Film Production 2

The Flashpoint Academy film students just finished production on their second films. This is a picture from the set one day last week.

Before they embarked on these films I sat in on a series of production meetings and was struck by how much the students have grown since their first productions last November. I would like to chalk it up to brilliant teaching on my part, but in fairness I think the students did most of the heavy lifting on this one. Of course they learned from their first films, but then in January and February they observed and worked with professionals on the set of The Intruder, our Production-in-Action film, and finally in the weeks leading up to this production they pulled it all together.

We had a group meeting before they set out where all the Film and Recording Arts came together and I told them how I was witnessing their transformation from film students into filmmakers. This transformation was evident all over the place; in their language- I have never heard as many people throw around the term "script lock" before and in their demeanor- they stood taller, they were more confident. They didn't assume anything, but sought out answers to problems. This attitude was a big difference from their last productions.

This week and for the next two the students are huddled around their Avids editing the films with delivery set for April 18. It's exciting to watch their progression, but at the same time I hope the students reflect on their own personal growth and development. They have come a long way in a very short time.

PeterH

I Am Still Here

This has been the longest the dumb filmmaker has been away fom his blog since he began it. Things have been very busy for him, but there is light at the end of the tunnel, and he promises to stop referring to himself in the 3rd person.

A brief recap of the last few weeks:

Singer/Song writer Michelle Shocked came to Flashpoint where she cut a song and shot a music video- coming to your computers soon.

Last week Chevy Chase was at school. That's us with Paula Froehle, our academic dean and Steven Berger Flashpoint's in-house producer. Chevy was great. Very funny and he spoke well about the importance of collaboration and writing.

All of the film students have shot and are no editing their first films. I have seen many of them and I am quite pleased with the outcome.

On the professional front Jim shot one final (he promises, really) sequence for the teen parent film while I was with Chevy Chase- thanks again Jim. And we are racing to the conclusion of this major top-secret (non-disclosure) film we began in October.

By the end of the week things should return to some sort of consistency and blogging can resume in earnest.

PeterH

TW3...

...and we delivered a rough cut of the Teen Parent film to our client, and had four crews shooting across Chicago for this other top-secret project and time to go see Springsteen- another story for another day.

PeterH

Plate Spinning

I am often asked about how I can juggle being a full-time teacher and a full-time filmmaker. Honestly, I don't give it much thought, it is just something I do and have done for a long time. Ten years ago I did all that and went to graduate school at the same time and not only survived, but was the better for it.

Multi-tasking is something I am hardwired to do. Much to my mom's displeasure (though I really think she likes getting my dad out of the house) my dad can't sit still. He is busier in "retirement" than when he worked.

To me the real key is collaboration. If you work with a bunch of trusted, good people then executing the work and time management is easy. And come on it is the film business after all. It's not as if I am juggling being a member of the bomb squad and a transplant surgeon.

Of course the main reason for doing this is that being an active filmmaker makes me a better teacher, and teaching makes me a better filmmaker. Besides, what else would I do?

PeterH

Let's Play Two!

With apologies to Ernie Banks, Jim and I played a doubleheader today.

At 7:00 this morning we shot one of our Teen Parents as she spoke to a group of high school students about the choices she made and how it has impacted her life. It is, I think, (Have I said this before?) the last scene we will shoot for this Teen Parent film and it was a nice finishing piece of the puzzle. This young woman comes full circle so to speak.


We wrapped that job at 8:30 and drove into the city to start the second gig. We have signed confidentiality and non-disclosure agreements so all I can say is that over the next month we and a team of cameramen are shooting locations all over Chicago. When it becomes public I can reveal more. I can add this: tomorrow we shoot across the city, ending at Wrigley Field as the Cubs/Arizona playoff game begins.

Between the two jobs we also made an equipment change. The Teen Parent film is shot in standard definition, the new job is on HD. The two experiences could not be more different- both in subject matter and technology and brain function for the dumb filmmaker.

Strange as it seems it is not the first time we have played two. A few years ago we were in Seattle shooting at Safeco Field (maybe it's a baseball stadium thing that ties two jobs together) when we got a phone call asking if we could shoot something at the offices of that really big coffee merchant based out of Seattle- again non-disclosure prevents me saying more, but there is a half-caf, dry, grande, latte in it for you if you can figure it out. Anyway, we wrapped at Safeco at lunch, ate and started job number two. It was a nice way to pocket travel and per diem and do our client a big favor and give them something they ordinarily would not have paid for.

Being double booked has its advantages, but it sure makes me tired. The dumb filmmaker can only keep so many plates spinning at once.

PeterH

Collaboration part 3

We made it.

Flashpoint Academy opened its doors on Monday and welcomed their first class. Monday was orientation and as part of it we screened Dean Paula Froehle's film, "The Collector," and our "making of The Collector" documentary.

