The Economist Interviews Sony Pictures CEO, Michael Lynton, And What We Think About It

If you don't read it or check out their site every once in a while, I'm sure you're still aware of magazine called The Economist. I don't subscribe to it or anything, but I do peruse the site and download a podcast or two, every now and then. If you're interested in what The Economist is all about, it's a weekly news magazine that's done out of London. It's almost more like a newspaper, but it's got a glossy front, so I call that a magazine. They claim that it's "not a chronicle of economics". No, not even... The say they aim "to take part in a severe contest between intelligence, which presses forward, and an unworthy, timid ignorance obstructing our progress". Well, I'm not sure what that all means or if it's actually a complete sentence, but it hasn't kept me away from the content they produce. Now, what I really like about them is that every once in a while, they come up with something that ties all my worlds together. This interview with Michael Lynton, the current Chairman and CEO of Sony Pictures Entertainment is one such thing. It's about 15 minutes long and I've embedded it below, it's a great interview. Grab a coffee, sit back, and give it a watch. I have some thoughts on what he says below...



One of the most interesting things about this interview is how he looks at "Paranormal Activity" and low-budget films as 'phenomenon' and not a business model. I have to say, I both agree and disagree. Most certainly, "Paranormal Activity" was a phenomenon, and so was "Blair Witch", but there is a common thread between the two - they're low-budget horror. I guess studios can't see it, or maybe I'm just stupid, but I think horror lends itself so well to low-budget filmmaking, that an extremely well done low-budget horror film will always have the ability to break into the mainstream. Not only that, there's SO many low-budget horror films out there that are good, and COULD make a profit (but won't break through to the mainstream or move the needle for a company like Sony Pictures) that a small, niche company could consistently turn a profit by churning them out and then properly marketing and distributing them. That, my indie friends, IS a business model. It's just one that Sony wouldn't be interested in.

The other interesting point he makes is about piracy... There's obviously a dark side to piracy. More so, it's mostly a dark side, but there IS a good side that studios don't see. On one level, torrent sites are no different than a DVR. I download TV shows that I miss all the time. Hell, I'll download an entire season of something to get caught up. I don't see that as bad... why? Because people do that all the time, legally, with their DVR's and all I'm doing is getting caught up, so I can watch your programming at its regular time - and then you can show me your ads. It's called time-shifting and it's a problem that the networks and studios are going to have to deal with. I've also argued MANY times that the torrent sites and file sharing is GREAT for indie film. No one wants to distribute your film? Don't know how to get it out there and drum up interest? Well, put it out there for free. If it's good, people will spread the word, interest will build, then you'll be able to get screenings, distributors will come knocking and, all of a sudden, your film's a success. "Ink", which just came out, is a classic example of how that can work. Is it good for the studios? No, they have nothing to gain from it. Good for the indies? Absolutely...

Whatever side of the argument you're on, in the end, it's just always good to be up to date and understand how the studio system works. We all love our indie film and we're more than happy to toil away it, but... if the studio's came knocking, you know you'd answer the door. So, you better understand what makes them tick...

Have a great weekend, see you next week!

One Way To Make Sure Your Film Sucks

Screenwriting's been on my mind lately and it's not just because I'm right in the middle of writing a couple of things right now. Well, I'm waiting for feedback on one, right in the middle of writing another, but I digress... Screenwriting's been on my mind because I think that a lot of indie filmmakers don't actually give screenwriting the time it duly requires. If you're writing something to enter into a screenwriting contest or you're planning on trying to sell a script on spec, you better have written something that stands out. Right off the bat, what's the concept? Is it a new twist on an old topic? Is it new all together? Is it interesting? Will people care? Then, wrap a story around the concept... Are the characters interesting? Do they have motivation? What's the goal? What's driving them to that goal? You have to keep asking yourself these questions through every step and every stage. If it fails on any of them, rework it and fix it. If you can't rework it or fix it. Sorry, throw it out and start from scratch. Why? Because if you don't, it'll get thrown out anyhow. You won't win that contest. Your spec script won't sell. Now, you're nodding your head, thinking... yeah, I get it. I'm a screenwriter, I do all that. What's your point? Well, my point isn't necessarily for you. I'm talking to you indie filmmakers that write a script with intent to shoot it yourself. A lot of you guys tend to worry more about the filmmaking process than the screenwriting process and guess what happens when you negate that whole rigorous screenwriting process? Your films sucks.

I'm not going to tell you what makes a good story, how to write a script that will sell or what elements need to be in your screenplay. If I knew the answers to any of those questions, I'd have won a few contests, sold a few screenplays and I'd be drunk, writing this post from the patio of my home in the hills. I'm not there yet, but when I am... I'll be sure to go back and edit this post. Now, what I am telling you is that you need to go through the proper screenwriting process, even if you're making a micro-budget indie in your backyard for pocket change. I've seen way too many indie films where the killer is a cardboard cutout from a thousand other indie films or the characters are dull and lack any originality, there's no twists or turns, there's no sense of why things are even happening or it's just a rehash of some other film. Look, I understand that filmmaking itself is a bitch. Personally, I find it WAY more arduous than the writing process. That's goes without mentioning having to come up with make-up, effects, props and sets... then there's the editing process, which, for the record, I actually really enjoy. My point is, they're all difficult. They all take time. However, all that hard work in post and on set will be lost if you just fluff over your script. You need to write a good script. Otherwise, regardless of how talented you are in the actual filmmaking process, your film is going to blow. So, please, please, please... for the sake of indie horror, really drag yourself over the coals when it comes to the screenwriting process. You need to have that foundation if your film is going to do anything.

