A change from my former ratings of "film cities" has been warranted since I have to admit I have changed my philosophy on it. The economy has changed quite a bit and it warrants a proper reaction to the situation. I made a large study on different film communities but I have found because of these new factors this study is for the most part pointless. Not in the sense that it is useless information but in the sense that survival is the higher priority than pursuing some sort of utopian filmmaker's & animator's city. Instead, I will explain my change of thinking and then offer some new information.
My humble opinion is that an 'independent' filmmaker should do one of two things. (1) "Dig" into your (or your chosen) community and support it with your whole being until you know everyone & everyone knows you in order to become a permanent fixture no matter how bad the economy is. Or (2) become incredibly independent & mobile and travel wherever work takes you. Find your reliable mode of transportation and a very cheap place to live that you can return to easily and simply grow your funds while staying lean & mean. In your travels find the best locale to invest your business profits and in a few years upgrade either your business or home in that area.
That being said, there will still be film industry hubs that would be better to work at than others and knowing those film hubs would be important. So, I will indicate my preferred film hubs & will let you know why I prefer those over others. Also, I am no longer including animation hubs in my film study because usually those areas overlap with film hubs & where they dont overlap- there will not be enough animation jobs to justify calling it a "hub" at all which no longer makes it enough of an influential area if you really are making film or animation your career.
OK! I have 5 priorities in each of these film hubs. 'Cheap' being relative costs of property, taxes and standard of living as compared to other hubs. 'Industry' being the presence of Film Industry (Infrastructure, Studios, larger Production Companies, Union Jobs, large Film Festivals, big-budget filmmaking resources, Societies, Film 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, Film or Art Schools, independent film festivals, filmmaking services, Film Incentives favoring Independent Filmmakers, Community Theaters, Micro-Cinemas, Non-Profits, & possibly some local artistic organizations to help build a stronger art-centric or cinema-centric community). An Indy filmmaking spirit really helps here. Also, a right to work state is essential in fostering an indy filmmaking influence in the community. 'Livable' is like the 'comfort index' based on the measure of cosmopolitan, modern, convenient, diverse, and unique things to do in that community. A coffee house culture, walkability & bikeability helps here. Also, the uncomfortability of extreme weather can contribute to very 'unlivable' conditions. 'Family' is the sense of security a neighborhood has because of certain benefits present 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. Parks and recreational areas or theme parks are a plus here as well. If you are having difficulty distinguishing between 'Livable' & 'Family' as they are both a sort of 'comfort' index... just think of 'Livable' as a good area for single, career types to live at and 'Family' as a good area for filmmakers with a family.
I have, of course, rated these based on what I know now from these communities.
The Film Hubs (1-10): 1st being good, & 10th being, well... 10th!
Priorities: | Cheap | Industry | Film Community | Livable | Family | Total |
1. NYC Film Hub- 2 - 10 - 10 - 9 - 3 - 34
2. Seattle/Vancouver/Portland Film Hub- 5 - 6 - 7 - 9 - 7 - 34
3. Florida Film Hub- 8 - 3 - 6 - 7 - 9 - 33
4. New England Film Hub- 6 - 7 - 7 - 7 - 6 - 33
5. Texas Film Hub- 7 - 7 - 7 - 5 - 6 - 32
6. Pittsburgh/Cleveland Film Hub- 5 - 5 - 7 - 5 - 7 - 29
7. Georgia Film Hub- 7 - 6 - 6 - 5 - 5 - 29
8. Michigan Film Hub- 5 - 6 - 5 - 4 - 9 - 29
9. Louisiana Film Hub- 6 - 7 - 6 - 5 - 5 - 29
10. Chicago/Milwaukee Film Hub- 2 - 8 - 4 - 7 - 6 - 27
I know- CA is not included... yea I have heard WAY too many horror stories about people 'trying to make it in Cali'... it is exactly NOT where to go to make waves. Its where to go if you are selling out so you can become famous- which is just the smoke being blown at you- don't be stupid- DON"T believe the hype! It is basically a recipe for heartache & a recipe for no artistic freedom or artistic integrity. On the other hand- once you make a good successful team & you can guide your own projects because you have bought your ticket with a good film that the industry respects- you probably could move there & it might even do you good to move there. A lot of successful filmmakers never move there though- they only visit to do business- and they are doing just fine!
