onboard, PR people, producers, post production supervisors, a supervising editor signed on, post production services were donated by Metropolis Post, Duotone contributed library music, and everyone started pitching in what they could.

Please help support this project in any way possible.

Preparing for Los Angeles Producer meetings

By Sheila Seclearr

Even though, on most days, I enjoy the Taos mountain vista and clear New Mexico air, I also can't wait for my visits to Los Angeles. But of course, my first stop is at the beach. We don't have many of those in New Mexico.

I've had the pleasure of being part of several great, positive, film industry networks in LA and I'm eager to meet with old friends as well as new. Hal Croasmun is the instigator for this trip. He's put together three days of meetings with Hollywood producers who are open to new ideas and working with new writers. I'm not a new writer but I may be new to them. In any case, it will be a fun week of hearing what other creative people are doing.

Hal Croasmun heads up ScreenwritingU, which Script Magazine lists as #1 in the upcoming July/August issue in an article titled "Top 9 Online Screenwriting Courses, Plus One." Part of the ongoing support of ScreenwritingU is the network called The ProSeries Alumni, made up of serious writers who offer to trade reads with each other, give feedback, listen to pitches, etc. It's these writers Croasmun taps to sit down with Hollywood producers who'll discuss how they like to work with writers and what they're currently looking for.  The list of PSA writers who have been optioned, sold or produced grows nearly every week. My first screenwriting assignment came directly through one of Croasmun's introductions.

So check back here next week and I'll give an update of how the meetings went, who I met and hopefully a few pictures. Have a great week!

The New Mexico debate on Film Industry Incentives

By Sheila Seclearr

It astonished me that a newly aligned New Mexico government pounced immediately ~ first week in office ~ on the film industry, one of the state's growth industries. Looks like that's largely due to the self-proclaimed "crusade" of state representative Dennis Kintigh. After this week's debate in Albuquerque, Alton Walpole made public his brillliant letter to Rep. Kintigh. I suggest we flood Kintigh's office with similar letters and phone calls. Kintigh can be reached at:

askdennis@denniskintigh.com or Capital phone: 505-986-4453

Basically, raising the costs of doing business now in New Mexico equals jobs lost, in film, in tourism and in businesses across the state, and that's the opposite of what these politicians promised in order to to get themselves voted into office.  

Hold them accountable.

Representative Dennis J. Kintigh,

Thank you for taking part in the New Mexico Film Tax Incentive Debate.

From your opening remarks your assessment of the film incentive program in New Mexico was that it is "bad economic policy" and that you have been "on a crusade for years" to end the program.

During the debate you noted the following:
1. The accounting procedure is "shrouded in secrecy".
2. The NM film rebate should be eliminated because the estimated amount of the rebate is "not adequately projected" each year.
3. It is "time to re-evaluate" the program.
4. The film industry is a "privileged" industry. 
5. The LFC has been presented with a Tax Expenditure Budget.
6. Working in the film industry is an addiction, like being "hooked on heroin".
7. The definition of a successful program is when "it is no longer subsidized".
8. There is "abuse" in the film rebate program (especially residency).
9. You propose to "build roads" rather than make films.
10. Do not spread tax credits like "tinker dust".
11. It is the only industry with "favorable status".

I would offer the following:

A. The accounting procedures are not clouded in secrecy. Actual production company procedures for accounting are extremely detailed, precise and diligent. All projected expenditures are fully and carefully examined with Purchase Orders and multiple approvals before payment. Upon completion of any specific production and prior to any rebate the accounting records are thoroughly audited and examined by New Mexico Taxation and Revenue. The process is as transparent as state law allows. The NM Film Office has gone a step further by "breaking" down the aggregate expenditure in to categories (labor, rental, etc). If you are having difficulty in accessing these records I suggest that you log on the nmfilm.com site and examine the category expenditure records of production companies. If you are having difficulty in getting expenditure records from NM Taxation and Revenue, please contact me. I will be glad to obtain these records for you from New Mexico Tax & Revenue and deliver them to you. It is important that you have precise data in order to make intelligent decisions.