Now, the best part about the world we live in today is that information is everywhere. Bless this internet thing... That's not to take away from books, I have lots of books on screenwriting and there's a few that I would definitely recommend: "The Screenwriter's Workbook" by Syd Field and "Screenwriting: The Art, Craft, and Business of Film and Television Writing" by Richard Walter both come to mind as 'must reads'. I just dug up "How Not to Write a Screenplay: 101 Common Mistakes Most Screenwriters Make" by Denny Martin Flinn and, I've gotta say, it's pretty good. However, that's not my point. My point is, even if you don't want to buy books, there's lots of websites and podcasts that you can listen to that are free. My favorite website is "The Business of Show Institute", sign up for their newsletter and you'll get lots of free advice and all that. Also, even though it hasn't been updated in over a year, there's a podcast called "Sam and Jim Go To Hollywood" and there's lots of good stuff in there.

I know there's lots of information out there and I'm always looking for new sites, books, podcasts, etc... so, if you know of any on the art of screenwriting, please post a comment. Now, gotta get back to writing...

Upcoming Horror Releases, The Box Office and the Week in DVD's

At this point, let's just look past "Avatar". It's the same old story at the box office again, as "Avatar" won the weekend... for the seventh weekend in a row. Looking forward, I'm trying to think what will knock it out of first place... Nothing next weekend, "Dear John" and "From Paris with Love"? Really, Lionsgate and John Travolta? Really? The next Scorcese / DiCaprio project comes out on Feb 19th, "Shutter Island", which could be a contender. I'm excited for "The Crazies" on Feb 26th, but that's not going to be a blockbuster. The next monster hit may be "Alice In Wonderland", from Disney, starring Johnny Depp. Long and short, "Avatar" is just going to keep ringing it up for a few weeks, anyhow. Horror's well represented over the next few weeks, as well. "Frozen", from "Hatchet" director, Adam Green, gets a limited release next week; "The Wolfman" finally comes out the week after that and then "The Crazies", the remake of the George Romero classic, comes out on Feb 26th. So, that's what's up at the box office. As for what's coming out on DVD this week, let's take a look. As usual, you can go to our Youtube Page and check out all the trailers and/or you can click on the titles and be taken to their Amazon page, where you can read more about them and/or buy them...

"Zombieland" comes out on Blu-ray and DVD this week and, I'll just say it... I liked it. I'm not the only one, either - it won awards. It won the critics choice for best comedy at the Broadcast Film Critics Association Awards and the audience award at Sitges. It's horror/comedy at it's best and Woody is classic. From a filmmaking perspective, it's funny to note that the project was originally pitched as a TV series and the film is actually just the first three episodes, reworked. The brains behind "Zombieland" are Rhett Reese and Paul Wernick and they broke into Hollywood by coming up with the idea for, and creating, "The Joe Schmo Show". "Zombieland" is their first feature and now they're tapped to do "Earth vs. Moon", "Zombieland 2" and the untitled G.I. Joe Sequel. Great success story...

I'm not going to lie to you, I don't know much about the short-lived TV series, "She-Wolf of London", but you can now get the whole series on DVD. It was distributed in first-run syndication in the US from October 1990 to April of 1991. The first 14 episodes were filmed in England and the second season, which was filmed in L.A., only lasted 6 episodes. Never seen it, don't know anything about it.

In anticipation of the updated Wolf Man, Universal is rereleasing the 1941 version, "The Wolf Man (Special Edition)", which is a classic... with Lon Chaney Jr, Bela Lugosi and the whole crew. It's one of those films that you should just see for the sake of seeing. The big thing of note is that this is the film that introduced the idea of werewolves being vulnerable to silver. Who knew, huh?

Alright you Debbie Rochon fans, get your box of Kleenex and hand lotion ready, as "The Good Sisters" is finally coming out. Hey, that's not to take away from Debbie, we love her. She's a great actress, has done a lot to push indie horror forward and she's one of the top scream queens in the biz. Always, always, always support Debbie Rochon. Bless her heart...

Last one up this week is "Sensored", directed by Ryan Todd and written by Kevin Haskin. It's about a children's book illustrator who inhabits a twilight world of shifting reality and illusion, where cruelty and rampant evil do battle with his better instincts and sanity is a question of perception. Nice rhyme... question of perception. I like that. Best part about this film? That evil children's book illustrator is played by Robert Picardo, the guy who played Richard Woolsey in "Stargate" and, of course, The Doctor in "Star Trek: Voyager".

That's it for this week. If you've seen any of these flicks, feel free to post comments on them!

This Time, It's Different... Or is it?

So, Hollywood's in a bit of a financial slump, which is really just a reflection of the monetary woes of the entire nation. Couple that with a war that's lingering in people's minds and you've got a nation in a state of flux. Filmmakers are responding with films based in the harsh truths of war, stories surrounding real people in real scenarios, unsettling looks at city life and stories that reflect the disenfranchisement brought on by the excess of the past twenty odd years. Some of these films will go on to financial success and a lot of them will gain huge critical success, but as for the audience, they head out in droves to see disaster films, blockbusters and horror films. Any of this sound familiar? Am I talking about what's going on right now? I could be, but I'm actually talking about the 70's.