About the decision to move or 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. To be honest, like I said earlier, this is REALLY a personal decision... nothing more. It has to also be a win-win situation or I don't want to collaborate with anyone.
Thanx for reading!
Tuesday, December 22, 2009
Where have I been?
Ive been lost in a world of filmmaking! A world of my own creation! A world where people need to have confidentiality clauses in their contracts...
Yes, I haven't really been maintaining this blog very well! The LIBERTY No. 5 POST is supposed to be a massive part of my filmmaking research & discovery process into the world of "the Industry". But, since I was involved in making a feature earlier this year I stopped posting, not because I didn't have anything to say but because much of what I was thinking & talking about was basically intellectual property of the company that was formed to make the film I was working on. I also haven't posted very many pictures (of my experiences there) on the internet for the same reason. I have not been given free reign to post them officially, although I doubt anyone would dislike it that much-- it depends on who is using them & for what purpose (ie. do not post pictures on FB!!!). Protecting the production is always important. Anyways, back to the real post here...
I have kept the Liberty No. 5 blog alive (my personal producing/directing company is called "Liberty No. 5 Pictures" by the way) because there are so many great resources I've spent a lot of time gathering on here. Which reminds me, if you are looking for information on filmmaking subjects, etc... you should give some of the side links a gander. Many of them are great sources of info for filmmakers!
I will be posting more again very soon as I am now starting a new project... my own feature film... which isn't really my own (ha ha)!! I always find it interesting the obsessiveness people have about their 'favorite' Directors and that Director's artistry and 'ownership' of 'their' films. Knowing what I know, films are no more the producer's or director's work than the grip's or PA's work... but the Producers & Directors certainly take more risk & bear more responsibility than anyone else involved (to be specific, films are usually the Studio's, Distributor's or Private Investor's property speaking 'factually')... but that's besides the point here.
I have learned then, as it comes to the 'artistic ownership' which is what we are talking about here... that it is really the film's cast & the entire film crew (above & below the line) that makes a film's artistry what it is and that leads many times to a successful film or not. Also, the real ART that producers & directors have is to get the RIGHT cast & crew (and possibly, the right source of funding) together in the RIGHT way! Especially humble, trusted, professional sorts who work well under pressure... these are the sorts that seem to succeed! These are the one's I feel can take responsibility for their jobs & commit to learn & to practice professional arts without bringing in a bunch of drama or slackerdom to the set.
One thing I really dislike is when I see people passing the buck & gossiping about others. When things get rough during filmmaking, and they will... there is always something negative you can say about ANYONE. But film is such a personal face-to-face referrals-based business... one should really be careful what they say about anyone or anyone's production (unless you are a film reviewer or a journalist- then it is your job to do that- if done in a professional, non-slanderous fashion). You are messing with, potentially, someone's livelihood... their entire future- with blacklists & black marks- all of this is at risk on the tip of the tongue of one careless producer/director. But it isn't really a proper representation of that person... it was just something said in anger.
But these humble types... the ones you can trust... they do not pack ship & sail away... or betray those who have worked so hard with them. They can be trusted to help and not hinder the production because they are aware that so much is at stake. When you put your professional reputation on the line- my advice is... "know who it is you are working with... because they may be the last people you work with."
So, for the future... my next adventure appears to be getting the 'right sorts' together to really have an impact on the local film industry! So, stay tuned. There's more to come!
Happy Holidays to all my readers & Thank you!
Jon
Yes, I haven't really been maintaining this blog very well! The LIBERTY No. 5 POST is supposed to be a massive part of my filmmaking research & discovery process into the world of "the Industry". But, since I was involved in making a feature earlier this year I stopped posting, not because I didn't have anything to say but because much of what I was thinking & talking about was basically intellectual property of the company that was formed to make the film I was working on. I also haven't posted very many pictures (of my experiences there) on the internet for the same reason. I have not been given free reign to post them officially, although I doubt anyone would dislike it that much-- it depends on who is using them & for what purpose (ie. do not post pictures on FB!!!). Protecting the production is always important. Anyways, back to the real post here...
I have kept the Liberty No. 5 blog alive (my personal producing/directing company is called "Liberty No. 5 Pictures" by the way) because there are so many great resources I've spent a lot of time gathering on here. Which reminds me, if you are looking for information on filmmaking subjects, etc... you should give some of the side links a gander. Many of them are great sources of info for filmmakers!
