The Oscars

It has been a week so I think it is about time the dumb filmmaker weighed in on the Oscars. The truth is I didn't see enough of the nominated films to make an informed decision, but I can say this: I loved Juno, have always been a fan of P.T.Anderson, thought Once was great, and Ian McEwan, author of Atonement, is one of my favorite novelists- Saturday from a couple of years ago is brilliant. This preamble brings me to No Country for Old Men by Joel and Ethan Coen.

In the early and middle 1980s there were a series of New York-based filmmakers that meant a lot to me- Spike Lee, Jim Jarmusch, Susan Seidelman among them. Those filmmakers and others from the time helped usher in the second great post-studio era wave of American filmmakers. But for me the Coen Brothers were the sine qua non of independent American Cinema.

Blood Simple, their first feature was literally a text book example of how first-time directors could get a film made. I am not kidding, how Blood Simple got produced was used as an example in a Film as Business class I took near the end of my college career. For those who don't recall, the Coens and their DP Barry Sonnenfeld shot a trailer for the film and used it to get financing. The trailer was moody and atmospheric. It highlighted the creepy aspects of the film and showed no stars (it hadn't been cast yet). Lots of driving down the road at night and gun blasts coming through a wall. It was a brilliant (and now much imitated) plan and it worked.

Since then the Coens have won 4 Oscars (can it be 12 years since Fargo came out?). I compare the Coens to those fringe bands that gathered a small but loyal cult following and over the years hit it big. Compare the Coens career arc to those of REM (college radio got them their start) and U2 (Boy and October anyone?). Small fringe acts, competing against the big boys and mainstream hit machines, but 25 years later, look who is left standing.

I don't have any one favorite film- I love Barton Fink and O Brother... and there is a little of Dude from The Big Lebowski in me (yes, I had Creedence tapes, too.) Raising Arizona always makes me laugh. What I like about them is that they are original and familiar all at the same time. This variety of work is why I appreciated Joel Coen's comment at the Oscars thanking people for allowing them to play in their own little corner of the sandbox.

I want to thank them for 20+ years of great films.

PeterH

Teen Parents

Readers of this page know that Jim and I have been working on the Teen Parent film for months and years. Yesterday, we recorded the final voice over with Kathy Brock, the ABC7 Chicago news anchor.

We recorded the session in one of Flashpoint's state of the art
studios. Three recording arts students engineered, produced and mastered the session and I brought in a film student to help me direct Kathy.

It was a great opportunity for the students to see professionals in action, and to be part of a major project. We got the same service and final product as if I had gone to a professional recording studio. It is another way Flashpoint is different.

Before and after the session, Kathy toured school, amazed at what she saw and wished there was something like it when she went to college. Thanks to Flashpoint president, Howard Tullman, for the pictures.

PeterH

57 Channels (and Nothin' On)

With apologies to Bruce Springsteen, there's nothing on TV.

There is an interesting article in the current Atlantic called "The Revolution Will Be Televised." In short it is about how some people are getting rid of their TVs and are using their computers as television sets- they down load or You Tube everything.

This is an interesting idea, but not for me. This is what I want in a Television:

A BOX that I can move around and sync to my computer and have it wirelessly go to a flat panel HDTV. That box would be a hard drive (like Tivo) and I would get the following programming. Call it TV A La Carte:

Network shows- The Office, 30 Rock, Lost, 60 Minutes- live sporting events and breaking news. (Super Bowl, Oscars, 9-11 tragedy)
HBO (all their services but I pick the shows I want).
Sports- I would pick Red Sox and Celtics games.
PBS (selected shows).
Various cable- selected shows.

Also, I want all those shows to come downloaded to me one day a week. I watch them when I want. I also want all episodes of a series- not one a week. Why not. Give me at least 4 episodes of Lost.

That's about all I watch. And I almost never watch TV live or when it is scheduled to be on. I only caught up to the Super Bowl at the end of the 4th quarter.

Also, this box should also allow me to send the program as a quicktime movie to someone else. I would be willing to pay the privilege- say $200 a month- about my cable, internet and phone bill combined.

Why not? That's how I want to watch TV. One reason is that our subscription cable bill helps subsidize the smaller, fringe networks. BUT as I said, I will pay a premium to get what I want, how and when. The other reason is that it would be hard for new shows to break through to me. True, but advertisers would have a real sense of who I am, AND producers and networks would be free to send me trial episodes for my viewing pleasure.

The technology is there. Someone deliver.

PeterH

School Security

When I was in college, Security was the name of the most popular band at school, and thinking of them was the only time I ever thought about security on campus. But now I am on the other side of the classroom and it seems every couple of months there is a shooting on a college campus. Last week at Northern Illinois University, just 65 miles west of Chicago, there was a shooting, killing five and injuring more.

Security on campus means something very different to me now.

Yesterday was parents' day at Flashpoint and I spent time telling the parents of film students that one of the things we do is create a safe environment for their children to work in. I was speaking about emotional safety, the safety to be vulnerable and explore, but I could have just as easily been talking about their physical safety.

I don't have anything new to add to the violence on campus discussion. Yes, it's sad. Yes, it must stop. Yes, the emotional well-being of students must be looked after and help given when and where needed. All of the same things I wrote about last spring after the events at Virginia Tech.

Today, I just wanted to take a moment and reflect on the events at a college just down the road from mine.

