Changes on Posts

I will be continuously researching cities to move to and animation companies so those posts will be frequently changing as time goes on. Ive already updated them probably over 3 times. Some of you may already have noticed!

19 Cities Rated

An update has been necessitated (if that is a word) to represent new changes in the film community as well as in the strange economic situation presented us in this country. I have made some changes to accomodate. Here is my now new study on 19 Cities Rated for my search to find a location to start an indy film company with help, of course, from some very generous friends. Utilizing some resources on the internet such as MovieMaker's study on the 10 best cities to be a filmmaker has better helped me to rate some of these cities. I can always use help & advice from you, the reader in regards to this study as well. Please feel free to comment!

In this study I WAS utilizing 4 housing solutions to designate each city category. I had 'Individual Housing', 'Community Housing', 'Individual Rental' and 'Community Rental' designations based on the real estate climate & local cost of living. However, since the purpose of this study is to make it easier to pick a location to get into the film or animation industry, living situation seems to confuse the matter further. I'm sure finding the BEST living situation wherever you go (based on your own priorities), and of course, factoring in your own income & assets is going to happen regardless. It is isn't, well it needs to ...but that is something I can't do for anyone.

OK! Next I have 5 priorities in each of those cities/areas mentioned explained as thus (there has been a priority change here). 'Cheap' being costs of property and relative standard of living as distinguished in that area. 'Industry' being the presence of Film Industry (Infrastructure, Studios, Production Companies with Distribution, Jobs, Major Festivals, Film & Art Schools, Filmmaking Services, Filmmaking Societies, Filmmaking Incentives, and a good Film Office). Some have strong animation and not strong film (or visa versa) which can bring down the score. 'Film Community' is the presence of a supportive local film community (such as a tight knit group of supportive fellow Indy Filmmakers, Film Societies, Community Theaters, Micro-Cinemas, Non-Profits, & possibly some services or organizations to help build a stronger filmmaking community). An Indy filmmaking spirit really helps here. 'Livable' is the comfort index based on the measure of cosmopolitan, modern, convenient, diverse, and unique places and things to do in that community. A coffee house culture helps here. Also, the uncomfortability of extreme weather can contribute to 'unlivable' conditions. 'Family' is the sense of security a neighborhood has from a variety of benefits in that community. I get it from a combination of crime stats, local neighborhood morale, clean neighborhoods, sufficient government services and a neighborhood watch presence or something like it. I combined this rating with the formerly known 'Community' rating which was the sense that not only is crime low but the community is somewhat family friendly and has good schools to show for it. Walkability, parks and recreational areas or theme parks are a plus here as well. I have, of course, rated these based on what I know now from these communities.

Many of these changes occurred because I felt I was emphasizing too much on a 'nice', & 'safe' community rather than what was really important here which is the quality of the film/animation community. You may find the presence of some of the cities listed (or not listed) a surprise to you. Hey, let me know if you want to see something thats not on there! I have now done a ton of research however, and doing more of it might be just freaky at this point.

Regardless of my desire to move to NYC, due to new changes in film incentives this last year & the fact that filmmakers have REALLY responded in a very tangible way to make Michigan the next place to be in the film world, well... Michigan is now looking better on this list. Considering the new results I have made, some fresh advice would be to get as many other aspiring filmmakers involved as possible which can really be trusted to contribute to a tangible filmmaking collaboration in this burgeoning film community known as "The Mitten". The film incentives are incredibly helpful now for filmmakers & new film companies (such as tax refunds, permits, police escorts, and money to help your film company's growth). I still <3 NYC though!

The Cities (1-19): 1st being good, & 19th being, well... 19th!

Priorities: | Cheap | Industry | Film Community | Livable | Family | Total |

1. Grand Rapids- 9 - 7 - 8 - 6 - 8 - 38
2. NYC- 1 - 10 - 10 - 9 - 4 - 34
3. Detroit- 10 - 9 - 9 - 3 - 2 - 33
4. Milwaukee- 7 - 6 - 7 - 7 - 6 - 33
5. Wilmington, NC- 5 - 6 - 7 - 7 - 6 - 31
   
6. Albuquerque, NM- 4 - 8 - 7 - 7 - 5 - 31
7. Upstate NY- 7 - 4 - 5 - 6 - 8 - 30
8. Minn./St.Paul- 5 - 5 - 6 - 6 - 8 - 30
   