B. I agree that the program should be examined and re-evaluated. I think that you will find it is one of the best economic incentive programs currently in existence in the State of New Mexico. It has created jobs, careers, additional taxes and substantial revenue from outside of the state. With regard to your claim of "abuse", it is true that the original residency requirement was less than perfect. Perhaps you are unaware that in the past year the residency requirements have been better defined and modified to insure precise accuracy. No one can be a resident in multiple locations. In order for any employee to qualify for the rebate, they must sign a residency document and provide proof of residency in New Mexico (no longer just a Driver's License or Post Office Box).  Abuse of this qualification results in perjury. I am also glad to forward the form and the qualifications to you if you do not have time or are unable to access this information.

C. The film industry is not a "privileged" industry and not the only industry with "favorable status". I would offer that the oil & gas industry is far more privileged and has a more favorable status that the film industry. I do not wish to demean the oil & gas industry, that along with tourism, has been the "backbone" of New Mexico economy. The film production incentives (originally designed during Republican Governor Gary Johnson's administration) were developed in an attempt to stimulate and support an additional industry in New Mexico and support growth. It is working.

D. I am not certain that "subsidy" is the correct definition of the film incentive program. The rebate program was originally designed to bring income back into the United States (primarily from Canada). Canada offered a rebate, so the United States needed to offer a rebate to compete. It is now a competition between states. I agree with you that the definition of a successful program is a program that "is not subsidized", but in the current economy and competitive marketplace, a rebate is necessary to even compete for revenue. The rebate has been increased to remain in a competitive position. New Mexico's program was well thought out, precisely drafted & defined and has been extremely well managed. It is not the "highest" state rebate available, but it is simple, fair, competitive, relatively easy to navigate and does allow rebates for "out-of-state" goods or services . Unlike oil and gas (which exist in our state) where the extractor and exporter must go to the existing source in New Mexico, film production companies have choices of "where to shoot their film". The rebate amount is the primary factor that attracts film production; if the rebate is diminished, reduced or eliminated, production companies will not select New Mexico as the location where they will spend their money. Capping the rebate amount (per fiscal year or per production) will also destroy the current successful industry. It will alter an option that is currently "certain" to "uncertain" (Do I have to shoot at the beginning of the year? Is my budget too large to consider New Mexico?)

E. Many states have attempted to "copy" the New Mexico program or create their own in order to have a "quick financial gain" for their economy. We, in the film industry, have always projected that many of the other state programs would be abandoned. The state programs that are being eliminated were not properly designed or managed, allowing for extreme abuse and failure. The New Mexico program is the opposite. I thank you and the Legislature for designing and implementing a successful program. Please do not allow New Mexico to follow the path of states that have failed in their foresight, ethics and sound economic principles.

For your information I am a native New Mexican (raised in Torrance County). I work as a Unit Production Manager and Line Producer (I manage other people's money and assist with hiring & location decisions). Because of the film incentive program I am now able to work primarily in my home state. I most recently was the Production Manager on "Crazy Heart" and "The Book of Eli" (and assisted Denzel Washington in making a large donation to the Boy's Club of Roswell). I deeply care about our state, I am concerned with the deficit we currently face (I applaud your efforts to balance our budget....it is a much more difficult job than mine) and I feel that we should respect the Legislative process and make certain that you have all the factual information necessary in order to make the difficult decisions you have to make.

I do not know exactly how to offer "proof" or "data" that supports the proposition that "if the film incentive program is reduced or eliminated, film production in New Mexico will generally not exist". I am glad to assist with gathering information from studio and production finance executives (in the form of letters) to "confirm" or "deny" this premise if you require absolute data. I can assure you that the multiple phone calls I receive daily from these financiers (with the information that a reduction or elimination is even being proposed) has created considerable anxiety. And I am already being informed that New Mexico may no longer be considered.

I understand your opening comments at the debate that you have been on this "crusade" for many years, I offer that being on a crusade may be a form of addiction.  I do not agree that the film incentive program is "bad economic policy". My question is why are you on this crusade?

