The Casting Director - Chicago here I come…

The Business Affairs Assistant - Making a Deal; or, the Art of Haggling

The Showrunner - No Hype For Fox Pilots

I can’t help but wonder if Fox deliberately released the list of the seven scripted pilots they would be ordering for the Fall ‘09 schedule while most media and Hollywood types, along with the rest of America, were watching and basking in the glow and promise of the …

Tags: Film, Movie Blog, Film Blog, Film Industry, Filmmaker

The Genre Director - OBAMA will be good for the entertainment industry…wait and see.

 

 

 

 

 

 

 

 

 

 

January 20^th. Wow! What a great day! The culmination of a seismic shift in political thinking that occurs, perhaps, once in a lifetime. When asked: where were YOU? When it happened? At last, we can think of something other than 9/11, or the tragic political assassinations of the 60’s.

 

 

 

 

I was privileged to be asked to an inaugural breakfast party by a great African American actress I had directed in 2003. Penny Johnson Jerald had played Condoleeza Rice for me in “DC. 9/11: TIME OF CRISIS”, and again for ABC’s “9/11 - THE PATH TO WAR”.  I have a feeling she’ll be playing Condi some more, as TV drama examines the last 8 years of misgovernment.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Penny as Condi and Lawrence Pressman as Cheney

Penny has also played the First Lady (scarily channeling Lady Macbeth) in the first two seasons of “24″. Consequently, KCAL Channel 9’s INSIDE EDITION had sent a camera crew to the party to cover her reaction to the Inauguration of America’s first black President, as part of a mosaic of reactions recorded nationwide.

Upon arrival, Penny’s husband, noted music producer/composer/singer/teacher/all round super musicologist Gralin Jerald (www.behindtheworld.net) introduced me to fellow guests, all family and close friends. Then, as the Inauguration coverage continued on the wide screen TV, as Obama’s speech unfolded, one that was blunt in its view of the problems the world faces, and sensibly more subdued in its rhetoric than his campaign speeches, we whooped and hollered, and shed tears of joy. (A little Champagne & apple juice works wonders on my inhibitions) It was a privilege I will never forget to share this experience with people to whom it had special significance.

 

 

Everyone had been asked to bring a framed picture to display on a table; a photo of an ancestor, one who would not have believed that a descendant of theirs would witness such an event. These ranged from poignant shots of dignified, resigned, uniformed railway conductors, butlers, etc, to the late actor Greg Morris (MISSION IMPOSSIBLE, 60’s TV SERIES. I directed his son Phil Morris playing the son of his father’s character in 1988/89’s “MI” update series.) 

 

 

There was also a newspaper photo of somebody’s ancestor who had been lynched. I did not think it was appropriate for someone like me to bring anything, but I was asked to nonetheless.

So I brought a formal picture of a group of Royal Air Force officers, one of whom was my Australian father. They are all gathered in rows around King George VI, for a photo op, at Central Flying School, Upavon, England, where my father was an instructor, on May 9, 1937. This was at a time when Kenya, the birthplace of Barack Obama’s father, was still under strict British colonial rule. None of these men in the picture would have believed that any of their children, if still living in 2009, would see a person of color become the leader of the world’s most powerful country.

Yet, George VI’s daughter, Elizabeth The Second, Queen of England, and Flight Lieutenant Eric Trenchard-Smith’s son, purveyor of genre popcorn, have witnessed the triumph of reason over prejudice. In this time of crisis, we won’t always agree with everything President Obama does, but we know all those difficult decisions will be informed by a superior intellect and a moral compass, a rare combination in a politician. It is a great day for America, and the world.

 

 

 

 

 

 

 

 

 

 

 

 

 

Tags: Filmmaking, Movie, Film Industry, Filmmaker, Actor

The Actor - CHANGE

As I sit and write this week’s blog, I, along with many, have just watched the inauguration of the 44th President of the United States of America, Barack Obama. Today, January 20, 2009, is a big day in history, and as much as I wish I could have joined my sister, nephew, and a few fellow friends on The Mall in Washington, D.C. to view the event in person, I feel proud to have been able to witness the moment, in any capacity, and share the unique experience with the world.