I will be posting more again very soon as I am now starting a new project... my own feature film... which isn't really my own (ha ha)!! I always find it interesting the obsessiveness people have about their 'favorite' Directors and that Director's artistry and 'ownership' of 'their' films. Knowing what I know, films are no more the producer's or director's work than the grip's or PA's work... but the Producers & Directors certainly take more risk & bear more responsibility than anyone else involved (to be specific, films are usually the Studio's, Distributor's or Private Investor's property speaking 'factually')... but that's besides the point here.
I have learned then, as it comes to the 'artistic ownership' which is what we are talking about here... that it is really the film's cast & the entire film crew (above & below the line) that makes a film's artistry what it is and that leads many times to a successful film or not. Also, the real ART that producers & directors have is to get the RIGHT cast & crew (and possibly, the right source of funding) together in the RIGHT way! Especially humble, trusted, professional sorts who work well under pressure... these are the sorts that seem to succeed! These are the one's I feel can take responsibility for their jobs & commit to learn & to practice professional arts without bringing in a bunch of drama or slackerdom to the set.
One thing I really dislike is when I see people passing the buck & gossiping about others. When things get rough during filmmaking, and they will... there is always something negative you can say about ANYONE. But film is such a personal face-to-face referrals-based business... one should really be careful what they say about anyone or anyone's production (unless you are a film reviewer or a journalist- then it is your job to do that- if done in a professional, non-slanderous fashion). You are messing with, potentially, someone's livelihood... their entire future- with blacklists & black marks- all of this is at risk on the tip of the tongue of one careless producer/director. But it isn't really a proper representation of that person... it was just something said in anger.
But these humble types... the ones you can trust... they do not pack ship & sail away... or betray those who have worked so hard with them. They can be trusted to help and not hinder the production because they are aware that so much is at stake. When you put your professional reputation on the line- my advice is... "know who it is you are working with... because they may be the last people you work with."
So, for the future... my next adventure appears to be getting the 'right sorts' together to really have an impact on the local film industry! So, stay tuned. There's more to come!
Happy Holidays to all my readers & Thank you!
Jon
Wednesday, January 21, 2009
Building the Florida Film Industry
Very simply we need to start building more infrastructure in Florida & continue to pay it forward to others who desire to help build the industry here as well... regardless of the fact that we can make more money elsewhere. A lot of people complain that productions here dont pay but this isnt a Florida problem it is an independent filmmaking problem due to high risk & lack of liquidity. It is a misunderstanding of where the money comes from & where it goes. Understandably, a union picture will pay more reliably & if you are union you will go where the money is because it is more of a career... but of course this leaves Florida in the same position. Also, indies can be skiddish about working with unions for the same lack of funding strength in Florida. But, of course, since the money isnt here as much as other places people leave... union or not. The unions just offer a different career path for filmmakers to continue growing no matter where you call home.
Injecting temporary funds (like incentives almost always do) represents a temporary injection in the business here. Once the incentives change, stop, or become politicized, the industry will once again revert to a state of inactivity. This is not my objective, nor should it be any of ours who are in Florida & who care about Florida as a state in which we can continue to do business. There is nothing 'bad' about going where the money is- we have to struggle to build our careers- but inevitably it means we're still left with the situation we have here in Florida... not enough reason to consistently stay in Florida.
My solution for Florida includes something for filmmakers & the state to participate in. For film producers... there needs to be a project or a studio (multiple ones really) that builds up Florida as a place to film by actually "making money"... getting good publicity (making Florida look good, not just on screen) and putting the profits back into the infrastructure here. It will need to be well produced & well promoted for this reason... and leaving the project to others outside of Florida afterward should not be done (like many other projects such as the Punisher was done). We should never cut & run if we hope to build something lasting... something that eventually pays to keep here because it pays for us to stay here.
As it comes to the Film Office... I think building a static project in Florida (such as a Studio funded primarily but temporarily by the state, which helps train independent filmmakers) would definitely bring productions to the local economy for an indefinite period of time, even after it changes hands to private industry. A Studio not only represents the greatest potential to maintain profits for the long run, but it represents local growth specifically.
New Mexico and Boston is an example of this. But, New Mexico, I believe, has not just created a studio but has also created strong incentives... so we have a specific case study to build from.