We all know that Hollywood churns out films for a profit, it's just business. It's what they do. However, I don't care what you say, film is an art. There's 'artists' involved in every film you see. Until bean counters can write and lawyers can storyboard, there will always be artists involved in every film. And artists always use their canvas, in some way, as a reflection or interpretation of what's going on in the world. Not only that, what audiences want to see will change with the economic and social climate. There's a reason that films like "The Hurt Locker" are getting critical acclaim today... it's the same reason that "M*A*S*H" did well in 1970. People want to see the harsh truths of war, 80's style action probably wouldn't do well right now. Having said that, people love their fantasy films, as they did in the 70's. Why? Escapism, the idea that there's something else out there, something better - "Star Wars", "Close Encounters of the Third Kind" and "Superman"... or was that "Avatar", "Transformers" and "Dark Knight"? Disaster Movies scare the crap out of people because, well... they want something else besides the economy and war to be scared of - 1970's: "The Poseidon Adventure", "Airport" and "Earthquake". 2000's - "2012", "The Day After Tomorrow" and "Knowing". What about our favorite genre? Well, horror becomes less about fantasy and more about true, gory depictions of what humans are capable of. 1970's - "Halloween", "The Hills Have Eyes" and "The Texas Chainsaw Massacre". 2000's - "Halloween", "The Hills Have Eyes" and "The Texas Chainsaw Massacre"...

My point here is that film becomes a reflection of what's going on in society and audiences will respond, based on that. Right now, a decade into the new millennium, we're remarkably similar to where we were in the 70's. We're recently off the 'great recession', there's a war on everyones minds and there's massive movement towards 'green living' and a sustainable lifestyle. Excuse me if that doesn't sounds a lot like oil shocks and stagflation, the Vietnam and Korean wars and the hippy movement. So, if you're wondering where film is going and what you should be writing and making right now, look no further than film history. Sure, just like stocks, past performance can't gauge the future, but... it can give you a good idea of what's going on and maybe it'll give you an idea or two.

So, what does this mean for you, the filmmaker or writer? Well, here's my thoughts... if you're a horror writer, you should be sticking to gritty, realistic films. Think "I Spit On Your Grave", "Henry: Portrait of a Serial Killer" or "Last House on the Left". Of course, if you're into the sci-fi or adventure stuff, you better go way out there and have a high level concept that easily saleable and explained in one sentence. Other thoughts... I think you need to keep your characters down to earth, realistic and somewhat depressed... think early Woody Allen or Travis Bickle. I think there's going to be a rash of gritty crime films coming, too. Like "Godfather" or "Scarface", update those and you may be on to something. Escapism will be a constant theme for sci-fi and blockbusters... and I think there's going to be a rise in monster movies and realistic alien movies. I may be wrong, I may be right, who knows? At absolute worst, I hope I give you something to think about... and maybe an idea or two.

Have a great weekend, see you next week!

Interview with Colin Cunningham, actor/director of "Centigrade"

I'm a big fan of short form film... and for various reasons. As a filmmaker, they're great and economical ways to explore a subject matter. Features cost a ton of dough and take lots of time and man-hours to make. If you can make a short, based on a bigger idea, you have something to show financiers, studios or executives. You can also enter it in festivals and drum up interest. They're great calling cards, you have a better chance of getting people to actually watching them and they're easier to get into film festivals. Also, short form films are easily distributed through the web... Once again, a great way to get your content out there and in front of people and that's really what you want. At the end of the day, if you're looking to make a name for yourself or get noticed, short form film offers a lot of opportunities.

Now, because of all that, we've had a lot of short form films sent our way over the last few years and have seen a few people go on to big things because of them. Most notably are the Fewdio guys and Paul Campion, who, between the two of them, made some of our favorite films of the year; "Nightmare House", "Eel Girl", etc... Recently, we had the opportunity to watch "Centigrade", by Colin Cunningham, and it now joins the ranks of those films that I just mentioned. The film is both mysterious and satisfying, as it leaves you with some questions, but, really... you don't care that they're not answered. The film is set up perfectly and effectively and it delivers in the end, which is everything you want from a short. That goes without mentioning the cinematography, which nails the claustrophobic and tense look and feel. The film is exactly what a short horror film should be and, not only that, it leaves you wanting more. We had the opportunity to discuss the film with Colin...

Tell us a bit about your short film, "Centigrade"

CENTIGRADE is film about karmic justice. Inspired by Steven Spielberg's (almost forgotten) classic DUEL, a man lives in an old, broken down Airstream travel trailer, but wakes up one morning to discover that he is, in fact, rolling down a desert highway. Towed by a mysterious black pick up truck, the man has to use his wits in order to survive. The film started with Producer (and business partner) Madison Graie. I had actually written the script 14 years previously and she recommended I blow the dust off it and see if it was still worth looking at. It was actually the DGC (Directors Guild Canada) that inspired a re-look because of their annual KICK START AWARD. A couple hundred people go for the thing, to which they only pick 3 or 4. If we could win the award, it would be $20,000 (the films budget). So, we applied. We won. And away we went.

Also, I'd like to mention that everybody thinks that 'credibility' only comes with a feature. If it's not 90 minutes, it's worthless. And nothing could be further from the truth. Some of the best films I saw in 2009 were all shorts. Mind blowing works. Films 6 minutes long packing more punch than most 2 hour epics. It all started with the short format. Hal Roach, Chaplin. All geniuses. And as any lover of good cinema will tell you. It's not how long it is, but what you do with it.

I had absolutely NO interest in acting in the film. If anything, I was somewhat retiring from acting and phasing into directing full time. I've been in a stable of directors over at CMT (Country Music Television) as well as having worked a number of other indie film projects and it was time to make the jump full time. I had actor Callum Rennie slated to play the lead, but we couldn't lock schedules down. So I reluctantly put on the acting hat as well.