None of us knows what is to come in the hours, days, weeks, months, or even years ahead, but if we can actively work to keep the overall unity, hopefulness, and welcoming attitude towards change, shown today, present in the times ahead, I truly believe that the possibility of a better tomorrow is attainable. Simply looking back over the past century and beyond, it is clear to see how far we have come and that an even better tomorrow still is possible.

That said, we still have a long way to go to fully attain the “change” that President Obama is anticipating. Can we make that “change?” “Yes, we can!” Just as we can in any aspect of our life, we just have to make that simple, yet sometimes difficult, decision to change. Something that can start as early as today, regardless of your religion, race, gender, sexual orientation, status, class, political party, or anything in between.

Just as the world is changing, so is the acting front.

We members of the Screen Actor’s Guild (SAG) may be about to vote to strike, and this is happening during a very tough time for our economy. In hopes of avoiding this, resolving current issues, and reaching a compromise, our union’s President, Alan Rosenberg, and National Executive Director, Doug Allen, sent a formal letter to and called a special meeting with the National Board of Directors. The letter proposes that, “before the membership ratification vote, we meet immediately with the AMPTP (Alliance of Motion Picture and Television Producers) to determine to what extent, if any, they are willing to improve their last offer, to maximize its chances for ratification.”

So, it is now up to the National Board to move forward with what has been put before them or not. Regardless, I will continue to follow all that develops and am hopeful that we can and will work together in order to resolve any of our differences, whether or not a strike is necessary.

Needless to say, a lot is happening on many levels in the world, and to think that 2009 has just begun! However, despite all we are facing, I have a feeling that it is going to be a good year, overall, and am confident that everything will unfold, as it should, in this time of change.

“Be the change you want to see in the world.” - Mahatma Gandhi

Tags: Film, Director, Television, Filmmaker, Movie Blog

The Storyboard Artist - MY NEW MOVIE GIG!!!!!!!

Hey.

After struggling the last seven months with no feature work, and limited commercial work, I’ve landed the feature “FIVE KILLERS”, and action comedy starring Ashton Kutcher.

Thank GOD.

I was recommended by my friends, Josh Sheppard and Darrin Denlinger, two talented colleagues who look out for brethren in need of some work.

I was hired officially Sunday, and met with the director Monday night.   On this Inauguration day, I start drawing, after staying up last night to read the script.

Obama’s speech got to me. Made me tingle.

My eyes are tired, but I am ready to go. Now, I can also start helping other artists in need up work.

Tags: Movie, Movie Blog, Movie Bloggers, Film, Movie

The Script Reader - I Am The Ben Lyons of Hating On Ben Lyons.

I was so amped to blow the doors off of the Ben Lyons Sucks issue this morning, but apparently some other people have beat me to it by like 6 months and 800 blogs. So because I don’t think I can add much to what has already been said by …

Tags: Filmmaking, Filmmaker, Movie Theatre, Hollywood,

The Standby Painter - LOCATIONS OF THE DAMNED: Featuring the Old, Deserted Insane Asylum!

Locations of the Damned
Featuring The Old, Deserted Insane Asylum!
 

It was a dark night in a dark city, a city that some called “The City of Angels”, and others called “Lotus Land”, and still others—most others, actually—called “LA”.  It was the kind of night when the oleanders’ deadly blossoms perfume the …

Tags: Oscars, Actor, Film, Movie Theatre, Filmmaking

The Editor - The Editors Nominate Their Own, See Me At Sundance

It is a truism that every award winner always says that it’s “such an honor to be nominated” and I’m sure that every one of them means it.  I’m also sure that each and every one of them would have preferred to win.

That having been said, it’s always great to be nominated and it’s that time of the year for a slew of nominees and here they are.  It’s interesting how many of them mirror what the rest of the awards seem to be.  There’s always the occasional big blast tentpole film (I’d venture that The Dark Knight is one of those this year) that wouldn’t get nominated for Best Picture generally, but have flashy editing.