9. Cleveland Area- 9 - 4 - 6 - 6 - 5 - 30
10. Madison, WI- 6 - 4 - 7 - 4 - 8 - 29
    
11. Columbus OH- 7 - 3 - 6 - 6 - 6 - 28
12. Shreveport, LA- 6 - 7 - 7 - 4 - 4 - 28
13. Austin, TX- 6 - 7 - 7 - 4 - 4 - 28
    
14. Chicago- 3 - 7 - 8 - 6 - 4 - 28
    
15. Portland- 2 - 6 - 7 - 8 - 5 - 28
    
16. St. Louis- 7 - 2 - 6 - 6 - 7 - 28
    
17. Seattle- 2 - 6 - 6 - 8 - 5 - 27
18. Denver- 4 - 4 - 5 - 7 - 6 - 26
19. Savannah- 6 - 4 - 5 - 5 - 5 - 25

About the decision to move & to collaborate, well, let's talk about it! Otherwise its not much of a collaboration, is it? None of this should be taken lightly because it is would be an expensive mistake right now to move to the wrong area. I can provide some source info links on cities if you are looking at a certain area.

Jon

Animation Co. search for animators

Hello fellow filmmakers!

As an amateur independent filmmaker who is in the process of compiling useful data for myself as well as other independent filmmakers & animators, I have compiled a list of animation companies for primarily independents in the areas "outside of Hollywood's grasp" (mostly not on the west coast) because we independents need to help each other.

I am planning on networking a lot of people together to work on projects and independent productions corporately- first in Florida & then in NYC. I am also going to post a film industry resource list to help out my friends. So, now since I am now delving into NYC as the chosen location it will take a while to complete the list as it is so huge. We'll see who bites on the opportunities!


Animation Companies



New York

New York City
321 Film
8 Hats High
A&E Television Network
Animation Collective
Animators Unite
Atlantic Motion Pictures
Augenblick Studios
Blinking Eye Media
Blue Sky Studios
Bunko Studios
Buzzco Associates
Callaway Arts & Entertainment
Charged Productions
Cold Cereal Studios
Collider Media
Croog Studios
Curious Pictures
Curly Maple
Designomotion
DMA Animation
Dream Ray Studios
Factual Fiction
Fantasimation
FlickerLab
Freak Show Films
Frederator Studios
Fury Animation
Graphissimo
HBO
Hillman Arts
Homebaked Films
Hornet, Inc.
House of Bliss
IBC Digital
The ILL Clan
Inky Dinky Animation Studios
The Jim Henson Company
Kevina.TV
Kompost
Kyle Baker
Launch
Legend Animation
Life Story Productions
Little Airplane Productions
Loop Filmworks
LyLofilm Productions
Voom HD Networks






If anyone has any concerns, comments, complaints, etc. or you know of any animation studios not part of the Hollywood factory, especially if you are working for one... send your information as a comment here.

Thank you my fellow independents! I love you all!
Jon

My wife, the "Antisocial Butterfly"

This idea was originally entitled "Shy" because it was about a shy girl. This main character and movie idea is based on my wife, Rebecca. This is all Rebecca's idea so, really, she should make her own blog for her company Ghost Productions and put this on it. But, until she does I will have it on here. So, back to the idea...

It is supposed to be based on a lot of the difficult social situations Rebecca had to deal with during her first years after leaving home and going to college at the Art Institute of Ft. Lauderdale. I suppose it gave her a measure of inspiration and passion to create this story about a girl who, like her, begins to feel she must start reaching out socially and to start becoming more socially adaptable (the character in the movie is more over-dramatised to really draw the audience into her character development). I suppose that in a dramatisation, it helps to scream 'story!' so people will hear you. Especially because with some stories, effecting people dramatically is really the point you are trying to make. It isn't just referred to as a 'drama' for no reason. We don't just want to say that this girl is shy- but if you can (with a tinge of the over-dramatic) affect the viewer on a personal level to feel, even slightly, the way the character might feel, you have accomplished much more!

So, in this 'coming of age' story it begins with her difficulty in reaching out and communicating with others around her. Certain feelings begin to creep up in her and then a male character (who will play opposite to her) begins showing up in the film who she will, from a distance, start to feel comfortable around. Other challenges start to show themselves as well, such as life goals. Much of this might seem a typical 'coming of age' as it comes to story but there are many things that will set it apart and make it unique as an experience to view. I know this because I know Rebecca despises typical, mediocre ideas. She has a good grasp on unique, original ideas & I don't think she'd waste five minutes on an idea if she thought it wasn't something new or different (except to be nice to the one with the idea).