You did a great job of creating a claustrophobic atmosphere in the trailer and the camerawork was fantastic. Talk about creating that look and feel

Cinematographer KEVIN HALL, Madison and myself spent a great deal of time working that out. To create an environment that felt like you we're trapped inside an iron lung, as opposed to hanging out in one of those fun, Airstream travel trailers cruising around on holiday.

You not only played the lead role, you also wrote and directed the film. Talk about balancing all your roles out

It was hell. And I mean that. An incredibly hard thing to do. To act in a film that you're directing, isn't really that big of a deal. Provided that you're sitting in an office, or doing a simple walk and talk. No problem. But for this, this was off the chart. And again, it was 'not' an ego thing. I didn't want to act in it. I really didn't. Fortunately, I had Madison guiding the performance from the other side of the camera. Still, on our last day of shooting, I swore I'd never do it again. That kind of stuff will put you in the hospital.

The film has a distinct ending, but does leave the audience with a few questions... the main one is, who's doing this to this guy? Is this on purpose or... is there something I'm missing?

Well, I don't want to give anything away, but no, you didn't missing anything. It's deliberately ambiguous. It's left up to the audience to put their own two cents in there. But it's essentially a tale of karmic justice. The dark irony of what happens when the 'trapper' becomes entrapped.

Okay, tell us a bit about yourself. What are your influences and what got you into film?

Madison and I adore film. We both started out as actors on stage and have such a great passion for it. To be on stage, in a moment of pure magic when you connect with the play, the character, the audience. It's incredible. But with film, you can actually capture that 'moment'. To record it. To trap it on film forever. Replay it. Put it in the mail. Wow. To attempt that kind of thing thing is why we're filmmakers.

Film school: Yes or No?

I did go to film school. But there wasn't anything I learned there technically that I couldn't have learned in 3 days on a film set. I don't knock film schools, but I would strongly recommend you DO NOT take a 4 year program and put yourself a 100,000 in debt. That's insanity.

When you set out to make "Centigrade", what was your goal? Was it to get accolades at festivals, was it to open doors, was it financial? Did you accomplish those goals with it?

We'd made a lot of movies. Shorts, music videos, features. And certainly not all of them were as successful as Centigrade. But Centigrade has proven what can be done with 15 minutes. I can only pray that it inspires others to get out there and do the same. But it started out as a presentation pilot for a tv show. But to see how it would be received, we began submitting to film festivals. Then iTUNES heard about the film and we made a deal. And not only did Centigrade make the Top Ten List of 'Best Shorts' on iTUNES, but it was also the first short film in iTUNES history to break the TOP TEN in FEATURE downloads. We literally made it along side such mega Hollywood Blockbusters as IRON MAN and INDIANA JONES (Crystal Skull). These are 60-80 million dollars flicks. And to be a 20,000 dollar 'short'... to make it onto such a list with people like Steven Spielberg is just incredible. But the icing on the cake had to be making the short list for an Academy Award Nomination last year. We qualified by taking Best Short at Cinequest in California and made it through the first couple rounds after that. Pretty cool.

All in all. The project has accomplished what we'd always prayed for. It started out as a presentation pilot for a tv show. And it has served us quite well in that regard. We went to the Banff Film and Television market in Canada and have since partnered up with some great companies in bringing 13 episodes of DARKARMA (the tv show) to the small screen. We've just formally locked down show runner, Sam Egan, are in negotiations with both network and distributor and it's all systems go.

The film won various awards at film festivals, so you obviously entered a bunch. Talk about the festival scene. Is it something that every filmmaker should get involved in?

Absolutely. But the tough part is that you never know which one is going to be a bust. You just don't know. You think, just because 'such and such' is the biggest, then it's the best. When in fact, it's a tiny festival where you may want to be. Plus, it's a bit of an unpublicized truth, but SO many film festivals are nothing more than a racket. Pure and simple. When submitting, you may wonder if they actually ever watched your film. But you can be damn sure they cashed your check. I've always said, want to make money in film? Don't start a film company. Start a film festival.

Talk about the horror and indie horror scene. Where do you think it is now and where do you see it going?

It's an exciting right now. Incredibly exiting. And if you're a filmmaker, try not to get too caught up in 'what's happening now' or where it's going. Learn as much as you can about what is happening in terms of the industry, distribution etc. Just don't forget to get out there and SHOOT!

Where can people find out more about "Centigrade" or get their hands on a copy?

iTUNES is perhaps the easiest place to get hold of it. Just type in 'Centigrade' in the search window. But also, keep a look out for the feature version of Centigrade and, of course, the tv series inspired by it. The new show is called DARKARMA. The first show in the history of television devoted entirely to the concept of karmic justice.

Box Office Wrap Up, Sundance and the Week In Horror DVD's

I don't know, it's tough to say anything new about the box office anymore. Once again, "Avatar" is number one overall, although "Legion" did come in second... Currently, Worldwide, "Avatar" has grossed $1,836,143,000. "Titanic", obviously, is the highest grossing film of all time... it's final Worldwide take? $1,842,900,000. So, "Avatar" should surpass it sometime this week and take the top spot. The real story here is foreign box office and if you're interested in how you write something that has that international appeal, "Avatar" is a shining sample. It's all about universal, simple to understand stories, action & adventure and special effects. It's a spectacle film - everyone wants to see a spectacle and it's the same here as it is in India, China or Russia. What's funny is, the Chinese government finally banned "Avatar" from most of its theaters last week because they thought it was limiting the exposure Chinese movies. Crazy... Anyhow, on the other side of the film spectrum, both Sundance and Slamdance got underway this last weekend. There's various good looking horror films that are screening at Sundance this year, including: "Splice", which I'm extremely excited about and anxious to see; "7 Days"; "The Violent Kind", from the infamous Butcher Brothers; "Tucker & Dale vs. Evil", which looks awesome - please, find the trailer on youtube; the much talked about, "Buried", staring Ryan Reynolds and, finally, "Frozen", which looks crazy. I won't get into Slamdance, maybe I'll cover off everything that's playing there later this week, I don't know. However, what I would like to get to is the week in horror DVD releases, as it's the best week we've had in quite some time. As usual, click here to go to our Youtube page, where you can see all the trailers AND you can click on the titles to go to their Amazon pages, where you can read more about the films and/or buy them.

