No, that isnít a porn term. In television, most people know what a PILOT episode is, but a little more rare is the BACKDOOR PILOT. This is when a successful TV show intentionally tries to spinoff some of their characters into their own shows within the series proper - showing the TV execs with Nielsen ratings how people might think of the series. The benefit also being that they donít have to expend money on a potential pilot TV episode and roll it into the existing seriesí expenditures.
OUT NOW, in the February 2013 issue of VIDEOMAKER MAGAZINE, Peter John Ross contributed the article "Staying Current in Post Production". You can pick up a copy of the magazine at your local newsstand.
Check it out now!
Stay tuned for more articles and videos from Peter John Ross and Sonnyboo Productions
So thereís a new Peter Jackson - Tolkein movie out. The whole drama surrounding this ďHigh Frame RateĒ issue made me curious. I saw the movie in Imax 3D in the standard 24 frames per second digital projection, then saw the 48 frames per second HFR version a week or so later. The issues at hand surround the new ďlookĒ of the movie.
So several blogs ago I wrote about the new Star Wars films, the 7-9 of the series being done by filmmakers other than George Lucas and before that I wrote about the tangled web that is Marvel Studios and the comic book licensing rights to studios like 20th Century Fox and Sonyís various branches. Funny how all this seemingly disparate elements can all come together in a perfect storm.
Eric Clapton released a milestone album in 1989 called JOURNEYMAN. It might as well have been named DUETS because there were so many collaborations with other artists but youíd never know it from the album cover or promotions.
Time to weigh in on the controversial STAR WARS-DISNEY story. Star Wars was the first film I ever saw on the big screen when I was 5 years old. George Lucas is a huge influence on me and my life as a whole. The first 45RPM I ever owned was the John Williams Star Wars Main Title/Cantina Band B-side. I spent the first half of my life wanting to write music for movies because of this. The DV/Desktop Editing Revolution of the late 1990ís allowed me to create visions like I saw on the big screen in 1977. And George Lucas has sold it all to Disney...
So my first foray back into a blog in several months, and
this time Iím going to examine a moment in 80ís metal history.
I just saw the trailer for the new AMAZING SPIDER-MAN due out next year. It was way too familiar for me. Seeing a reboot so soon after just starting the last series seems a bit odd. I felt similarly about BATMAN BEGINS and it has been 8 years since the last sequel (1997ís BATMAN AND ROBIN). In this case it will have only been 5 years since SPIDER-MAN 3 and 10 years since the last franchise even started.
As an audience, we psychologically make a commitment to the characters, which means continuity of actors is far more important than film companies believe. Itís also really annoying to see the same origin story over and over again.
Why would a company like Columbia (owned by Sony) do this? I will tell you why...
I noticed a strange screenwriting credit back in 1992 (yes, I am old) for LETHAL WEAPON 3 where they credited things as
screenplay by Jeffrey Boam and Jeffrey Boam & Robert Mark Kamen Story by Jeffrey Boam
Here's something new since the amount of work I've gotten has kicked my ass. In my attempt to watch more movies, a habit I have gotten away from and want to get back, I sometimes watch a nice double feature on DVD or Blu Ray.
Last week I watched an odd coupling of movies, which was INSIDE MAN from Spike Lee and QUICK CHANGE from co-directors Bill Murray and Howard Franklin. Very similar story ideas but handled in VERY different ways.
This weekend will be a Blu Ray Spielberg-Cruise sci fi double feature with MINORITY REPORT based on the Philip K. Dick book and WAR OF THE WORLDS.
Should you edit your own movie? This is a question I think needs to be asked more often. Some of the great directors never edit their own films and others do. Kevin Smith and Robert Rodriguez famously edit their own material, as does James Cameron, but he usually is on a team of editors with him. Steven Spielberg never edits his own films and relies on Michael Kahn as he has for 35 years with only 2 exceptions in his feature film career. Why would you want to work with an editor?
Natalie Portman is one of the founders of this site with tons of great EPK videos of behind the scenes kind of things.
ART OF THE TITLE SEQUENCE
Art of the Title Sequence has great info and in depth interviews and videos on the title sequences and effects for the coolest opening or closing sequences of film from the earliest days to the latest craze.
For sound design, sound mixing, film scores, and all things audio - these videos are amazing and insightful for one of the most under-appreciated aspects of filmmaking - sound.
JOHN AUGUST BLOG
John August, the screenwriter behind BIG FISH, GO, and others, shares opinions and ideas.
An old classic that still has and adds screenplays, even separating the "transcripts" from the "screenplays", where one is a transcription of what was in the final edit, the other is the WRITER's intent. Great reads, especially if you read unproduced drafts or early drafts of film classics. I still recommend reading THE GREN MILE or SHAWSHANK REDEMPTION for the art of effeciency in screenwriting and description.
As the script revisions finish, the business plan and budgeting has begun for the next feature film. Since I was a broker, I have some idea how to write for the people with money. Itís never easy and itís never fun, but I have a knack for knowing numbers. Whatís odd is that most filmmakers are terrible with numbers. Iíve seen people throw out numbers and budgets as if they had a clue where that money goes or what itís for when they clearly do not. Anyone who randomly says, ďI could make 5 feature films for $100,000.00Ē clearly doesnít know how to budget a movie.
Accidental Art is going to become a feature film!
I wanted to show a demonstration of what is currently, and even more prevalent to the future, the way of popularity and what is a viral video.
I love books on filmmaking. I devour a few books a month on the topic. Half Price Books and Amazon.com used are my new best friends. I can find rare and hard to find books for next to nothing. This week Iím getting two used books that Iím looking most forward to.
The home video store chain HOLLYWOOD VIDEO just went under. The death toll must be ringing for BLOCKBUSTER VIDEO soon. This is not good news for the independent filmmaker. The business model of the video store has been decimated by the mail order DVD service like NETFLIX and video on demand services, also NETFLIX and AMAZON.COM. What that means to the indie filmmaker is that one of our biggest revenue sources has just faded away into dust.
One of the most simple, yet effective ideas in a score was exemplified in the LETHAL WEAPON scores, primarily by Michael Kamen with Eric Clapton on guitar and David Sanborn on saxophone. What made the themes and melodies ingenious was not the brilliant musicians, but the concept of having the guitar and melody represent RIGGS (Mel Gibsonís character) and the saxophone represent ROGER (Danny Gloverís character). Each had a distinctive melody and instrumentation for their differing characters, and when they come together in the story, the melodies and instruments complement each other perfectly.
Ohio State University often has brought in some killer names in film, from Richard Linklater in 2000, to Spike Lee, Kevin Smith, and Gus Van Zant, to last nightís epic James Cameron speaking engagement. This is supposedly James Cameronís first college lecture.