Thank you,
Alton Walpole

FYI: Alton Walpole is the owner of Mountainair Films Inc. in Santa Fe and was both UPM and Line Producer on recent Academy Award winning Crazy Heart ~best actor, Jeff Bridges~ plus professionally crucial to the production of many more New Mexico films. Thank you, Alton!!

 

Eclipse This! Allegra Huston's “Good Luck Mr. Gorski” has Liftoff

by Sheila Seclearr  Dec. 20, 2010

Is it only by chance that Allegra Huston chose tonight, the night of the Winter Solstice full moon eclipse,  to announce “liftoff” for her short film, “Good Luck Mr. Gorski?” The film was inspired by the urban legend around Neil Armstrong’s 1969 moon landing during which he supposedly made the mysterious comment of the movie title.

Who was Mr. Gorski? Huston’s film captures the essence of the most famous tale, that of the Gorskis as Armstrong’s boyhood neighbors and the titillating sexual promise to be fulfilled “when the boy next door walks on the moon.”

The film is written and produced by Huston and directed by Arron Shiver. It was shot this fall in Albuquerque and Santa Fe with Gary Houston and Fran Martone as Mr. and Mrs. Gorski (shown here watching Armstrong's landing in their pjs). A longtime resident of Taos, New Mexico, Huston plans to premiere the film at the Taos Shortz Film Festival the first week of March, 2011.

Says Huston, “We used a RED camera, which is digital 35mm - the highest quality camera available. We built sets inside the old hospital in Santa Fe, and we've got a top Visual Effects Supervisor, whose credits include the second and third Matrixes, compositing in the archive footage and all kinds of other stuff too. Nobody will believe that we made the film for such a low budget.”

Still, she wants to raise another $5000 to cover costs of post-production, festival screenings and an Academy campaign. “Yes,” says Huston, “I’m going for it.”

Huston thanks her launch crew of 810 supporters so far for helping send Mr. and Mrs. Gorski to their own personal moon. More photos and information on crew, screenings, the shoot and donations can be found at GoodLuckMrGorski.com. 

Rippamatic lesson in copyrights

by Sheila Seclearr

I once told a filmmaker friend that sometimes it's easier to ask forgiveness than ask permission.

So I'm putting it to the test. Today's date is Nov. 22nd. I'll get back to the date in a moment. Today I was on hold with a project, waiting on info from someone else. Of course I got sidetracked with email. But among the junk was this great bunch of photos. Gorgeous. Sweet story. And obviously someone has made an effort to get them out there. So I figure I'm helping out a little by putting them into a slideshow with great music. Okay, that's now two copyright questions. They're copyrighted photos and it's a copyrighted song by India Arie. I'm not selling this or getting any benefit -- but still I should ask for permission to use it.

Of course.

Here's where the forgiveness test comes up. Back to the date: Nov. 22nd. I'm writing to India Arie's label -- Acoustic Soul was recorded by Motown. And I'll write to the photo folks also, but I'm sure they'll love it. So I'll post again when I get permissions and we'll see how long it takes. Until then, the show is not public on YouTube. You'll only find it right here... Outta the Clear Blue.

 

 

 

Hugo Munsterberg: Original Film Theory

by Sheila Seclearr

Taos, New Mexico

(bumper sticker for Taos Ski Valley:

TAOS is a 4-letter word for steep)

I’ve had a steep but fun learning curve since The Screenwriting Conference in Santa Fe and especially since The Mentor Academy with Kirk Ellis in June. Ellis not only taught a phenomenal and info-loaded class but he gave us a reading list to continue our exploration of cinema studies. Interestingly, our group of screenwriters was offered a list of books heavily geared toward psychology and film direction.

According to Emmy award-winning Ellis, he wanted to help us achieve a sophisticated level of writing that was cinematic and multi-layered. I’ve been studying several of these books since we completed the class and I’ll probably refer to them often in the coming months. And yes, not only have I signed up for Ellis’s class again next year, but I’ve also been invited to join the staff of SCSFe (more on that soon.)