Of course, the competition for which metro area in Florida to break ground it could be INCREDIBLY fierce... it would have to be fairly planned out & would have to represent a long term commitment on the part of a substantial statewide grassroots effort. Possibly multiple studios could spring forth from this great commitment.
I think three locations have maximum potential... Orlando, Tampa Bay, & Miami are growing most consistently... and building studios in that order would be the best I think. I have to say though, Lakeland might help cover both Orlando & Tampa Bay areas if a multi-studio long term commitment cannot be created. Also, if this combination of forces creates a chain reaction of dual efforts... it will help build & spread out more business throughout Central Florida.
Also, the film commissioners need to modify & combine their efforts. They should team up & help put more Florida product out at film markets as opposed to just the fun fests out there... because Markets are really where the money is at. Attending just festivals out of state doesn't necessarily help bring money to Florida... but attending the AFM or Toronto's Market or Cannes' Market or Hong Kong's Market might. We as citizens are just paying them to be over-glorified travel agents it appears. It has nothing to do with the Film Industry. Just redirect money into Travel & Tourism instead of paying them to attend fun festivals to learn about event production... which also has nothing to do with the industry!
I think the citizens need to do more than the state though. The economy is lagging & I want our state to stay "in the black"! Keep building & growing you Florida filmmakers! Every bit of business growth by actually making great movies helps the entire economy!
Jon
Injecting temporary funds (like incentives almost always do) represents a temporary injection in the business here. Once the incentives change, stop, or become politicized, the industry will once again revert to a state of inactivity. This is not my objective, nor should it be any of ours who are in Florida & who care about Florida as a state in which we can continue to do business. There is nothing 'bad' about going where the money is- we have to struggle to build our careers- but inevitably it means we're still left with the situation we have here in Florida... not enough reason to consistently stay in Florida.
My solution for Florida includes something for filmmakers & the state to participate in. For film producers... there needs to be a project or a studio (multiple ones really) that builds up Florida as a place to film by actually "making money"... getting good publicity (making Florida look good, not just on screen) and putting the profits back into the infrastructure here. It will need to be well produced & well promoted for this reason... and leaving the project to others outside of Florida afterward should not be done (like many other projects such as the Punisher was done). We should never cut & run if we hope to build something lasting... something that eventually pays to keep here because it pays for us to stay here.
As it comes to the Film Office... I think building a static project in Florida (such as a Studio funded primarily but temporarily by the state, which helps train independent filmmakers) would definitely bring productions to the local economy for an indefinite period of time, even after it changes hands to private industry. A Studio not only represents the greatest potential to maintain profits for the long run, but it represents local growth specifically.
New Mexico and Boston is an example of this. But, New Mexico, I believe, has not just created a studio but has also created strong incentives... so we have a specific case study to build from.
Of course, the competition for which metro area in Florida to break ground it could be INCREDIBLY fierce... it would have to be fairly planned out & would have to represent a long term commitment on the part of a substantial statewide grassroots effort. Possibly multiple studios could spring forth from this great commitment.
I think three locations have maximum potential... Orlando, Tampa Bay, & Miami are growing most consistently... and building studios in that order would be the best I think. I have to say though, Lakeland might help cover both Orlando & Tampa Bay areas if a multi-studio long term commitment cannot be created. Also, if this combination of forces creates a chain reaction of dual efforts... it will help build & spread out more business throughout Central Florida.
Also, the film commissioners need to modify & combine their efforts. They should team up & help put more Florida product out at film markets as opposed to just the fun fests out there... because Markets are really where the money is at. Attending just festivals out of state doesn't necessarily help bring money to Florida... but attending the AFM or Toronto's Market or Cannes' Market or Hong Kong's Market might. We as citizens are just paying them to be over-glorified travel agents it appears. It has nothing to do with the Film Industry. Just redirect money into Travel & Tourism instead of paying them to attend fun festivals to learn about event production... which also has nothing to do with the industry!
I think the citizens need to do more than the state though. The economy is lagging & I want our state to stay "in the black"! Keep building & growing you Florida filmmakers! Every bit of business growth by actually making great movies helps the entire economy!
Jon
The end of the Tampa Film Review & the beginning of something new in Tampa Bay
Having attended the last Tampa Film Review & working with Dan Brienza & the Guzzo's to try & move the Tampa Film Review to another location has left me empty. I saw the press & their concerns & I saw the need for a film screening venue go unheeded by many people. I have met with quite a few people regarding getting a venue & filling the gap left by the TFR to have a screening in the Tampa area. I have to admit I was discouraged.
