Editing a Scene of a Character Editing a Scene in Positive Traits
So in the words of Stained "it's been a while". I should explain my absence but I'm not sure it really matters - perhaps we should just pick up right where we left off...
It's been a crazy few months since my last diary entry here at Fink on Films - this included teaching at a great little college in the Bronx. That experience included my first time teaching Screenwriting which was exhilarating, in a few months my students had really matured via a series of writing, re-writing and peer reviews: while I provided the bulk of the feedback individually to each student the course emphasized above all process from jump starting the creative process to pitching and the business side. To my surprise, I had thought the business side was the driest part of the class (although I did incorporate some material from two brilliant authorities - the Pillar Alessandra's On The Page and John August and Craig Mazin's Script Notes podcasts) but it actually proved to be beneficial to students interested in continuing to write (or at least thats what a few emails told me to my surprise). The stories ranged from very personal authentic stories to science fictions set in created universes - all impressive and interesting in their own way. The book I had used for this course is the same I'd recommend for any screenwriter - either for those starting out or writers in need of a refresher - Dave Trottier's Screenwriter's Bible.
So that's one thing - the other is a for-hire writing project that slowly but surely coming together. It's a process I can't quite share yet. Additionally we had a few screenings of Brandonwood - my feature film and discussions about its future (including a DVD and VOD release) - more to announce in the coming months as we still have a few matters to resolve before that's ready to go (including finalizing the sound mix and soundtrack). For that I found the Vimeo music store to be a great resource especially SmartSounds which is the most useful I've encountered for getting some cool low cost music that works.
So with that settled we're finally in the home stretch of Positive Traits with a few more inserts to film (we shot the film in the fall and wrapped in December - on a nights, weekends and weeknights schedule - not the way to make an indie but that's for another essay). That film is coming together although some elements we're missing either because - well they weren't captured the first time. The process of editing is an alchemy (made harder by when your computer blows up - although I take that as a sign to start again, for Stella - or in my case, John, to get his groove back). I'm still finding its groove but it remains an awfully busy time.
Another insane tidbit is that I attended four film festivals in two weeks - two as a filmmaker, one as press and the other a ticket holder (and an active one on Twitter at that - festival director Thom Powers retweeted me a few times). They were: (as filmmaker) the Buffalo International Film Festival and Bergenfield Film Festival, as press Tribeca, and as a ticket holder the Montclair Film Festival.
The best of the bunch? Interestingly enough Montclair. Under the direction of TIFF (Toronto International Film Festival) Doc programer Thom Powers and a small committee Montclair was wonderful with a great mix of films over the course of a week (often only screened once) across 4-5 screens in Montclair and Upper Montclair. Exhausted from my travels I saw The Dog, Palo Alto and Dinosaur 13 - not world premiers but certainly excellent stuff. (The current hit Obvious Child also screened alongside Chinese Puzzle, Belle and Chef - along with panels discussions and guests Michael Moore and Kevin Smith)
Micheal Moore leads a panel on "Dangerous Docs" at the Montclair Film Festival
Walking away from Montclair (and I certainly don't mean to insult my hosts in Buffalo) I got the impression that this was exactly the kinds of festival Western New York needs. Buffalo suffers from a case of over-capacity combined with a narrow, Buffalo-centric way of solving problems. On the first point: the festival press suites at Tribeca were mostly crammed into narrow spaces on the 17th floor of the Hilton Fashion District, while in Buffalo I stayed at the Embassy Suites with wide hallways, lobbies and big rooms. The later is perfect for accommodating big press junkets comfortably.
With two film festivals (Buffalo Niagara and Buffalo International), both at war with each other, the impression is that it is difficult to get anything done. Both lack the fund raising apparatus of TIFF (of course) and perhaps even Montclair, however they should look to the later as an example of a fest doing it right. Montclair had a strong support mechanism in place including an army of volunteers, excellent good programing and an audience largely of folks from town who like cinema (many were members of the non-profit organization that runs the festival). The cinema culture in Buffalo is....well that's a loaded question - but certainly it can be developed and advanced with a push (and the further eventizing of the festival scene). While at big events like City of Night, Artists and Models or Torn Space Theater's shows at the grain solos I've often thought "damn, how do we get these people to come to a film screening".
There are of course some low cost ways of creating buzz and building a brand. Festivals like Tribeca and Montclair are addicting - they are about the audience more than the filmmakers (but certainly they have to attract and keep filmmakers happy to earn their entry fees). Tribeca used a few taglines including "The Golden Age of the Audience", "a New York State of Film" and "The New Rules of Film" - all excellent, all probably the product of a top tier branding agency. Montclair used a kind of lame tagline of "It's like Sundance but Jersey-ier" - I'll forgive them because they otherwise delivered the goods. But creating that kind of buzz that suggests "you're going to miss something great" or "you're going to discover something new and exciting here - and it might just be something about yourself!" makes festivals addicting. It's all about the emotional connection, it's missing from both Buffalo film festivals.