The similarities between making a film and building a college are remarkable. During the summer pre-production phase each of us on the Flashpoint crew had a job to do. Recruiters recruited, IT experts did their magic and faculty hammered out classes, curricula and schedules. All of us worked towards the first day of production both independently and as one- just like a film production- coming together to produce a college.

Speaking of filmmaking and collaboration I owe a big thanks to my Windy Cine partner Jim who really figured out the HD workflow and did lots of post-production work as I phoned and e-mailed changes. The making of really works and it proves even a relatively small documentary needs to have good teamwork in order to be successful. Thanks, Jim.

PeterH

Hard at Work

Labor Day got me thinking about hard work- something I try to avoid at all costs. Aren't p.a.s and t.a.s supposed to do the hard stuff while directors and "professors" do the "Big Picture" work?

One of those cliches (if I knew how to do one of those accent things over the e in cliche I would do it, so you grammar police leave me alone) every bad football coach likes to trot out is "Failing to prepare is preparing to fail." Yuck! As bad sports cliches go I much prefer "There is no 'I' in team,"but that is for another post.

But those bad coaches are on to something and I have seen first hand truly great performers bust their butts rehearsing when other mere mortals (or dumb filmmakers) would have been off doing something more fun. I am going to share a few of those stories here and you can infer what you want.

1) In 2001 I was making a TV show for kids called Rainbow Soup about art and world culture and got to observe a lot of different artists in their process. As part of this I had the chance to see and interview Peter Gabriel (pictured here) as he played his first concert in eight years. It was a rather sudden appearance- he was going to headline the Womad Festival in Seattle after Robert Plant had to back out. Originally Peter was going to place a simple acoustic set, but two days before the show he decided to go all out with a band. At 7am on a Sunday morning, twelve hours before he was to go on stage, there is Gabriel and band in a park in Seattle working their assess off rehearsing for the show. At 7 that night he walked on stage and 30,000 people went crazy. He proceeded to play, by his own admission, a very mediocre set. As part of our arrangement I spoke with him on camera just after he walked off stage. He shook his head and looked into the camera and said, "That's what you get when you only rehearse for two days." I'll never forget it, or him really working hard when he didn't have to. The crowd loved him anyway.

2) At the end of our commercial reel there is a spot for MVP.com where Michael Jordan looks into the camera and asks, "Any Questions?" Jim shot him at a Bulls practice, Michael was staying late, by himself shooting free throws. The six-time NBA champ and MVP was in the gym by himself practicing. Did he need to do that? He thought so.

3) Years ago I had to go on a location scout at a local Chicago nightclub. When the manager met us at the door and let us in and in there was loud music playing in the background. It sounded like Elvis Costello to me- he was in the middle of a three or four day stop in Chicago. We round the corner and there on stage was Elvis and the Attractions rehearsing. The manager of the venue asked me if I minded them rehearsing while we were there. What was I going to say, "No! Elvis give it a rest we need to talk here." Of course he could play, however I needed to get on the stage so Elvis stopped what he was doing and invited us up. He was very gentlemanly, asked us what we were about to shoot and if it was OK if he could continue his rehearsal. When I was finished with my work he paused and asked if everything was OK. I said sure and asked if I could watch for a while. He said yes, and proceeded to tear into Pump it Up. My question is this. In the thousands of shows Elvis has played since the mid 1970s how many times has he played Pump it Up? Thousands? Did they really need to rehearse that badly? I guess so.

Practice makes perfect. (Sorry for the cliche.)

PeterH

Shout it Out

Yesterday I shared a tale about a company (General Mills) that was too cheap to send us enough product for their own TV commercial so we had to go out and buy Raisin Nut Crunch and sell it back to them. Today, I’ll share a slightly different take on the behind-the-scenes world of TV advertising.

A few years ago we were hired to make a pair of TV spots for Shout Carpet Cleaner. It was a nice job- two or three production days and a couple of more days to build the set- plus a day of watching grape juice dry and getting paid for it. (When you do product comparison commercials there is a lot of attention paid to the legal end of things. Here we compared Shout to “the other leading brand" (Resolve) as “real people” tried to get dried grape juice stains off of white carpet. To make the test legal, the day before shooting a scientist from SC Johnson and Dan Dreesen, our ace prop master, poured exact amounts of grape juice on carpeting. The stains had to sit and dry over night to make the test valid and Jim and I had to sign affidavits agreeing to the above.)

It ain’t exactly like working in a coal mine this film business.

The shoot went great, lots of real women being amazed by how great Shout worked. It was one of those shoots where everything we did went as planned. As we worked through the first day of production Dan came up to us and said he had a problem. The prop bottles of Shout the agency supplied were beginning to crack. He was able to rig a workaround but we had to be careful how the women handled the bottles.