But the amazing thing is that good movies are good movies. When an editor is given great material, with great performances, it’s easier to turn it into a great film.  I’d say that SLUMDOG MILLIONAIRE was probably a very difficult film to edit — it’s wildly gyrating time frame, and leaps in time almost guarantee that. But when it’s all put together, it’s look so completely logical that it’s hard to believe that it could have turned out any other way.  Now, that’s good editing.

I’ve always said that Oscar voters tend to vote Best Editor whatever they vote for Best Picture (since they really aren’t sure what we do, they usually go, “Best editing?  Hmmm, well I like that film…” Even here, at the Eddies, it looks like the same thing happened (more or less).  “Wow, I thought Entourage/30 Rock/The Office  was funny.” So that gets nominated.

The point is that good editing, unlike good cinematography and costume design, is so indistinguishable from good filmmaking that the two awards often go hand in white glove. I suppose you could make the case that period costumes don’t make for good costume design, and you’d be right. Yet those always seem to win the Oscar since the voters see the hard work. Flashy films, with lots of cuts, could go the same way — and sometimes they do. But most people know when they’re not in a film, and that tends to bring down their opinion of the editing.

The Eddie Awards will be given out on Sunday, February 15, 2009.  If it’s not too embarrassing to be typing while wearing black tie I’ll try and Twitter from the event at the Beverly Hilton Hotel in Beverly Hills.   (my Twitter handle is schnittman)

BEST EDITED FEATURE FILM (DRAMATIC):
The Curious Case of Benjamin Button Angus Wall & Kirk Baxter
The Dark Knight  Lee Smith, A.C.E.
Frost/Nixon Mike Hill, A.C.E. & Dan Hanley, A.C.E.
Milk Elliot Graham
Slumdog Millionaire Chris Dickens

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):
In Bruges Jon Gregory, A.C.E.
Mama Mia Lesley Walker
Tropic Thunder Greg Hayden
Vicky Cristina Barcelona Alisa Lepselter
WALL-E Stephen Schaffer

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:
30 Rock: “Reunion” Meg Reticker
Entourage: “Playing With Fire” Jeff Groth
The Office: “Goodbye Toby” Dean Holland & David Rogers

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:
Boston Legal: “True Love” Craig Bench
Breaking Bad: “Pilot” Lynne Willingham, A.C.E.
Law & Order SVU: “Authority” Karen Stern, A.C.E.

BEST EDITED ONE-HOUR SERIES FOR NON-COM TELEVISION:
Crash: “Los Muertos” Eric Sears, A.C.E.
True Blood: “Strange Love” Michael Ruscio, A.C.E. & Andy Keir
The Wire: “More With Less” Kate Sanford, A.C.E.

BEST EDITED MOTION PICTURE FOR NON-COM TELEVISION:
Bernard and Doris Andy Keir
John Adams: Independence Melanie Oliver
Recount Alan Baumgarten, A.C.E.

BEST EDITED MOTION PICTURE FOR COMMERCIAL TELEVISION:
24: Redemption Scott Powell, A.C.E.
The Librarian: Curse of the Judas Chalice David J. Siegel, A.C.E.
Lost: There’s No Place Like Home Henk Van Eeghen, A.C.E., Robert Florio, A.C.E., Mark J. Goldman, Stephen Semel, A.C.E.

BEST EDITED DOCUMENTARY:
Bush’s War Steve Audette
Chicago 10 Stuart Levy, A.C.E.
Man on Wire Jinx Godfrey

BEST EDITED REALITY SERIES:
Anthony Bourdain: No Reservations - New Orleans Eric Lasby
The Deadliest Catch: Fresh Blood Kelly Coskran & Ed Greene
Greensburg: The Tornado Leonard Feinstein & Phontaine Judd

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On an entirely separate note, for those of you attending the Sundance/Slamdance/EvolutionoftheDance (just joking guys) festival this week, I’m going to be up there doing two events associated with my new book, THE LEAN FORWARD MOMENT, which is now available from Amazon and a gazillion other places. 

