One of the more exciting things about the entertainment industry is that despite all the work, dedication, time, and effort that all facets of the industry puts into their craft and their product, we will still always be slave to the audience. We live and die by them. Labors of love and art house films crash and burn at the box office, while Alvin and the Chipmunks becomes a billion dollar guaranteed cash cow. The industry has always catered to the masses, giving them what they know and hope the people will show up for. The same goes for television and music, there is a constant evolution that’s entirely guided by what the viewer is asking for.
I thought this would make for an interesting discussion when I took a look at the weekend box office for this weekend (September 16-18). This weekend something unexpected happened. In a weekend where there were three new releases featuring bona fide movie stars appealing to multiple demographics, it was a rerelease of a film from 1994 that trumped them all and won out at the box office. The Lion King saw a rerelease by Walt Disney Studios, hoping to advertise for the upcoming Blu Ray release. This isn’t by any mean new as Disney did this in 2009 where they rereleased Toy Story 1 and 2 as a double feature. With projections in line with the Toy Story rerelase, they were hoping for a 10 million dollar weekend. What happened instead was a 30 million dollar number one opening.
What makes this interesting is that despite this being one of the lowest attended years in history, mostly blamed on inflated ticket prices, and bad 3D gimmicks, people came out in droves to see a film that not only was released almost 10 years ago, but that over 90% of the audience had no problem paying for the 3D premium priced tickets.
This is to me one of those examples of the audience guiding the next trends. It is not uncommon for older films to get a rerelease, but to have audiences respond to one with this amount of enthusiasm shows what may be lacking in the current offerings. It will be interesting to see what the next slate of upcoming films looks like, and how it will continue to perform over the next few weeks. It’s to note that the rerelease was scheduled for a limited 2 week engagement, but based of this weekend’s success, it will likely be extended.
Sunday, September 18, 2011
Sunday, September 4, 2011
3D
In the beginning of the summer, Marvel’s Thor had an opening weekend gross with 60% of which was for 3D screens. In the coming months, the summer blockbuster season was in full swing, with over a dozen 3D films released, sometimes more than one each weekend. By the end of summer, Marvel’s other release Captain America: The First Avenger was released in similar fashion to Thor as well as catering to the same audience, yet its 3D take that accounted for about 40% of its audience. This shows that there was a definite over-saturation of the market. I have included a chart from Box Office Mojo to show how many 3D movies have been released, and how many have been just this summer alone. Though there seems to be a dip in interest, some film makers and studio executives are hoping to reverse this trend before it no longer becomes a viable option.
One of 3D’s pioneers James Cameron, whose Avatar grossed over $700 million most of which was from 3D tickets, will on hand at the 4th annual 3D Entertainment Summit to talk about how the public’s perception of 3D can change so that it can stay around for years to come. Some plans are to lower the price of 3D tickets, and make cheaper more wieldy 3D rigs to shoot on, to counter the post conversion craze. Cameron has been quoted by saying “This is a good moment for Hollywood to acknowledge that they have to try harder to maintain the idea that 3D is a premium experience. We can’t take cheap routes to offer a 3D title in the marketplace.”
Also on hand for the Summit will be Fox chairman Tom Rothman, and many other studio big wigs with the best intentions, and here’s hoping that the weekend of the 20th they can make strides towards making 3D something that sticks around and doesn’t turn into a trend like horror remakes or Dane Cook movies.
http://blogs.indiewire.com/thompsononhollywood/2011/09/02/3d_summit_-_speakers_james_cameron_vince_pace_tom_rothman_gene_simmons/
http://boxofficemojo.com/genres/chart/?id=3d.htm
Tuesday, July 12, 2011
Industry Liabilities
http://www.slashfilm.com/christopher-nolan-jon-favreau-quentin-tarantino-join-battle-premium-video-demand/
One of the biggest controversies brewing in the film industry at the moment is the video on demand fiasco. Companies like DirectTV are attempting to get the jump on the already crowded home video market, and as a result are closing the window between theatrical and video release. Many film makers feel this is killing the theatrical experience and have lobbied against this practice.
While I can agree with the financial benefit this could make to someone with a home entertainment system, I can’t agree with something that can cause such a detriment to the theatrical experience, which at the end of the day is the dream and goal of every feature film produced. The video market is already terribly crowded, and it is only fair to all those who spent months and years laboring over these films for them to be exhibited the way they were intended, and not rushed off to TV, so one company can make their dollar before the others.
http://www.slashfilm.com/michael-bay-personally-begging-theater-chains-properly-project-transformers-dark-moon/
The 3D craze has also been a buzz in the entertainment industry. With jacked up ticket prices, poor post-production conversions, and a flooded market trying to cash in, this is quickly becoming a trend and is burning out.
