Whenever a law makes it difficult to do business in a state, people won’t jump through hoops to accommodate, they’ll just go somewhere else. FL is not so unique that another place couldn’t fill in for it. Hell, Scarface was filmed mostly in CA because of the dumbass Cuban community kicking up a fuss. [disclaimer: I'm Cuban and think my peeps can be dumbasses from time to time]

Living in Miami I tend to forget how “Southern” FL can be. If you were down in SoFla, its a melting pot of culture and sexuality which is much more tolerant than the rest of the state. Hopefully these changes don’t go through and someone smacks some sense into that senator.

This post was mentioned on Twitter by KerberosBites: RT @kelymcclung The film review up http://twt.mx/R44u on Film Snobbery!…

All my best,
Roberta Munroe
Author – How Not To Make A short Film: Secrets From A Sundance Programmer
http://www.hownottomakeashortfilm.com

Would you happen to know when the film is going to be released? I promise it won’t take me forever to comeback and find out the answer if you know.

Kim

P.S.

My friend used to live in Provincetown and she used to worked at the Somerset House Inn.

http://parablestoday.blogspot.com/2010/02/why-religious-films-why-not.html

I played Juanita Ruiz in “One-Eyed Horse”/”Come Hell or High Water” and working with Wayne and his crew was a delight and inspiration. I so admire Wayne’s energy, intelligence and “Can do” attitude!

Thanks for this in-depth interview!

Leanna Chamish

Ted aka Joe Hayes — One-Eyed Horse

http://www.amazon.com/s/ref=nb_sb_ss_i_0_15?url=search-alias%3Ddvd&field-keywords=official+rejection&sprefix=official+reject

This is a classic in critiquing the nature of community, self-giving love, and the element of surprise in the transforming nature of the Gospel in a artistic and captivating presentation. Many theologians I know use it in their classrooms.

That said, I’m much relieved you left off _Last Temptation of Christ_–another terrible movie. It’s _Star Trek V_ bad.

Thanks for the comment, I’m glad you enjoyed it. The pace is methodical and whether you think it’s too slow is always a matter of taste in my mind. What I did mention in other writings about the film and not this review was that it was the kind of film that took a while to fully form an opinion on. It lived with me for a while and like a coil slowly unwinding itself and got better the more I thought of it.

Yes, as far as Hoult is concerned that is where most will know him from. Having seen him in various other things like “Wah-Wah,”"The Weather Man” and most recently the series “Skins” I knew how well he was transitioning to adult parts and was not taken aback at all by his considerable talent. Those who didn’t get on the “Skins” bandwagon will likely get to know him in the upcoming “Clash of the Titans.”

It’s worth noting that Nicholas Hoult was the little boy opposite Hugh Grant in “About a Boy.” So interested to see him in this very grown-up role.

Leszek Drozd
CEO/Educational WebTv
http://www.storytellersfilms.com

So the “New 50/50″ is meant as a guidepost, not a hard and fast rule – its designed to catch people’s attention and change people’s mindsets – that filmmakers need to take on some responsibility for the getting their film in front of an audience. This takes time and money. The further intention is so that filmmakers plan for this and begin the process as early as possible. Beginning early will save filmmakers a lot of grief – and will ultimately save them time and money.

I also say that if filmmakers just want to put their films up on the internet – that doesn’t take much time or money – but it will generally not result in a lot of views. You have to market and promote to get eyeballs.

Finally – I do provide some solutions to this new problem facing filmmakers (eg that there are not the number of distributors that used to exist with a LOT more product). New crew members, budgeting for distribution and marketing etc.

Thanks much!!

Jon Reiss
http://www.thinkoutsidetheboxoffice.com

I think the confusion on my end comes with that I heard Ted Hope talk about this via Twitter before I had read it in Jon’s book. I agree with a lot of what Jon has to say in his book but my feeling is that some of the budgets and crew expections don’t seem to fit within the bubble of some of the filmmakers that I speak to generally. I can certainly see the need for someone to help with things like social media and web development, as well as people to give you a hand on the festival circuit. But asking those people to commit to a year or more of marketing for no pay seems unlikely. However, on a shoot with a little larger budget I can see how a little stipend here and there would keep people loyal and working.

The chapter on digital rights is certainly worth checking out (the whole book is worth checking out really, even if some adaptation is needed to suit your film’s needs). I look forward to what Jon will be doing online in the near future and hope to be able to steer other filmmakers his way to help him flesh out his online community!

But by starting early, filmmakers can do a lot of the process themselves if they are so inclined. It is my experience that waiting until post or until the film is finished is where most filmmakers make their fatal mistake. You are just too burned out and want to unload the film on someone else (your sales agent or distributor) and get it off your plate. So you end up taking whatever they give you, no matter how low. It doesn’t have to be that way. Just have a team member who is solely devoted to marketing and distribution (the PMD highlighted in the book) so that it can be shepherded all along and won’t become a burden to be dealt with at the end of production.

Another useful chapter of the book is devoted to digital rights and I think it is becoming imperative to understand this concept in the near future. Even I have had to read and reread this section. And it is changing everyday, so Jon will be making updates time progresses.

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