On Monday January 20th, at 2pm, I’ll be running a panel entitled  MEET THE SUNDANCE FILMMAKERS: HOW THEY FOUND THAT “LEAN FORWARD” MOMENT. As described in the official program:

Long time film editor, USC Professor and author Norm Hollyn will moderate a panel with 2009 Sundance filmmakers on a topic loosely based on his forthcoming book “The Lean Forward Moment: Create Compelling Stories for Film, TV, and the Web.”  Hear directly from directors, producers and editors with films at this year’s Sundance Film Festival about how they find their “lean forward” moments and turn those into compelling stories that entertain millions.

Panelists include:  Jason Stewart, editor of 2009 Sundance Film “World’s Greatest Dad.” Sterlin Harjo, director/writer of 2009 Sundance Film “Barking Water” and 2007 Sundance Film “Four Sheets to the Wind.” and Ondi Timoner, director/producer of 2009 Sundance Film “We Live in Public” and 2004 Sundance Grand Jury Prize Winner “Dig”

The next day, Tuesday January 21st, I’ll be signing copies of the book at Dolly’s Bookstore right there on beautiful Main Street, in the heart of Park City. The address is 510 Main Street.

If you’re around, don’t forget to stop by and introduce yourself.  Let me know that you saw it here in the beautiful Film Industry Bloggers.

See you there.

Tags: Television, Movie, , Movie Blog, Film Industry

The Casting Director - THIS ROLE REQUIRES NUDITY

I am casting a film that requires an actress to be topless. Nudity is always up to the individual actor – I get that. Clearly this was a big year for nudity; Kate Winslet in “The Reader” is more nude and sexual then called for, but she is fantastic in it and Marisa Tomei is topless with reckless abandonment. Her performance in “The Wrestler,” is Oscar worthy.

Now, I know that it takes a lot of trust to be naked in front of a crew and potentially millions of people, but I really don’t understand actors who - if particularly female - take the most provocative pictures for us casting directors and then in the same breath they won’t consider nudity. These are the same actors who go through breast augmentation: and for what? I would think that they would want to show off their new acquisitions!

Nudity can be a very revealing part of a characters development in a film and to not even read the script and assess the situation seems shortsighted to me. At least mull it over for 24 hours. But I guess in the end if it doesn’t feel right then – don’t do it. But it is acting, pretend, not porn…I mean Kate Winslet was on one side of the porn card in “The Reader” and just because the director is named Stephen Daldry and not Chi Chi La Rue seems a matter of semantics to me. Porn to me is almost medical, nudity or simulated sex (which is often too much for me personally to handle in a film) is required many times and actors who are free of inhibitions and insecurity tend to not be inhibited in their acting. I remember watching Eric Balfour and Lauren Lee Smith in “Lie With Me,” and thinking that they really blurred the lines of soft-porn with pornography but I was impressed that they took the risk to do the role or Kate Dickie and Tony Curran in “Red Road,” where I had to put the shields up over my eyes and was sure that I was seeing full on copulation (that was a condom right?) with a small intimate audience at Sundance.

My point is, that sex in film is all around us and roles for actors who are willing to take risks can give an actor a reputation as a “risk-taker” which can draw attention to them. It can sometimes be negative publicity, but you know what they say, “No publicity, is, NO PUBLICITY!”

Sadly, a colleague of mine passed away this week. Megann Ratzow a casting director based in Portland, Oregon passed away from cancer. She worked with me on “Mean Creek”, “Nearing Grace” and “Rocket Science.” The strange thing about my working with her is that I never got to meet her in person. We just talked on the phone and I knew our productions were in good hands with her working on the local casting. Her dedication and love for casting and actors is what those of us who had the opportunity to work with her will remember.

I guess this is a good time to remind myself that life is tenuous and fabulous I am, no matter how tough times are, lucky to have the opportunity to be doing what makes me happy.

Tags: Movie, Film, Director, Television, Oscars

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