One of the recent outcries is over the bad projection in theaters. To save money on expensive bulbs, theaters are projecting their films at a lower wattage, which affects 3D films even more so, as they are already darkened because of the tinted 3D glasses. Studios like Paramount have taken precautions outlined in the article I posted, but I fear it may be too late, and we probably won’t be seeing digital 3D as much over the next few years. It isn’t being used as a tool as much as it should, and instead is just a trend to cash in, and the audience who is paying those prices are finally starting to realize that.
The last bit I’m posting is a little bit less serious. This is a viral video posted by the Alamo Drafthouse and is an angry voicemail from a woman who was ejected for texting during the movie.
Here is the censored version:
http://www.youtube.com/watch?v=JVz-fO7kxcQ
While this is a funny video, it’s good to see a chain like Alamo not tolerating such distractions. This may not be a huge problem plaguing the industry, but it’s a bother to everyone who goes to enjoy the fruits of the film industry, and has sparked much debate over whether or not they should have ejected her. Personally I got much joy from listening to this voicemail, and maybe it can serve as a warning to others who aren’t thinking about those around them.
One of the biggest controversies brewing in the film industry at the moment is the video on demand fiasco. Companies like DirectTV are attempting to get the jump on the already crowded home video market, and as a result are closing the window between theatrical and video release. Many film makers feel this is killing the theatrical experience and have lobbied against this practice.
While I can agree with the financial benefit this could make to someone with a home entertainment system, I can’t agree with something that can cause such a detriment to the theatrical experience, which at the end of the day is the dream and goal of every feature film produced. The video market is already terribly crowded, and it is only fair to all those who spent months and years laboring over these films for them to be exhibited the way they were intended, and not rushed off to TV, so one company can make their dollar before the others.
http://www.slashfilm.com/michael-bay-personally-begging-theater-chains-properly-project-transformers-dark-moon/
The 3D craze has also been a buzz in the entertainment industry. With jacked up ticket prices, poor post-production conversions, and a flooded market trying to cash in, this is quickly becoming a trend and is burning out.
One of the recent outcries is over the bad projection in theaters. To save money on expensive bulbs, theaters are projecting their films at a lower wattage, which affects 3D films even more so, as they are already darkened because of the tinted 3D glasses. Studios like Paramount have taken precautions outlined in the article I posted, but I fear it may be too late, and we probably won’t be seeing digital 3D as much over the next few years. It isn’t being used as a tool as much as it should, and instead is just a trend to cash in, and the audience who is paying those prices are finally starting to realize that.
The last bit I’m posting is a little bit less serious. This is a viral video posted by the Alamo Drafthouse and is an angry voicemail from a woman who was ejected for texting during the movie.
Here is the censored version:
http://www.youtube.com/watch?v=JVz-fO7kxcQ
While this is a funny video, it’s good to see a chain like Alamo not tolerating such distractions. This may not be a huge problem plaguing the industry, but it’s a bother to everyone who goes to enjoy the fruits of the film industry, and has sparked much debate over whether or not they should have ejected her. Personally I got much joy from listening to this voicemail, and maybe it can serve as a warning to others who aren’t thinking about those around them.
Saturday, June 18, 2011
Spec Scripts
In my last blog entry, I focused on managers and agents in a general sense. I had mentioned some actor friends of mine, who had some experiences dealing with different agencies and managers. However, since then I’ve been lucky enough to have my eyes opened to one aspect that I had not thought of. And I met someone willing to shed a little light on the world of writers for film and TV and the road they take to find some kind of representation or management.
I had previously stated that to earn their 15% the agent has to do all of their work before you even do yours. This fact is true of artist managers. And in the case of acquiring the management, they usually need to have done some work prior that would move the agent to want to sign said person, either that or they have to audition in person. The process is much different for a writer. One could say that this process of acquiring a manager is much more of an uphill struggle.
My writer friend clued me in to the process. You need to have at least three spec scripts to turn in. Our fine friends at Wikipedia define a spec script as scripts by writers who hope to have a script optioned and eventually purchased by producers or studios or by amateur writers hoping to convince a literary agent to represent them or a producer to hire them.
And if you want to write TV and film? You need to have three spec scripts in each format. This of course makes sense, because an actor can act on the spot in an audition, but the writer needs something to stand by. Quick wit and clever spoken quips are not enough. So unlike actors, you find yourself doing all of your work up front, and even then there’s a very good chance that they will not like your work or style. And then you’re left with a handful of scripts and no agent or manager. Let’s thank the skies that we are not all writers.
