This is the original promo trailer we shot over a couple of days in November 2006. Seems like ages ago. Though it may not capture the exact tone of the resulting feature, I'd like to think it stands on its own as some kind of odd creature.
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Shot by Chuck DeRosa on a Panasonic DVX-100.
Production sound by Kevin Remón Thompson.
On June 8, 2009, In Mr. Sadman, Videos, By Patrick
On June 1, 2009, In Videos, By Patrick
A man comes to terms with a critical part of himself.
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Shot on 16mm with an Eclair NPR.
Briefly featuring Hadrian Santos.
On May 28, 2009, In Just Words, By Patrick
This brief article in The Economist summarizes the benefits of VOD for independent film distributors, such as IFC.
VOD is a cheap, easy way for distributors to put films out into the world, but unfortunately it still leaves filmmakers in the unenviable position of giving up the rights to their work for several years for what amounts to (by most film business standards) chump change.
It definitely works for some, and if you're fortunate enough to have someone else do the hustlin' to put the eyeballs on your film, by all means do it. But I'd suggest not making a film for over $25,000 because the going rate isn't likely to be higher than that.
You can't blame IFC or any other distributor either. It's a great business model, as they're clearly trying to corner the expansive "Independent Film" genre (which is actually more of a gross grouping than a genre). It's hard to go wrong with the seemingly endless supply, average demand and low overhead.
The piece's ending paragraph, however, lays out a powerful idea that any mediamaker or even non-mediamaker should be aware of.
Whether accessed via cable television or the internet, video on demand is likely to grow. America’s suburbs are becoming much more diverse places, with more ethnic minorities, more people with degrees and more gays, according to Gary Gates, a demographer at the University of California, Los Angeles. The potential audience for independent films is thus dispersing beyond the places where independent cinemas are concentrated. Not everybody lives near an art-house cinema, but almost everybody has a remote control.
Marinate on that. It could unlock the mystery.
On May 25, 2009, In Mr. Sadman, Videos, By Patrick
The opening photo montage in Mr. Sadman.
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With the late Al No'mani. Music by übertalented composer, Austin Wintory.
On May 23, 2009, In Just Words, By Patrick
Layoffs at the new William Morris Endeavor Entertainment giant is symptomatic of the overall contraction going on in the industry and traditional media in general. Some may smirk, some may wince, but what will the trickle down effect be (directly or indirectly) for everyone else?
Link to the article in Variety.
This past week's episode of KCRW's "The Business" lets you know that you are not alone. Listening to the show just might make you feel better. Then again, it might make you feel worse.
The first half is about NBC's upcoming slate, but around the 16:45 mark, screenwriter-turned psychoanalyst, Dennis Palumbo, starts dropping some knowledge. You can go to the KCRW site or just click the link below to listen and/or download here.
"The Business: New TV Season, New TV World; Taking Hollywood's Temperature"
On May 11, 2009, In Mr. Sadman, Videos, By Patrick
Another scene from Mr. Sadman in which Mounir meets his new Los Angeles neighbor, Stevie, played by Scoot McNairy.
Scoot's a crazy talented guy who produced and played the lead in the film, In Search of a Midnight Kiss, which won the John Cassavetes Award at this year's Film Independent Spirt Awards.
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