The cinematography and certain story elements will probably make this a more compelling movie than a lot of the coming of age 'girly' or 'cutesy' movies you might have seen at your local video rental store. As it comes to certain artistic elements, I'm not sure what she wants as of yet, but she is a filmmaker who does not like to depend on poorly written dialogue to further a story. Instead she likes to move things along with subtle acting or unexpected story elements, such as the shift of an actors eyes or the placement of a prop to catch your attention and make you think about what is going on. This can only be done well by the best of directors & writers collaborating with professional actors and this is what makes me love a lot of Rebecca's ideas- they are more subtle... I really like to have twists and really 'impactful' story elements that blow you away, especially in story originality or style uniqueness- but Rebecca likes to kind of flow just out of view and just out of reach. She forces you to think and this is what makes her work so artistic. As she desires to work with very few on a set or on location it gives her artistic ideas and guidance more strength. I don't know, sometimes I wish I was more like her as a filmmaker. I guess you do what you can-.

As it comes to the production of her film, her script is 90% complete! So far it will probably be about a 15-25 minute short in color digital and I'M supposed to be her actor playing opposite of her! Yes, she has decided that she wants to play the girl in the film! I think its because she knows how it feels to be like this girl and she needs the lead part to be played with the correct motivation. It's not her acting I'd be worried about though- yep, it's mine! She used to be in acting school from childhood and she has done some pretty cool stuff in school. Anyway, I am psyched about her movie and hope she's done with writing & pre-production soon so we can get out there and see her great acting & directing! I'm sure you'll be excited about it too. Not to mention her editing is uber-primo (which has already been well proven)! Check out her editing of The Yeah Yeah Yeah's "Man" with the 1949 movie, "Gun Crazy" on Vimeo. It's sweet stuff! The timing in the editing is awesome (as long as you have sufficient bandwidth). Let me tell ya, I always felt "anti-social butterflies" ruled the art world. Now I know!

Jon

Film Noir... or 'Dark Cinema'?

The Idea

This short movie idea has become known as "The Dark Cinema" for a variety of reasons. First, me and Rebecca can't seem to avoid the intense desire to make a 'film noir' worthy of the genre classification & all of the history that goes with Detective/Crime stories & movies of the day (from the late 30's to the late 50's). Of course the title, "The Dark Cinema" is a direct correlation to the name 'film noir,' or 'black film,' which I really translate 'dark' in my head anyway. There is also a very distinct connection between the title & the plot of the story as well, but I'm not gonna reveal any spoilers. I have to admit, the idea of making this film does sort of fulfill at least the feeling of 'making the quentissential' film noir. I only say this because after writing about 2/3rds of the script and being, really, very satisfied with it's quality.

As a short comparison here with other classic film-noir, there is a murder that takes place within the darkness of a movie theater while a movie is taking place, no less. Although, it should be noted that, while this plot point may make someone think this is a horror or suspense genre of film, it is not. But, keeping with the feeling of films of that day (which is I think one of the best things about film noir) a classy, determined lead character dominates the movement of the story through dark sets, lighting & situations. As "The Maltese Falcon" was a driving force in my love of film noir (between the dialogue Dashielle Hammett craftily establishes and Humphrey Bogart's intensely passionate acting), so are many of my themes influenced by these two factors- strong dialogue & strong characters.

In "The Maltese Falcon" we are swiftily brought along on this emotional roller coaster which engenders this certain clinging confidence to the character 'Sam Spade,' rather out of necessity. While we are left with feelings of romantic admiration for this time in the past we are also left with the cruel realities that society seems to present us. The Producers & Director do not shirk off this reality and as a result tell a gritty tale of conflict, inner turmoil and sexual tension, though, as it comes to the morale, we are given no option to interpret what the end of all of these problems will be in society. The hero, who is powerful and suave, just as James Bond may be, uses every means at his disposal to destroy the clever wiles of evil men (and even women) in the story (it is as though good is the ruthless victor- which can be a controversial opinion, yet it always seems to work in the most legendary and popular stories).


The Film-Noir Anti-Hero

Though, I realize that film noir was one of the first to present the idea of an anti-hero, the problem an anti-hero presents in the story is usually portrayed as a more vague symbol of some social ill, and less, a sort of super-villain or 'misguided hero' issue, as more recent indy films really love to use these days.

The Film-Noir Symbology

So, I realize that in writing this script I have some elbow room to work within as it comes to character development, and this leaves room for surprises. I think it may be good, though, to keep with some legendary symbols in the film to draw us back to the real deal. For example, The hero symbol, the femme fatale symbol, the habitual smoking and drinking is difficult to avoid, guns, police, organized crime, and a gritty black & white look along with dramatic lighting is essential, '40's era costuming is necessary (which is my favorite era of film noir), and, of course, some sort of mystery for the viewer to uncover. This is, to me, a chemistry to bring success as long as certain production points are achieved. Keeping vigilant as to lighting, acting style, costuming, sound quality & a strong sense of focus on the meaning in the story.