For more information you should all check out "Tales From the Script" available streaming instantly on Netflix!
I had previously stated that to earn their 15% the agent has to do all of their work before you even do yours. This fact is true of artist managers. And in the case of acquiring the management, they usually need to have done some work prior that would move the agent to want to sign said person, either that or they have to audition in person. The process is much different for a writer. One could say that this process of acquiring a manager is much more of an uphill struggle.
My writer friend clued me in to the process. You need to have at least three spec scripts to turn in. Our fine friends at Wikipedia define a spec script as scripts by writers who hope to have a script optioned and eventually purchased by producers or studios or by amateur writers hoping to convince a literary agent to represent them or a producer to hire them.
And if you want to write TV and film? You need to have three spec scripts in each format. This of course makes sense, because an actor can act on the spot in an audition, but the writer needs something to stand by. Quick wit and clever spoken quips are not enough. So unlike actors, you find yourself doing all of your work up front, and even then there’s a very good chance that they will not like your work or style. And then you’re left with a handful of scripts and no agent or manager. Let’s thank the skies that we are not all writers.
For more information you should all check out "Tales From the Script" available streaming instantly on Netflix!
Sunday, June 5, 2011
Management and Representation
Management and representation in the entertainment has become a necessity. It has become a sign of making it, or getting your foot in the door, especially in the film industry. From an actor’s stand point, most casting offices will not even look at you if you do not have some form of representation. Larger scale productions do not even have open casting calls, rather they send out casting notices to specific agencies. For the same reason why actors work hard and strive for an agent or manager, studios looking to cast their movies or TV shows are looking for quality and a certain caliber. Agents and managers represent a certain assurance that no one is wasting their time.
But I don’t mean to paint a negative light on managers and agents. Their standard 10 to 15 percent does not come with out its benefits. Once under the guise of management, you have an extra set of eyes and ears on the look out for you. Because after all, they don’t make their 15% if you don’t make your 85. Essentially you don’t do any work until they’ve done most of theirs.
Owning part of my own production company, my relationship with a prospective client or actor’s management and representation comes down to negotiation. They want what’s best for their clients, and to some extent for themselves. This negotiation process ensures everyone is taken care of.
My network, here in Orlando, has led me to have many conversations of the pros and cons of managers and agents. Mostly coming form up and coming actors who are at the mercy of their agent’s willingness to send them on top tier auditions. Agents with a smaller scale of clients will often be sending many young actors out for the same role, hoping that something sticks, and this is the part where it becomes a little tricky, when your benefits aren’t being weighed as much as your manager’s.
But I don’t mean to paint a negative light on managers and agents. Their standard 10 to 15 percent does not come with out its benefits. Once under the guise of management, you have an extra set of eyes and ears on the look out for you. Because after all, they don’t make their 15% if you don’t make your 85. Essentially you don’t do any work until they’ve done most of theirs.
Owning part of my own production company, my relationship with a prospective client or actor’s management and representation comes down to negotiation. They want what’s best for their clients, and to some extent for themselves. This negotiation process ensures everyone is taken care of.
My network, here in Orlando, has led me to have many conversations of the pros and cons of managers and agents. Mostly coming form up and coming actors who are at the mercy of their agent’s willingness to send them on top tier auditions. Agents with a smaller scale of clients will often be sending many young actors out for the same role, hoping that something sticks, and this is the part where it becomes a little tricky, when your benefits aren’t being weighed as much as your manager’s.
Sunday, May 22, 2011
Interview - Christian Silva
What is your name, and what experience do you have within the film industry?
My name’s Christian Silva, and I am an independent film maker first and foremost, my background primarily in writing and producing. I helped start a production company a little while back, and have mostly been freelancing since then, trying to get contract work, things like that.
Has your role always been that of a producer?
With me anyways, and the group I work with we all end up wearing many hats. I produce for us mostly out of necessity. (laughs) But on set I direct, usually from a script I write or the team comes together on. But the lines and positions are typically blurred when shooting.
Are you saying that the roles do not matter?
No, they do. Its actually very important that you know your place on set and where you are needed most. What happens when you work with a very good group and you get that shorthand communication is that it becomes less about specific roles and positions and more about the over all product. You become one well oiled machine with all these intricate gears and parts all working towards the greater good, but make no mistakes every person on that set has their set position and are expected to pull their weight.