The next week Jim and I did the edit, Two spots cut to a re-written version of the song “Shout.” They turned into two great little commercials AND the product worked great too. Win Win, right?

Wrong.

It turned out the problem we discovered in the packaging while shooting was the fatal flaw. To make the product work affectively, the bottle needed two chambers to hold the different “ingredients” that make up Shout. That configuration stressed the spray nozzle and the bottles gave out.

So after millions of dollars of development money and thousands more on marketing- including our fees- SC Johnson pulled the plug.

Next a company that had so much product we couldn’t give it away.

PeterH

Clients...

...you can't live with 'em, you can't shoot 'em.

The number of odd choices and decisions clients make never seems to end. Most of the times they do something because of how it affects (effects- the dumb filmmaker never remembers?) the bottom line. But if you think about it closely the cost of making and airing of a TV commercial shouldn't affect it at all. A commercial- good or bad- will draw attention to a product but the TV production costs are such a small factor in the overall performance of the brand, the outcome is negligible.

As that is my preamble here is dumb client story number 521.

A few years ago we were shooting a pair of spots for the General Mills cereal brands Basic 4 and Raisin Nut Bran. Over a few days we built a supermarket aisle. We cast a kid to be "the Stock Boy" and were all set to go except for one thing- General Mills refused to send us enough boxes of cereal to stock our shelves. It was ridiculous, they are paying $75,000-$100,000 in production costs, yet can't send us a few hundred boxes of their product. The ad agency was no help, but they did tell us we could go buy cereal and charge it back to them as an overage,

So, a few days before the shoot we had production assistants scour the Chicago area for boxes each cereal. We ended up buying an additional couple of hundred boxes of flakes at $4 a box which we then marked up 25 percent and charged back to the agency, which then marked it up again and charged the client. So General Mills ultimately spent $1500 buying their own cereal from us. Go figure.

PeterH

Selling Funny

For a lot of reasons- none that make any sense to me- advertising agencies are loath to sell commercials using humor. Jim and I have directed some mildly humorous spots that perhaps generate a grin or a smile, but nothing (intentionally at least) that is laugh out loud funny. The first and only person who comes to mind as a truly funny TV commercial director is Joe Sedelmaier.

You will know Sedelmaier (one of those people who is almost always referred to by his last name only) from the Wendy’s “Where’s the Beef?” commercial and the Federal Express fast talker, but his best work came in the 1970s. His commercial for Southern Airlines- where he shows us the difference between first class and coach (steerage)- is a terrific example of short form filmmaking. Was it an affective piece of television advertising? I don’t know- anyone fly Southern lately?

You can identify Sedelmaier commercials very quickly. He uses wide angle lenses, real, often strange looking people as actors- Clara Peller was no actress- and very simple sets. He was famous for stopping people on the street and taking a Polaroid of them. He was equally famous for being tough on his crew-he yelled, he had a temper, he kicked clients off his own sets (he yelled at me once in 1987) and is generally a horse’s ass.

It’s important to place his work in context. Pre-Sedelmaier here is a typical TV commercial: to the sounds of Sprach Zarathustra (the main theme from 2001) in slow motion comes Kraft Thousand Island Dressing pouring onto iceberg lettuce. Da- Da- Da- Da- Dum-Dum-Dum-Dum-Dum-Dum….Introducing new Kraft 1000 Island dressing! After Sedelmaier- a whole new language for selling.

Thanks Joe, you horse’s ass.

PeterH

Finding the Story

Jim and I have been working on this film about teen parents on and off for 13 months. We have interviewed parents and counselors and doulas and administrators and health care professionals all to help paint the picture of these young lives. We have been working very closely with a non-profit called Teen Parent Connection. The TPC folks are incredibly upbeat and positive and everyone we have dealt with on this project is nice and caring. There is no judgment or negativity or religious affiliation, or politics, just positive actions. It is as if they have over dosed on Happy Pills. For a cynical, ironic guy like me it is very disconcerting- why is everyone so nice I ask myself.

So, the other day, on what might be our next to last day of production, we were interviewing their executive director and I asked her, "What makes you different from other social service organizations?" And she said, "We talk the talk because we walked the walk. Many of the staff and administrators (herself included) where teen parents themselves."

Ah! that's what makes them different. (Note to self, next time ask this question like 9 months ago.)

My point here is not about teen parents, but about the process we go through to paint a complete picture. Our not realizing this was not our fault- Teen Parent Connection does not promote themselves as a place for teen parents by teen parents, nor do any of these women wear their past on their sleeves. We needed these 13 months as a time of discovery. This little, almost anecdotal, piece of evidence will completely change our approach to the edit. And we may even decide to go shoot some more from this point of view.

In an earlier post I talked about good, fast cheap- pick two. In this case I hope you see why fast was not picked. We needed the time to find the story to make the best film possible.

PeterH