"Pontypool" was directed by Bruce McDonald and was adapted by Tony Burgess, from his own novel called "Pontypool Changes Everything". The entire film takes place in a radio station, as the morning team takes reports of an extreme, bloody riot from their field reporter. As the story unfolds, it becomes obvious that it's not just a regular riot, it's a zombie outbreak. Well, the filmmakers say they aren't zombies, it's a various, but... whatever. The cool thing about the film is, they simultaneously produced the story both as this film and as a radio play. Pretty cool, I'd love to check out the radio play.

Alright, Frank Henenlotter, I love you, buddy. I'm a huge "Basket Case" fan, loved "Brain Damage" and I even respect "Frankenhooker". However, I think you missed the boat on "Bad Biology". I could be wrong, please argue with me on this one, but... I just found it to be pure sexploitation. Don't get me wrong, sexploitation is overly evident in all Henenlotter films and I'm a fan, but... chasing a detached steroid-riddled penis around? Believe it or not, the film actually won the Phantasmagoria award from the Philadelphia Film Festival, where it premiered in 2008. He's a legend, check it out for yourself and let me know what you think.

Speaking of legendary B-horror filmmakers... welcome back, Charles Band, welcome back. Nearly 20 years after the original "Demonic Toys", we finally get "Demonic Toys 2". Now, let's not forget that there was also "Dollman vs Demonic Toys", "Puppet Master vs Demonic Toys" and "Demonic Toys: Personal Demons", but this is the OFFICIAL sequel. Full Moon and Charles Band... love it.

From the mind of Walter Koenig, comes "InAlienable". Yes, Walter Koenig, Star Trek's Chekov. Believe it or not, he actually did do some writing over the years, mostly for the shows that he acted in. I've already talked about this particular film, so I don't want to rehash the fact that it stars piles of ex-Star Trek actors... but what I do want to comment on is, is it really about a guy who gives birth to an alien after it grows inside his stomach as a parasite, then he tries to adopt it back in a court case against the government? REALLY? Check out the trailer... I swear that's what the allude to. Either way, I'll be watching this one very soon.

Now, there's a few indie horror's coming out, as well... and I'll quickly touch on them because I don't know much about them, nor do I have time to research them. "Madness" is about a group of cheerleaders that hook up with a band of ruthless killers, nice mix. Cheerleaders and crazy killers, I like the concept. "Dead at the Box Office" is a zombedy about a zombies that trap a group of innocent bickering victims in a movie theater and they're more dangerous to each other than the zombies are. I do like the setting and premise, so I'll be sure to check this one out, too. "The Double Born" actually has some budget behind it and it won a bunch of festival awards. It's tauted as "a new thriller from the creative team that brought you the Hellraiser and Wishmaster series". Also, it's based on a Bram Stoker novel, I guess. Last up is "8 Million Dollars", which is a low-budget horror about 8 people competing for $8Million. The set up is, there's $8Million and 8 people and you're all spending the night in this old mansion. Split the money or one person can walk out with all of it, here's some weapons... have a nice night. Concept seems a bit used to me and the story would really require a good catalyst to get people killing each other, as I'd just say, "I'll take a million, fight amongst yourselves, I'll be upstairs taking a nap. Having said that, I haven't see it, so I don't know... maybe they do a good job of setting it up.

That's it for today, we've got a good interview ready for Wednesday, so look forward to that!

Content vs Distribution: An Argument and A Perspective

There's a long running argument in the entertainment world... content or distribution? Which is King? Personally, I've always thought that content is king, but that could just be the storyteller in me. Tell a good story, make it compelling, make it good and it'll find its way. Cream always rises to the top... or was it shit always rises to the top? In any case, there's a lot of people out there who disagree with that and think that distribution is King. Go ahead, make whatever you want, the people who distribute content will decide what's good and who watches. At the end of the day, you need to get past the gatekeeper. Really, if you think about it, this whole argument is basically the studios versus the indies, isn't it? The studios are the ones who have the agreements with the theater chains, they own the networks, they have the distribution. They can make shit movies and still make a buck. Indies, on the other hand, are all about content. They have to sell their films, they have to find an audience. If their content stinks, that's it, it stinks and hopefully their parents like it... because they probably funded it. Both sides have a point and it's not a new argument. So, what is it? Content or distribution?

Up until recently, the distribution side probably won out. Who's kidding who? If you didn't want to go through the networks, the studios or the theater chains, how were you going to get anyone to watch your content? What was the result of that system? Well, you had Tuesday nights where the best thing on TV was "Coach" and you got a lot of Dolph Lundgren movies... with all due respect to Dolph, I loved his movies. Today, the networks, studios and theater chains are actually starting to lose a bit of their power. Sure, you still have to go through a network, studio or cable provider, but there's 100's of channels that run lots of indie content, there's plenty of DVD distribution outlets that will stock your film and there's tons of film festivals that'll give you a theatrical screening... and that all goes without mentioning the one distribution outlet that's shaking the very foundation that the studios, networks and theater chains were built on - the internet. From downloading legal indie content to piracy to Hulu and Boxee, the power really is starting to shift from distribution to content. Now, tell a good story, make it compelling, make it intriguing and you can find an audience, one way or the other.