On the individual programs - BNFF's programing guide should have been simpler than it was - and BIFF scores a win here (they created a small, nicely designed guide that fit in your pocket as well as the community announcements space at the Buffalo Athletics Club which I kept stocked for two weeks). Good, simple design shouldn't be underestimated but it must also represent a coherent brand. I think I may have tweeted (perhaps after a few beers) that the way to sell a Buffalo-based film festival is to include the whole region and preferably bring them downtown. Not that I have anything against the Amhert's Screening Room but the tragic fact of the matter is brining folks downtown will be harder to do with the closure of the announced closure of the Market Arcade (more on that in a later post).
Here's my pitch - plain and simple: "Revolutions Happen ........... and they premiere here: the Buffalo (Niagara/International) Film Festival"- now where do revolutions happen? Glad you asked - in cornfields, in dorms, in garages, in crappy apartments, in nice houses, in downtowns, in basements - you name it! Wherever folks make movies!
If Buffalo is the "new Austin" then it ought to build rich film culture - even if the Buffalo Film Society lacks the resources of the Austin Film Society (which include a studio space, events, a formal event space outfitted with 35MM and Digital Projection, and the participation of several top tier filmmakers like co-founder Richard Linkletter and Robert Rodriguez). Perhaps one solution would be to incorporate other film released events into the festival including classic programing from the Buffalo Film Seminars, local pop culture figures (members of the Bills, Shred and Regan, etc - presenting their favorite films), and arts organizations proactively engaged with the festival. A non-traditional presentation by an artist presented in conjunction with Hallwalls or Squeaky Wheel might benefit both organizations.
My second idea for including the community came to me while returning from the Walden Galleria after having lunch with a friend - I decided to stop by and see my friends at the Piece-Arrow Film & Arts Center and landed on the East Side (due to making a last minute decision). Driving past abandoned parking lots and fields I thought "why not put a movie screen here and show movies on a summer night for the community, for free". The festival, whichever one, should aim to increase awareness and reach audiences who aren't coming to the screenings by creating curiosity and providing a valuable service to the community. Of course this may require a corporate sponsor. I wish I had actually talked to Terry Pegula that night that he randomly came up to my friends and I at Mothers in Allentown.
So the emphasis should be on the experience - Brandonwood has played at both festivals each with its own experience. We had a sold out Friday night premiere in October at Buffalo International and an empty mid-afternoon show at Buffalo Niagara. At that one I asked if I would have a chance for a Q & A and was told "no". No programer here introduced the film or made a pitch for the festival, the movie simply started with no festival branding of any kind. The experience was mostly on me and the evening was made by a great supporter of the film whom my producer and I had a bite to eat with after the show. At BIFF the festival trailer played with an introduction, a short film, a post-film Q &A and after party. (Granted we had to foot the bill for a modest after-party).
As far as festivals go, I suppose it comes down to content and spreading the message. I've seen both packed houses and empty auditoriums at both Buffalo film festivals, the later is more troubling. As long as an effort is made the audiences should build, even slowly. Festivals are about discovery - if a programer tells you "if you like Brandonwood be sure to check out Elizabeth Bathory on Monday night at 8 which also stars Kathleen Denekee and Tilke Hill" you just might go see something you wouldn't otherwise. And if you liked both (or even found them to be interesting), you might just get hooked on the festival and continue exploring the programing. Heck, you might even keep it on your radar for next year and become a member to gain a discount, keep in touch with the festival and get first dibs on tickets for next year.
Sure capital is required and is always nice - a corporate sponsor and strategic partners who can provide meaningful support but organic energy can help too. Buffalo Dreams (formerly Buffalo Screams), a genre festival run by filmmaker Greg Lambertson fills a niche and builds community - I can't speak to the rest of the festival but their world premiere of the WNY filmed Return to Nuke Em' High was as fun as a TIFF Midnight Madness premiere at Ryerson Theatre, with high energy and lots of showmanship.
Some of my friends quietly suggested a reset switch for BNFF and BIFF - one suggesting the city should take over both and combine them. Buffalo mayor Byron Brown may be a lot of things, but he's certainly not Vladimir Putin and cannot take over two private organizations. Certainly if a person of influence were to suggest the city provide resources and attention to one over the other, one could break out as a winner. This possibility exists as formal proposals including two from established WNY developers are currently being evaluated by city hall for the Market Arcade Cinema building.
With that said, I say this only because I want the best for Buffalo's film scene, although I'm no longer a regular fixture in WNY. By creating filmmaking events that create a dialogue with filmmakers from elsewhere, it can only benefit the scene. It's been done via Hallwalls and Squeaky Wheel but a festivals must do more to bring the best of Toronto, Telluride, Sundance, South By Southwest and other major festivals to Western New York audiences (along with attracting quality films that tell the story of "The Other New York") with a strong branding mechanism that builds real awareness and excitement.
Alright. End of that rant. I suppose next I'll explore my time in Buffalo and the closing of the glorious Market Arcade Film & Arts Center - a beacon for local film and cultural events that was otherwise a ghost town. That is unless Tyler Perry had a new movie out....