One of the most brilliant guides that Ellis pointed out has been around the longest, but is a lesser-known film study. It’s called “The Photoplay: A Psychological Study” and is included with other writings in the book, Hugo Munsterberg on Film (Routledge, London, 2002, edited by Allan Langdale.) Editor Langdale offers an informative background for Hugo Munsterberg, one of the leading figures in psychology when he first published “The Photoplay” around 1916. Many regard it as the first serious piece of film theory and the first to argue for cinema’s potential as an independent art form.

Munsterberg completed his M.D. in Heidelberg and was a professor at the University of Freiburg during the late 19th century. At the First International Congress of Psychologists in Paris in 1889, he met the American psychologist, William James, who was instrumental in wooing him to Harvard as Professor of Experimental Psychology. Munsterberg became notorious in America for his outspoken German perspective on American culture in the early 20th century.

As a devoted critic of the theatrical stage, Munsterberg’s forays into motion picture exploration were focused on the impact of the new medium (at that time) on psychology and perception. His “Photoplay” offers insights along the lines of his other famous business related psychological analyses. His observations of the fledgling industry still ring amazingly true as they relate to the psychology of the cinematic spectator.

I'll list a few favorite passages:

(Referring to another new medium, illustrated magazines) “… the masses of today (1916) prefer to be taught by pictures rather than by words.” Have we learned?

From his fascinating chapter on Attention, here is perhaps the best sentence I’ve ever read on film theory. Munsterberg refers to accompanying images with a wealth of ideas:

“They must have a meaning for us, they must be enriched by our own imagination, they must awaken the remnants of earlier experiences, they must stir up our feelings and emotions, they must play on suggestibility, they must start ideas and thoughts, they must be linked in our mind with the continuous chain of the play, and they must draw our attention constantly to the important and essential element of the action.”

His chapters on Memory, Imagination, Emotions and the Aesthetics of the photoplay are rich with insights, even nearly a century later. As a fan of the stage drama, Munsterberg was adamant about the benefits of film to take the spectator beyond his own limits of experience and “show” worlds, times and visual perspectives that were previously unimaginable.

Even though early cinema advocates heralded film’s ability to show and imitate the real world, Munsterberg championed the transformation of reality through film. He compared our appreciation for a white marble statue as opposed to a realistic looking colored wax figurine. Of film he said, “It is artistic just in so far as it does not imitate reality but changes the world, selects from it special features for new purposes, remodels the world, and is, through this, truly creative.”

Additional writings include several magazine articles and an interview with Hugo Munsterberg conducted by Paramount Pictures. All are more than historically interesting.

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"The Best Screenwriting Conference in the World"

by Sheila Seclearr

That's how the Screenwriting Conference in Santa Fe bills itself on the website. I won't argue because I'm one of the screenwriters who's busy preparing. There’s still time to get in on the workshop-oriented conference where writers not only meet and pitch to producers but participate in in-depth instruction and work-shopping of material.

Terry Borst who teaches one of the 3-day intensive mentor classes says, “I've taught at the Screenwriting Conference for a number of years: the attendees are top flight, and the camaraderie between the screenwriter-mentors is always a highlight.”

The Mentor Classes are limited to 30 students, keeping the classroom experience intimate and educational. Enrollment in a Mentor Class is included with registration for the Screenwriting Symposium, May 26-30.

Borst, who studied with screenwriting gurus Lew Hunter, Richard Walter and William Froug, calls his class ‘Getting Your Dream Onto the Page.’ Tailored for the beginning/emerging screenwriter “who needs a hand to hold while moving closer to a completed script,” Terry will show you how the power of the three-act structure can help drive your story to a conclusion. I like that he calls it a “nuts-and-bolts approach” and offers to get you from "'wanna-be" to “serious screenwriter…with a complete, professional-caliber feature screenplay.”