I am hoping to use B&W Digital HD with warm, somewhat intense lighting. Of course with video, lighting a scene will be easy as long as I chose my subjects carefully whether they be an urban scene in a back alley or the character of a face revealed in the light. Digital tends to be much more sensitive to light than film, not to mention post-production gives under-lighting an advantage in digital as opposed to film. All of this means a B&W film noir is great in digital (to me) while film is, no doubt, more expensive & time consuming to light. As long as there is a gradient of depth to the shadows and there is a gritty feel (which digital may have trouble with), I am golden!


Obstacles & Format

As it comes to the obstacles I forsee, I have many. I have a very limited budget, I don't have many props, nor do I have access to many professional actors & I don't have access to any '40's era automobiles. So, I am presented with some very real limitations. I believe it is possible to create the feeling of dramatic black & white and a gritty film feel while using digital, though I don't think this would be unnoticeable and this, I cannot prevent. So, I mustn't pretend to have achieved some sort of authentic black & white soft film look. This would be over-promising and under-delivering. However, if you have viewed my trailer (which is a very temporary main-idea trailer which was filmed on DV in one day- edited on Final Cut in two or three days) you can see that it feels 'film noir' & this is good. I'm sure a lot of that is the classic trailer 'big letter' titling and that was part of the plan, but dramatic shadows were of primary importance. This is done with the aid of fairly strong lighting for the most part and it does seem to work well. Shadows on walls are never to be underestimated or downplayed and don't forget the very oft presence of ceilings in film noir. In film noir prominent shadows, in a sense, ARE the movie & ARE the characters in the movie.

Planning & Scheduling Issues

As I had planned production of 'The Dark Cinema" for the fall of '06, obviously this did not occur. This was for a lot of reasons, I'm sure. The biggest reason I believe, is that I took too much on myself to accomplish (things I could not have accomplished alone). I did not think people could help me achieve the look I wanted. In some ways this may have been true but in others, obviously, it made it an 'un-dynamic' experience, neither did I achieve everything I desired. I need to work smarter in my field & delegate things that are a true distraction for me. I need more people to help me accomplish what this movie needs to have in order to come alive! I need some people I can trust to come through for me & I need to get better organized, as well, so I have prepared everyone- the crew as well as the cast. This is, after all, not a professional union picture. I cannot expect people to be fully acquainted with their jobs & I cannot expect people to exhibit a measure of desire either. Desire is either present & kicking or making a film becomes a sort of novelty. This is not the way to make movies, but especially on my part, expecting what is unrealistic is just bad management. Most of all, there is no substitute for organization in management. Unless everyone is hanging out ready to film at a moments notice people's schedules MUST be considered & appropriate events that contribute to production value must be clearly determined & communicated in a way everyone involved can understand.


I would like to know how people would like to schedule their time if they simply cannot use my method. My method is google calendar presently because it can be shared, kept private & it works. The people I work with need to make use of information such as production schedules, scripts & shot lists (etc.) if it is relevant to their work. This is something essential to consider if you want a professionalism on set. I think emailing this directly can be a good method to use, although something more central like a website, or google calendar can be helpful for event times & descriptions. The advantage google calendar has is its easier & faster to update & share. This blog can just as well serve as a source of this kind of information if everyone thinks so, but I prefer to use it strictly as a blog.

Making movies has taken a long time for me to develop, but I think collaborations are always things that can easily fail when expectations are not obvious & you are using sub-par employees. This is one reason Hollywood has grown so huge at making films. They'll tell people you'll get tons of money or they'll make them famous (without even blinking) if you'll only go & fetch their cappuchino & do their laundry! What's funny is people actually believe these scheming peddlers & will jump through never-ending fiery hoops like a good little toy dog. And you'll get nothing for it but an illegitimate child & never ending credit card debt. Well, maybe you'll get a few doggie treats out of it...

But I can't do that to people & even if I was a Hollywood producer, I wouldn't want to motivate people with half truths which are no better than lies. Of course, I probably would never want to be a Hollywood producer for that very reason. Please, if you want Hollywood from me, don't help me out or desire to work with me please! Cuz, it's not help...

To the strong, the brave & the believers out there who are still unoffended... let's not let the time get away with us. We can make something as enduring as film noir if we never give up. So, never give up!


Jon