Do you think people make mistakes by taking on too many roles? And as a result fail?
At first when you are starting off that happens. Mostly because you want what ever it is you are doing to be of quality. So you tend to over compensate and you try to do too much. Really the key to it all is stressing less and trusting more. If you trust the person on camera knows what they’re doing, knows how to pull focus, or frame up a shot correctly, then you wont bother yourself with worrying about doing it. And like wise the people around you learn to trust that you have their best interests in mind. It’s all about working together. The big machine I talked about.
Do you see yourself taking on any other roles in the future?
In production I can see myself becoming more of a producer, in the sense that I would like to help others get projects off the ground and help them find the right gears and parts to make their own perfect little machines (laughs)
Thanks again for your time and honesty, Christian.
Christian Silva is located in Orlando FL, and can be reached at slackhoundflicks@yahoo.com
My name’s Christian Silva, and I am an independent film maker first and foremost, my background primarily in writing and producing. I helped start a production company a little while back, and have mostly been freelancing since then, trying to get contract work, things like that.
Has your role always been that of a producer?
With me anyways, and the group I work with we all end up wearing many hats. I produce for us mostly out of necessity. (laughs) But on set I direct, usually from a script I write or the team comes together on. But the lines and positions are typically blurred when shooting.
Are you saying that the roles do not matter?
No, they do. Its actually very important that you know your place on set and where you are needed most. What happens when you work with a very good group and you get that shorthand communication is that it becomes less about specific roles and positions and more about the over all product. You become one well oiled machine with all these intricate gears and parts all working towards the greater good, but make no mistakes every person on that set has their set position and are expected to pull their weight.
Do you think people make mistakes by taking on too many roles? And as a result fail?
At first when you are starting off that happens. Mostly because you want what ever it is you are doing to be of quality. So you tend to over compensate and you try to do too much. Really the key to it all is stressing less and trusting more. If you trust the person on camera knows what they’re doing, knows how to pull focus, or frame up a shot correctly, then you wont bother yourself with worrying about doing it. And like wise the people around you learn to trust that you have their best interests in mind. It’s all about working together. The big machine I talked about.
Do you see yourself taking on any other roles in the future?
In production I can see myself becoming more of a producer, in the sense that I would like to help others get projects off the ground and help them find the right gears and parts to make their own perfect little machines (laughs)
Thanks again for your time and honesty, Christian.
Christian Silva is located in Orlando FL, and can be reached at slackhoundflicks@yahoo.com
Sunday, March 20, 2011
Pro Bono Music Video
Yesterday, we shot a music video for a local heavy metal band, Catalepsy. We took on the project pro boon for the hope of their label liking it and having it aired on MTV2. We know that most local bands, that aren't big, won't have a lot of money to put into the creation of a music video, but it's something essential for the promotion of the band that can significantly boost recognition and sales.
We shot the video at Club H2O, which is a church as well. They are very heavy metal friendly. The venue was a good size and has a pit in the middle for the aggressive dancing of the heavy metal fans that frequent the location. It was going to be the first time I ever witnessed a heavy metal concert in person.
We got there around noon, hours before they were going to start letting in people for the concert. We wanted to get some "staged" performance shots so we could have complete control over lighting and get some cool cinematic shots.
At around 6pm, we moved upstairs to another location where we were going to film the "story" portion of the video, which was going to be a hostage/torture scene.
At around 9pm, we set up everything to film the live performance of Catalepsy. They had to do the song twice, just to ensure that we got enough coverage. When they mentioned they were going to play the song twice, a lot of the crowd got upset, and understandably so. If I was paying for a concert, I wouldn't want to hear the same song twice.
Overall, it turned out really good, and we are in the process of editing it now.
We shot the video at Club H2O, which is a church as well. They are very heavy metal friendly. The venue was a good size and has a pit in the middle for the aggressive dancing of the heavy metal fans that frequent the location. It was going to be the first time I ever witnessed a heavy metal concert in person.
We got there around noon, hours before they were going to start letting in people for the concert. We wanted to get some "staged" performance shots so we could have complete control over lighting and get some cool cinematic shots.
At around 6pm, we moved upstairs to another location where we were going to film the "story" portion of the video, which was going to be a hostage/torture scene.
At around 9pm, we set up everything to film the live performance of Catalepsy. They had to do the song twice, just to ensure that we got enough coverage. When they mentioned they were going to play the song twice, a lot of the crowd got upset, and understandably so. If I was paying for a concert, I wouldn't want to hear the same song twice.
Overall, it turned out really good, and we are in the process of editing it now.
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