Now, I don't think that it means that it's going to be any easier to distribute your film... or, should I say, successfully distribute your film. I still think you're going to need help, which I think will see the rise of a new breed of agent or manager, one that helps you navigate this 'new world' of distribution and just takes a percentage of profits. This is an area that we at Dead Harvey are hoping to get into, to be honest. We know and study the landscape and see a world of opportunity for good films and good content that studios, networks and theater chains would generally ignore. As usual, if any of you would like help in this area or just want our opinions, we're more than happy to give it - like I said, we're still studying this landscape and would love to work with some 'test subjects', so to speak. However, if reaching out for help just isn't your thing and you'd rather just read something, here's links to two articles that I recently found, which gave me the idea for this post.

Screen: Indie Filmmakers Find Alternatives to the Multiplex - I actually read this offline in Wired magazine, one of the few magazine that I actually still purchase... and then found it online to share. A great one page article on how indie filmmakers are finding out new ways to make money.

Backyard Filmmakers Are Hollywood's Greatest Fear: Analysis - funny thing about this article is that it was written 5 years ago. It's a good read, but the sites he mentions and the technology he talks about are currently outdated. However, I think that makes the article all that much more valid.

Have a great weekend, see you next week!

"Night of the Living Dead: Reanimated" - An Interview with the Curator and Producer, Mike Schneider

Who's kidding who? Of course there's a part of me that wishes that I could just spend my days writing, working on projects, talking with and helping indie horror filmmakers, watching movies and playing the odd video game. Problem is, currently, none of those activities are classified as 'paying jobs'. Maybe a script of mine will get optioned. Maybe one of our projects will get picked up. Maybe someone will pay me six figures to sit on my couch and play my PS3... maybe. Joking aside, that's really what we're trying to do over here at Dead Harvey. We want to figure out how to make money in indie horror. We want to help YOU make money in indie horror. We want to create new markets in indie horror. We want this whole little sub-genre to rise up from the ass-end of Hollywood and for us all to get paid (and paid well) for what we love to do... right? Well, right? I think so... do we want to turn our 'art' into a 'business'? Really, right now, indie horror is an art. The arguable definition of art is "the human effort to imitate, supplement, alter, or counteract the work of nature". That's one definition, but the long and short is, money is nowhere to be found in the definition of 'art'. In fact, when you start to cater a visual art to consumers in an attempt to make money, some would argue that it ceases to be art. Mike Schneider's "Night of the Living Dead: Reanimated" is art... plain and simple and, I have to say, it was refreshing to watch.

Truth is, we all started as artists, didn't we? We fiddled with cameras, we doodled in our notebooks, we put together little videos. That's art... we weren't doing it to make money. Somewhere along the way, we realized that if we want to keep doing this, we better figure out a way to make money at it. That's where business crept in and, possibly, some of the art was sacrificed. "Night of the Living Dead: Reanimated" is like an adrenaline rush of horror art... a kick in teeth reminder that, really, what we're all about IS art. I don't know about you, but all through high school and, later, film school, I would doodle and draw homages to some of my favorite horror films, all while some professor droned on about the Russian surrealist movement. THAT'S what this film is all about. Over 100 horror artists, using every type of medium possible; doodled, sketched, animated and painted scenes from "Night of the Living Dead" and Schneider put it all together over the original audio track. It's a project that's unlike anything I've ever seen and it's a true reminder of what horror, for a lot of us, is really all about. Sure, we all need to make a living, but hopefully we can remember to do that without sacrificing too much of the art. We had the pleasure of discussing the project with Mike Schneider...

Let’s just get right to it… NOTLD:R is just about as interesting a project as you’re going to find these days. Tell us a bit about it and where did the idea come from?

Artists have always been the 'other', those things working outside of the mainstream culture who bang up against its edges as they try to grab an audience and influence their perspective. Driven by an unstoppable need to create, the post modern artist continues to shuffle forward even after accepting that the traditions of art are dead. Questioning the role of identity, exploring the nature of absence, and constantly appropriating, the ghouls can serve as role models.

While watching a battle-worn copy of Night of the Living Dead, it dawned on me that this project should be approached as a horde with all of the individuals working independently toward the same goal. In effect, Night of the Living Dead: Reanimated turns Night of the Living Dead onto itself.

What would the budget be for a project like this and where did it go?

Night of the Living Dead: Reanimated did not touch a penny in production. Relying heavily on free software, found materials, and hand-driven processes, this project was created completely by volunteer artists out of love for their craft and the original film.

How did you go about contacting all the horror artists and what was their reactions like? Was there anyone that declined and why?

At first, there was a question of why we would invest so much time and energy in working with an existing film instead of creating a 'new' movie. Fan artists naturally understood that there was something to be gained by the artist's hand and so they were some of the first to sign up. Once we started having artwork to show, others saw freedom in the project and merit in the idea. Soon more and more artists began to join us.

As one would assume, when talking about a project which was not touching money in production and would not be taking any money in profits, there were artists who backed away. I would argue that if money is your prime motivation that you are a hired hand not an artist... but I'm a bohemian communist so, if I believed in contracts, I'd be under one to say that. To be completely honest, this was an experimental project and from the start, nobody (myself included) knew quite what to expect from it. I posted the call to entry everywhere it would stick and the artists who had the passion to work without pay and the balls to work without guarantees stepped forward.

I guess an obvious question is, does Romero know about it and, if so, has he seen it and what’s his response?