Borst will give a workshop on Friday of the conference titled 'Finding Your Own Voice.' He’ll cover recent breakthrough original screenplays such as HALF NELSON, LARS AND THE REAL GIRL, JUNO and more that Borst says are infused with an authentic and unique voice. He adds, “I'm excited to see the growth of film and media industries here in New Mexico, and it's a joy to be contributing to New Mexicans finding their own unique voices and telling their own stories.”    

Borst has written feature films, TV shows, videogames and interactive TV implementations. His credits include many episodes of the BBC action-adventure series Bugs (syndicated in 30+ countries), the TV movie sequel Midnight Run Around and the independent feature Private War. He has written screenplays for Paramount Pictures, USA Network, the BBC, Electronic Arts, Microsoft, and various independent producers.

Terry Borst is co-author of Story and Simulations for Serious Games and is currently working on a second book for Focal Press. Also on his website is a decade worth of Borst’s trade publication and website column, *alt.screenwriters* focused on the collision of screenwriting and new media technologies. He's taught screenwriting at the College of Santa Fe, UCLA, USC, Moorpark College, Santa Fe Community College, and Canada's Banff Centre for the Arts, and his students have won film festival competitions and been accepted at top film schools around the country.

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Sheila Seclearr will be adding posts from the conference so please ask about anything you want covered.

Check out Film Reviews on FlickeringMyth.com

by Sheila Seclearr

Be sure to visit the new website for all film buffs, FlickeringMyth.com. Especially check out my post of the John Huston classic, The Night of the Iguana. If you don’t see it on the front page, click on the right on Film Reviews. Scroll down here for highlights:

Classic Film Review: Night of the Iguana (1964)

Directed by John Huston
Starring Richard Burton, Ava Gardner, Deborah Kerr, Sue Lyon

After being defrocked from the ministry, Rev. T. Lawrence Shannon (Burton) is leading a ladies’ bus tour of Mexico’s churches and religious sites. Teenage seductress Charlotte (Sue Lyon, right after her starring role in Lolita) is determined to snag the interest of Shannon. Her protectress, Miss Fellowes (Grayson Hall), the ringleader of the ladies’ tour, has a jealousy laden with lesbian undertones. The conflict between Fellowes and Shannon intensifies when the young girl slips into Shannon’s room one night and, of course, Fellowes catches them and vows to have Shannon fired.

The film becomes remarkable after Shannon takes control of the bus and whisks them all to his old haunt, an inn atop the hill at Mismaloya, outside Puerto Vallarta. He sabotages the bus, thinking there’ll be no chance to contact the company and have him fired. The inn is run by the wild and raucous Maxine Faulk, played brilliantly by Ava Gardner. She defends, even applauds Shannon’s unruly character and opens her doors to the group plus a traveling poet and his granddaughter Hannah (Deborah Kerr), a ‘New England spinster’ who turns out to be more liberal and forgiving than the others.
…

Even with massive and gorgeous jungle landscape flowing down the mountains to the sea, very few minutes of the film showed the magnificent setting. Those that did, were intensely memorable, including a ludicrous fight scene when the bus driver defends Charlotte at the palapa cantina or when Maxine douses her frustrations surfside against the buff bare chests of her two “beach boys.”

…

Hannah (Kerr) is the surprising hero who says “nothing human disgusts me” and helps Shannon give his demons “the slip” in the unforgettable scene with Burton laced into a veranda hammock. The other surprise, watching it now, is the portentous ‘green’ speech by Shannon about man’s inhumanity to God and how we’ve poisoned the planet and wreaked havoc for nature. Buy that man another rum and coke.

…

The two short films included in the recent DVD release are also briefly reviewed:
On the Trail of the Iguana
Night of the Iguana: Huston’s Gamble

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Extended discounts for Screenwriting Conference in Santa Fe

by Sheila Seclearr

One person’s misfortune can be another’s fortune. Not a logline. Not a title. Just a fact.

A technical snafu at the website for The Screenwriting Conference in Santa Fe means an extended deadline (end of March) for early-bird discounts. But no more dawdling! The 11th annual conference is only two months away (May 26 thru 31st).  Director Larry Stouffer says, “Keep watching the website for more producers and programs as we keep adding to the lineup.”