PeterH

The Red Camera

This is a picture of the Red Camera all stripped down. Not all that impressive looking, but it is a piece of technology which is going to change the film production process.

For eight days beginning Jan. 30 and ending Feb. 8 Flashpoint Academy produced The Intruder, a short Twilight Zone-esque film, using the Red Camera. It was the first time the camera had gone out as a rental in Chicago and it was yet another way Flashpoint is at the "bleeding edge" of both education and technology.

Since I am not the most technical person I'll give you the lay version. The Red Camera, captures a digital image at 4K resolution. That's more than double the image quality than the Super Bowl broadcast, while film itself is about 12K resolution. To my eyes you couldn't tell the difference between the Red images and 35mm film.

The camera will accept any 16mm or 35mm lenses with a PL mount. You can record to a 320 gb hard drive, but we chose to record to 8gb compact flash cards. Those flash cards would hold four minutes of "film." When filled they would be transferred to a computer and reformatted and reused. In short it was not much different from using your digital still camera except we were capturing 24 frames per second. As a point off comparison- the Panasonic HVX200 P2 camera shoots 16gb cards which can hold 42 minutes of film.

The Red Camera comes at a base price of $17,5oo and with all the accessories you will probably spend $60,000 to have a decked out camera. That's not a lot of money if you shoot a lot of film. And because of of the huge, file storage issues, you will probably need another $30,000 of computer technology and storage space. Cheap if you are making lots of film or working on a feature.

Check out the camera for yourself. http://www.red.com/
Here is a picture of it all tricked out.

PeterH

Internet, Films and Education Reform

There is an interesting interview in today's Wall Street Journal with Reed Hastings the CEO of Netflix. Netflix is partnering with a Korean company to create a (TV) set top box which will allow users to stream films from the internet directly to their TV. (It's about time, if I have to go to my mail box one more time to get a movie, my head will explode!)

When asked if he was worried that people would be willing to pile yet another box under their televisions (I have three, plus a small stereo nestled under and around my TV) he replied, "No, that's not my concern, and the reason is if you've got compelling content, people will hook up another box." Ah- the compelling content argument always one of my favorites, but he's right good content (almost) always wins.

So the question is begged, why not a Netflix set top box? "We looked at that and realized that customers also want this functionality that is embedded in other devices, like a game console, and that we should work purely on just being an incredible service." How refreshing someone wants to focus on delivering a much wanted product with incredible service. They aren't interested in doing everything.

Hastings is convinced Internet television is the future and he knows it will take a while getting there. "I think there's a huge category of people who will watch movies on laptops, and remember it's not the laptop of today. Think of the laptop in five years. People will continue to watch movies on TV no doubt about it. But laptop screens are improving and young people are living on laptops."

Perhaps a more interesting thing to me about Reed Hastings is his passion for school reform. After amassing his first fortune he began trying to "figure out why our education is lagging when our technology is increasing at great rates and there's great innovation in so many other areas-health care, biotech, information technology, movie-making. Why not education?"

This positive note is a good place to end. I think what we are doing at Flashpoint Academy is changing traditional education and looking to the future and new technology and finding a way to integrate them. And speaking of the future of education and movie-making technology, the next post will be about the Red One Camera- which we just used over the eight days of production of the Flashpoint Academy film, The Intruder.

PeterH

Viral Marketing

I was interviewing a perspective student ten days ago and asked what part of the film business most interested her and she said the viral marketing of films. I was surprised because I ask this same question to all the perspective students and usually I get answers like, editing, directing, screenwriting. Viral marketing was a first, but I was glad to know at least someone is thinking about the back end of the film production line.

A brief history of viral marketing courtesy of Wikipedia.

The term Viral Marketing was coined by a Harvard Business School professor, Jeffrey F. Rayport, in a December 1996 article for Fast Company The Virus of Marketing. ^[6] The term was further popularized by Tim Draper and Steve Jurvetson of the venture capital firm Draper Fisher Jurvetson in 1997 to describe Hotmail's e-mail practice of appending advertising for itself in outgoing mail from their users.^[7]

Among the first to write about viral marketing on the Internet was media critic Douglas Rushkoff in his 1994 book Media Virus. The assumption is that if such an advertisement reaches a "susceptible" user, that user will become "infected" (i.e., sign up for an account) and can then go on to infect other susceptible users. As long as each infected user sends mail to more than one susceptible user on average (i.e., the basic reproductive rate is greater than one), standard in epidemiology imply that the number of infected users will grow according to a logistic curve, whose initial segment appears exponential.

I tend to think of viral marketing as word of mouth on steroids. Generally, there is some intrigue and a twist or a catch. I can see why a young filmmaker would be interested in the viral marketing of films.

Two days after Heath Ledger died the Wall Street Journal had an article about Warner Brother's viral marketing of the new Batman film. (Ledger is the Joker.) It began a year ago on-line with a fake newspaper website called the Gotham Times. There soon came a competing website called the haha times- the Joker's version of the paper. And it went on from there. Warner Brothers has spent a mint on using Ledger in the marketing campaign, the question is what will they do now.

Other notable viral marketing campaigns for films are the insane buzz- including a great fake-documentary- around The Blair Witch Project. For my money, the marketing campaign and the fake doc. were better than the real thing. More recently there was the campaign for Cloverfield which generated huge advanced publicity.

I am glad to see young filmmakers thinking in these ways. I think the onus is on me to have the curriculum reflect these trends.

PeterH