Contact has been made with different members of the '68 production, however, I respect their anonymity and will not speak on their behalf. Their words have been exploited enough and, as a fan, I won't exploit them further.

As a fan who knows the film quite well, I just found myself more into the various art forms and mediums… not really following the story. However, I assume the film is made for fans, like me. What’s the reaction been like from other fans?

I have received words of love and hate and I see both as valid. Rowdy theaters, horror hosts, and audience participation all add to the experience but can also distract someone from the movie if they don't enter them with the right mindset. Art is really no different. What all of these things offer is a new prospective to frame how you view something that you already know. Some fans relish the chance to gain a new experience with a film they love while others see anything outside of 'their frame' as an un-welcomed distraction. As is said of religion, some read the books and others recite the words.

For the fans, there is a benefit to re-framing something, particularly through art. Scientifically speaking, when you view something repeatedly your mind stops observing and starts recalling the memories you have associated with it audio and visual cues. When you offer an alternative to these cues, such as new visuals, you mind recognizes that there is new information to take in and begins watching it again. Once your mind is given multiple sets of visuals to associate with the same sound, your eye begins scanning for both sets of cues in the video and that results in you seeing things in the original film which you may have previously over looked... no matter how many times you have seen it.

Though initial audiences seemed somewhat polarized, it appears that as people become more familiar with the project and it's intentions, the audience has become increasingly receptive to it. I can't say for sure if this is the project finding it's audience or more people talking the project on it's own terms but either way, this is a good sign for the project. I have no allusions that this experimental piece is going to be for everyone but hopefully, it will serve the viewers who are open to it.

Okay, tell us a bit about yourself. What are your influences and what got you into indie film?

I'm a conceptual artist and an experimental animator working in the anti-art traditions of the incoherent, dada, and fluxus art movements. Raised in front of a TV, I feel at home with media. Blending elements of science, art and media, my fine arts work has been refereed to as, 'thinking of abstracts and searching for their edges.' Though I am not bound to any particular process, an underlying theme that extends through much of my work is exploring the mechanics of communication.

Particular influences include Marcel DuChamp, PT Barnum, Go Nagai, William Castle, and Al Feldstein. Their willingness to take risks and drive to to pull ahead of the curve is an inspiration. Their commitment to their ideas and devotion to their trade is something we could all learn from. In a world full of wooden manikins, these men were about as plastic as they come..

Film school: Yes or No?

No. BFA: Fine Arts Studio: Sculpture, BS: Art Education: Painting and BFA: Fine Arts: Digital Media. I have also worked both in production and in a small traditional (hand) animation studio. I believe we must remember that film is a type of animation... not the other way around.

When you set out to make NOTLD:R, what was your goal? Was this pure art form or were you looking for some sort of financial success? How would you like the film to be distributed?

I guess, I got sick of seeing these beautiful works of art on the cover of piss poor films. I'm sure we've all had a moment where we see a box and think, 'wow that looks cool,' only to get home and find that the person who made that box isn't even involved with the project. What if the whole project was art?

On a personal level, I'm nostalgic for a time that was before me. This prospective is undoubtedly romanticized but when I think back to the early days of film, everything seems so new and exciting. Film makers back then had no choice but to experiment and find their own way. Horror in particular was the playground for various techniques as it blurs the shadows between reality and fiction. I decided long ago that I needed to work my way back to that point before I would be ready to call myself a film maker. There are so many assumptions which I need to unlearn.

As far as distribution, I've split my energy between traditional and nontraditional approaches. There will be a wide DVD release by Wild Eye Releasing that will be chocked full of bonus features as well as an official torrent release through Demonoid. There will be numerous free streaming and download versions available and we continue to offer up free screening rights to independent theaters/ festivals/ art spaces and free broadcast/ webcast rights to numerous horror hosts. This is a project created by the horror/ art community and so it should be free to that community.

I’d think that this is a perfect film for the film festivals. Did, or do you plan to, enter the film in to any festivals? What are your thoughts on the indie horror festival circuit?

We have taken the vampire model here and gone where we are invited. We have screened at festivals, organizations, colleges, high schools, bars, independent theaters, art centers, online, broadcasts, and, heck, even in a virtual theater within the game Second Life. Like working on anything else, the more you plan, the more you assume and the more you limit yourself... so, I opted to make myself approachable and then accommodated the opportunities which opened up to us. Anyone who has a venue or platform and would like to show NOTLD:R should email me at shenlon@hotmail.com so we can set it up.

As far as the 'indie circuit', it seems like an oxymoron doesn't it. If you are truly independent then why the heck are you hopping in a prescribed path. Independent productions stem from grass roots traditions which involve one person talking to another person. There are plenty of independent venues out there which are starved for content and getting strangled out by this studio system so do each other a favor and work together.

Talk about the horror and indie horror scene. Where do you think it is now and where do you see it going?

Honestly, after watching many horror films, I find myself more interested in where the genre has gone then where it is going. I see the current state sort of like a car wreck. Yes, there are flashing lights and gore but if you focus on that you're going to get stuck in traffic while they scrape those special effects off of the road.

As I mentioned earlier, I'm more interested in turning around, getting off at some other exit, and looking for an alternative route then waiting in line to rubber neck at the accident up ahead.

Where can people find out more about NOTLD:R or check it out?

The project's website is notldr.com. As far as checking out the project itself, we will be appearing on numerous net and broadcast based horror host programs and continue screening in various independent venues strait through the wide releases online and on DVD at the end of April. So contact your local horror host or independent theater to see if they will be showing it. If they aren't yet, then have them email me at shenlon@hotmail.com and I will work with them to rectify that and get the project playing in your area.