I’m excited to take part in this year’s Mentor Academy with Kirk Ellis, Santa Fe screenwriter with a recent Emmy award and Humanitas Prize (2008 as writer for HBO’s John Adams). He’s working on another HBO series, 1776 and on the feature film, Blood and Thunder, the Kit Carson epic. There were few spots left in this exclusive group when I checked, so call soon.

The Screenwriting Conference also has opportunities for volunteers. One of my fellow ProSeries Alumni (PSA), Mahree Munding is Volunteer Coordinator and she’ll be delighted to hear from you : mahrmunding (at) yahoo (dot) com. Ask if you can work your volunteer schedule around activities / classes that will give you a taste of the conference. You might even get to pitch an idea to a producer. (PSA Matt Dixson is Director of the Hollywood Connection portion of the conference and PSA Kirsten Sigurdson is the SCSFE Advertising and Promotions Coordinator. What is this ProSeries?)

Besides Kirk Ellis, here are a few more mentions among the faculty:

Marvin Acuna of Rainmaker Films, is producer of the recently released The Great Buck Howard with John Malkovich, Emily Blunt and Colin Hanks. Check out Marvin’s great blog where he answers our questions every week. He’ll do a seminar on standing out in the screenwriter marketplace.

Karl Iglesias will do a mentor class. The Screenwriting Expo star speaker and columnist for Creative Screenwriting Magazine is also the bestselling author of Writing For Emotional Impact: Advanced dramatic techniques to attract, engage, and fascinate the reader from beginning to end and The 101 Habits of Highly Successful Screenwriters.

Another Mentor Class is with Cynthia Whitcomb, whose modest bio on the SCSFE site could fill pages with just award nominations, let alone the many scripts she’s written. One of my favorites is Buffalo Girls. She’s also written particularly helpful books on the craft: Writing Your Screenplay and Selling Your Screenplay.

Look for the rest of the faculty at the SCSFE website.

Did you love Easy Rider? Taos is hosting "The Summer of Love" in honor of the film's 40th anniversary! Come to the conference and stay a little. You'll love Taos.

Watch here in late May for my SCSFE notes. Or click on the left to subscribe! If you have particular thoughts or questions, scroll down to send a comment. You don’t have to have a Typepad account or sign in to anything. Your e-mail address won’t be public. Just comment.

Today’s bonus: Check out this great reference desk page for screen resources.
Have you found a better one? LET ME KNOW!

by Sheila Seclearr

I.O.U.S.A. = 30 minutes of “Inconvenient Truth” on the economy

It's 2009! Toot toot the horns. Drop the glittering ball in Times Square. Sit down to make that annual list for your goals and resolutions.

My resolution this year is to wake up, pay attention, be part of the solution. In the midst of my family’s watch over our mother’s rapid health decline, I’m so thankful that our parents’ lessons on saving and responsibility were also played out in their actions. Our mother will have decent care.

If only our government had been as responsible.

Why do I love film? Especially independent films? The number one reason is that filmmakers can give us the inconvenient truths (thanks Al) in succinct and clever ways that we can understand. Our leaders haven't told us the truth of the hole they've helped us dig. Our mainstream media still won't tell us the truth of what we're facing.

Give yourself the gift of 30 minutes to watch this short version of I.O.U.S.A., the film Reuters says is “to the U.S. economy what ‘An Inconvenient Truth’ was to the environment.”

I’ve been away from this blog for awhile and will keep this short so I can get back to my responsibilities with my mother, but please watch and consider going to www.pgpf.org for more on what we can all do to turn our huge national debt around. I’m so thankful we’ll soon have a smart, decent guy in the White House, but Barack Obama can’t do this, even with a whole team of smart men and women. We the people will have to do it. Let’s resolve to do it. Hooray for 2009, the year we wake up and pay attention. And hooray for indie films! Please continue to support them and those who work to make good ones like this.