Then, when I attended the Pinellas Filmmaker's Society on January 13th, Pete Bradshaw had the same concern for our area but it was a very different meeting this time. In one meeting we made a new name for the film society, found a new venue, built a new film-related social networking site and created a new change of course for the entire group. Now they are called the Tampa Bay Film Society and they are meeting at Coconut's Comedy Club in Clearwater on Friday February the 13th at 8pm to start new screenings. A new determination to do more screenings & invite people to network on the internet has been a refreshing new course! The site is called FILM & I hope the group grows & remains an influential part of the film industry in the Tampa Bay area for years to come.
There is also some good growth being experienced by the former St. Pete Creative Network... now the Tampa Bay Creative Network. In fact there are rumors that Film Forum group on the page might even start their own screenings as well.
As it comes to the group in Tampa... things are not over however. There were plenty of fears that no one would be able to fill the shoes that Pete & Paul Guzzo were leaving open for someone to walk in but Dan Brienza has been working tirelessly & faithfully to effect the film industry in Tampa for some time now. Now he has decided to take up the challenge to do even more...
Amazingly, even with his Weekend Film Crew Productions, his Tampa Weekend Film School classes, his Tampa Bay Film Industry & Actors Network & his Film Crew Cafe website... he is not overburdened! The once defunct Tampa Film Network has now ok'ed a transition for Dan to take over this network & merge it with the Tampa Bay Film Industry & Actors Network & the Film Crew Cafe... calling it the Tampa Film Network. And finally the Guzzo's Tampa Film Review will also be taken over by Dan, who will attempt to keep it screening with the same name!
Dan will continue to have classes under the Tampa Weekend Film School & he will run this network in Tampa and do screenings. All he needs now is a venue in Tampa to help sponsor his efforts! If anyone has any leads-- please email me! libertynumber5@gmail.com
So to sum it up- I am amazed at the Tampa Bay area filmmakers... we are doing more & spreading like a wildfire to build the industry here! I just hope that in March the Film Office in Tallahassee sees our solid resolve & does what it can (without going in the red) to assist our film community responsibly! I guess we'll see if there is more good news to come very soon!
Then, when I attended the Pinellas Filmmaker's Society on January 13th, Pete Bradshaw had the same concern for our area but it was a very different meeting this time. In one meeting we made a new name for the film society, found a new venue, built a new film-related social networking site and created a new change of course for the entire group. Now they are called the Tampa Bay Film Society and they are meeting at Coconut's Comedy Club in Clearwater on Friday February the 13th at 8pm to start new screenings. A new determination to do more screenings & invite people to network on the internet has been a refreshing new course! The site is called FILM & I hope the group grows & remains an influential part of the film industry in the Tampa Bay area for years to come.
There is also some good growth being experienced by the former St. Pete Creative Network... now the Tampa Bay Creative Network. In fact there are rumors that Film Forum group on the page might even start their own screenings as well.
As it comes to the group in Tampa... things are not over however. There were plenty of fears that no one would be able to fill the shoes that Pete & Paul Guzzo were leaving open for someone to walk in but Dan Brienza has been working tirelessly & faithfully to effect the film industry in Tampa for some time now. Now he has decided to take up the challenge to do even more...
Amazingly, even with his Weekend Film Crew Productions, his Tampa Weekend Film School classes, his Tampa Bay Film Industry & Actors Network & his Film Crew Cafe website... he is not overburdened! The once defunct Tampa Film Network has now ok'ed a transition for Dan to take over this network & merge it with the Tampa Bay Film Industry & Actors Network & the Film Crew Cafe... calling it the Tampa Film Network. And finally the Guzzo's Tampa Film Review will also be taken over by Dan, who will attempt to keep it screening with the same name!
Dan will continue to have classes under the Tampa Weekend Film School & he will run this network in Tampa and do screenings. All he needs now is a venue in Tampa to help sponsor his efforts! If anyone has any leads-- please email me! libertynumber5@gmail.com
So to sum it up- I am amazed at the Tampa Bay area filmmakers... we are doing more & spreading like a wildfire to build the industry here! I just hope that in March the Film Office in Tallahassee sees our solid resolve & does what it can (without going in the red) to assist our film community responsibly! I guess we'll see if there is more good news to come very soon!
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