What’s next for you?

We have already started the early stages of production on the next project in this series, 'Unseen Horror'. Unseen Horror turns a similar approach (inviting artists to come, select scenes, and animate/ illustrate them through their own style/ media then curating the results) towards old time horror radio dramas. These radio dramas were independent film before there was independent film and contain some of the greatest horror stories that you've never seen preformed by some of the most talented actors of all time. Through our artwork, we'll help to usher some of these stories into the visual culture. Anyone interested in working with us (artist or otherwise) should email mike@unseenhorror.com.

The Weekend Box Office, The Golden Globes and The Upcoming Week in DVD Horror

It seems a bit redundant by now, but... if you're interested, "Avatar" won the weekend... again. To date, it's pulled in more than $1.6Billion Worldwide and should easily slide above "Titanic"as the highest grossing film of all time in the next week or two. As for the other films that opened this last weekend, both "The Book of Eli" and "The Lovely Bones" did good business. What's kinda cool is that "The Lovely Bones" actually tanked in its initial limited run, so Paramount retooled the marketing campaign and targeted young females or, as they called them, "the Twilight crowd" and it worked. In other news, if you like to follow the industry, you probably checked out the Golden Globes last night. "Avatar" won Best Feature and won James Cameron the Best Director award and, yes, I think he deserves it. You just can't deny a juggernaut film like that... argue with me if you will, but it'll probably kick ass at the Oscars, too. The other notable film award, for me anyhow, was "The Hangover" winning Best Feature Comedy. I love that flick. As for TV, one of my favorite shows, "Dexter", got the nods it deserves and it was good to see Michael C. Hall win Best Actor, as well as John Lithgow to get Supporting Actor for playing the Trinity Killer. If you're interested, the reason Michael C Hall was wearing that beanie is because he's got cancer or, I should say, he's recovering from cancer. He's on the road to recovery after secretly battling Hodgkin's lymphoma. Elsewhere in TV, I've got a soft spot for Alec Baldwin, so it was cool to see him get Best Actor for "30 Rock". Otherwise, let's take a look at the week in horror DVD releases... which is another fairly weak week. As usual, you can go to our Youtube Page to see all the trailers and you can click on the titles to be taken to their pages on Amazon, where you can read more about them and/or buy them.

They didn't have it under horror on Amazon, but "Pandorum" comes out this week. It's from Overture Films, who are the same guys that brought you the "Resident Evil" franchise. Quite frankly, it's not blazing any new trails in horror/sci-fi, but if you're into films like "Aliens", "Resident Evil" or, I don't know, "Event Horizon", you'll probably get a kick out of it. I liked it, it was a good waste of an hour and a half... and there's a few twists and turns, some good gore and scares. It's definitely worth a watch.

Now, I'm pretty sure that "Haunting in Connecticut" came out on DVD a while ago, but it's popping up as a new release this week. So, I'm assuming it's a rerelease, but I don't know why... it does have some new box art. In any case, you probably know all about it. It's your basic, run of the mill, haunted house story. However, if haunted house stories are your thing, you may want to check out the low-budget "Spirits of the Fall" instead. It's written and directed by Russ Diapper and it's out of the UK. The trailer looks... just alright. Having said that, the reviews are great. So, I'm going to have to go and check this bad-boy out... you should, too.

Other than that, you can get the William Shatner classic from 1977, "Kingdom Of The Spiders", the Spanish double pack - "El Castillo de los Monstruos/Conquistador de la Luna" OR the Blu-ray double feature of "Children of the Corn/Hellraiser" - seems like an odd couple, but I'll bite. They're both classics.

From My Inbox To You... A Look At Some Indie Horror Projects

Wow, I can't believe it's Friday. This has been a week from hell and I'm really looking forward to some beers and couch time. My God... Anyhow, the old inbox has been piling up with stuff, so I'm going to unleash some of it. Actually, you should find most of it interesting, as it's all indie horror stuff in varying stages of production... and, in some cases, pre-pre-pre-production. We all need help bringing attention to our projects, ideas and films, so I'm always happy to put this type of stuff out there. It's great for the guys behind these projects, as it gets them a bit of exposure... and it can be great for you, as it may give you some ideas for your projects.

Speaking of projects in pre-pre-pre-production, I was talking with Brendan O'Neill, a filmmaker out of the UK, about a project that he's working on called "Hell Hall". It's a very interesting project and he's already got a few key things in place, including the location. In any case, go check out the Hell Hall Facebook Page, become a fan and check out what he's got going on.

I while ago, we brought your attention to an online web series called "The Scare Game". In fact, we did an interview with Phil Hughes, the writer and director. you can find that interview by clicking here. They're now on their third episode and here's a snippet from the press release they just sent out: "Recently, the horror genre has been inundated with remakes and revamped stories that we've seen a hundred times before. Uncanny Entertainment, based out of Albuquerque, New Mexico, has set out to challenge this trend. Their new horror web series, The Scare Game, follows a group of horror enthusiasts who have to question their own fandom when they are thrust into a real horror situation. Premiering on youtube and Thescaregame.com, three episodes are now up and running for your viewing enjoyment. The latest of which can be seen here"

Lastly, we received an email from Sarah James, who just started up a new horror blog called "Scare Sarah". One of her prime objectives is to promote indie horror films and that means that we're more than happy to promote her. You can check out her blog at scaresarah.blogspot.com.

If you're working on something or are looking for some promotion, please do feel free to email me at ted@deadharvey.com. We're always more than happy to offer our opinion and help give you a bit of promotion.

Have a great weekend, see you next week!