recordame

Spent most of the afternoon today listening on and playing audio tech to Michael Nickles and Nadia Dajani, the director and one of the leads, respectively, of Long Tail’s first release, This is Not a Film, as they recorded a commentary track for the film. Which, while time consuming, was also a great warmup for the less fun work I’ll be doing through the rest of the evening: harassing our cadre of potential investors about Cyan’s next production.

And while I normally dread having to, yet again, pass around the hat, hearing Michael and Nadia talk about the ins and outs of their guerilla filmmaking reminded me that making movies, actually getting down and dirty with on-set production, is enough fun to make it almost worth that painful hat pass.

escape fire

Dan Berwick, one of the most influential thinkers in healthcare, is fond of telling the story of Wag Dodge, the commander of a Montana firefighters parachute brigade:

In 1949, Dodge and his men land a jump too close to the edge of an unexpectedly fast-spreading forest fire. With the blaze bearing down, the crew makes a run for a hill nearby, hoping to clear its 76% grade, getting over the crest before the fire engulfs them.

Dodge, however, realizes they aren’t going to make it. So, thinking quickly and way outside the box, he pulls matches out of his pocket and sets the tall grass ahead of him on fire. The small new blaze quickly spreads and dies out, and Dodge steps into the middle of the burned out clearing, lays down, and calls for his men to join him.

Obviously, the men think he’s nuts, and keep running. All but two of them die in the fire.

Dodge, on the other hand, survives unharmed. He’s unwittingly invented the escape fire, now an industry standard in wildfire fights.

Most people, when asked, are sure they’d have joined Dodge in that burnt clearing. But, with the heat of the flames on our backs, I suspect we would all have had an awfully hard time evaluating such an unusual new idea. Instead, we’d panic and run, unwilling and unable to think through something that just might save our lives.

Which, essentially, is what my movie industry colleagues are doing today. Studio execs are scrambling for the crest, terrified to death of the blaze of digital technologies and innovative thinking that’s changing the film industry and threatening companies’ core businesses.

But, as you readers doubtless know, it’s far too late. We movie folks can’t put out a fire so readily embraced by our customers. We can’t even make it safely past some legislative crest. Instead, we have to use that same fire ourselves. Only by leveraging technology, by tearing down the assumptions about how the movie business works, about how movies make money, and starting from scratch, does a film company have any chance of making it through.

So, to that end, and as a fitting start at the beginning of 2005, I give you the official launch of Long Tail Releasing, Cyan Pictures’ new distribution arm. Our first film, This is Not a Film, will be released later this month. And I give you the official re-launch of Cyan itself (with corresponding new site), as we ever more tightly hone in on what sort of films we’re trying to make, and how we’re trying to make them.

Stay tuned. This should be good.

no escape

With my internet connection down at home, I headed to the neighborhood Starbucks this morning, using their wi-fi to catch up on email correspondence that fell by the wayside while in Israel shooting.

As I sat there, drinking green tea, sorting through a pile of receipts from the trip and relishing the sound of English spoken around me, I heard someone from the next table ask, in Hebrew, “excuse me, are you Israeli?”

The El Al flight attendants from my plane back yesterday, it turns out, are staying at a hotel down the block from my apartment. And, with the Hebrew receipts jogging their memory, two of them had recognized me from prior flights.

To their disappointment, I explained in broken Hebrew that I’m not Israeli at all – just an American who’s been spending too much time heading back and forth from there. But It’s a good reminder of the reality of making movies. If I’m neck-deep in a project, I’m neck-deep in a project, no matter where in the world I happen to be.

small request

Amidst the nonstop documentary shooting in Sakhnin, we took a quick side trip to nearby Kishorit Village, a live/work community for special needs adults. Kishorit recently started a communications program, and ten of the residents – under the guidance of an Israeli producer and his editor wife – have begun learning how to shoot documentaries digitally, how to piece footage together using Final Cut.

One of the residents, Aviv Wolkowicki, spends most of his day cranking out screenplays that become the basis of some of the group’s films. He’s in his mid-forties, and, despite being mildly mentally retarded, speaks and writes English extremely well. When he’s not writing screenplays, he writes letters to Americans, hoping for a letter in response. Over the past three years he’s been doing this, he’s yet to receive back a single letter. So, if you’d like to accrue some very good karma rather easily, write him a short note and send it along. The American post-mark alone should more than make his week.

You can mail him at:

Aviv Wolkowicki
Kishorit Village
M.P. Bik’at Bet Hakerem 25149
Israel

I’m sure he’d very much appreciate it.

throwing in the towel

My best intentions to the contrary, it appears there’s no way in hell I’ll be able to run this shoot, blog about it on Cyan’s site, and blog about it here.

So, to minimize the insanity of this week’s endeavor, I won’t be posting here until I return from Israel next weekend, focusing instead on hitting the daily post mark at www.cyanpictures.com.

Head on over and take a look; I’ll do my best to make it worth your click.

the world on my shoulders

When I was in middle school and high school, I hated, hated, being assigned group projects. Inevitably, someone (or multiple someones) would drop the ball, and I’d be left frantically trying to cover for them.

I’m having that same feeling this week, as, despite there being ostensibly two other producers on this Israel documentary, all of their work seems to be eventually ending up in my lap. And though that’s somewhat detrimental to me sleep schedule, sanity, and week-focused-on-jazz ambitions, it’s probably for the best. In the same way that I’ve always preferred individual sports to team ones, there’s something oddly comforting about knowing that if it all goes to shit once we head out to shoot, there will be nobody to blame but myself.

Related addendum:

“There is no monument dedicated to the memory of a committee.”
– Lester J. Pourciau

coming together

A pleasingly busy week here, as a wide array of pieces continue to fall into place. After much delay, it appears we’ll have a distribution deal for I Love Your Work locked in the next two weeks, in time to announce at Cannes. Posts for The Best Web Writing are piling up, and should be going in front of the editorial panel shortly. And, on my own book, I just passed the forty page mark, with a strong outline in place for the rest of the (likely distressingly long) volume.

With enough work under my belt, I’m likely to sneak out this evening to the first meeting of a Yale alumni group for theater, film, writing and other artistic types. Most of the other invitees have been emailing with amusement about the event, as the organizer blithely named the group the Creative Yale Alumni Network (or, CYAN – sounds familiar, no?). Imitation, I’m trying to assure myself, must be the sincerest form of flattery.

minor disaster

This coming Sunday, we’re screening I Love Your Work at the Tribeca Grand for a New York filmmakers group. The Grand’s screening room is only set up to use DVDs, a format to which we’ve yet to convert the film. We have copies on analog film, as a High Definition D-5 master, on VHS and on DigiBeta. Or, rather, had the film on DigiBeta; now, nobody seems to know exactly where the tape of the film in that format is. Which is problematic, as it’s the only one from which we can easily burn a DVD. As a result, my colleagues, our film lab, and our sales rep are all running around like chickens with their heads cut off, trying to track down the DigiBeta in time to cut the DVD for Sunday’s showing. I’m trying to coordinate it all from Denver by cell, silently chanting my Cyan mantra: filmmaking is fun, filmaking is fun…

Update: DigiBeta has been found. Now I just need to find a way to get it DVD-ified overnight.