The L.A. Dime

“Crooked Arrows” is currently shooting in Boston. It’s Brad’s fourth movie to be made and the first one planned for a theatrical release. Since our new address is only about a 6 hour drive away, he took a few days last week to visit the set, meet the actors and even do some quick re-writes. “Crooked Arrows” is the first Lacrosse movie ever and is set to premiere in April of 2012 — spread the word!! Oh, and it stars Superman….aka: Brandon Routh

Seven years ago I helped set up a not-for-profit called the Kentucky Film Lab to advance the cause of film education in the Commonwealth, and to build and support a community of filmmakers in the state.

Each year we put together a seminar designed to help Kentuckians connect with successful filmmakers, and also to provide basic training to those inspired to improve or learn this complicated craft.

Past speakers have included Jack Epps, Jr. (Top Gun), Aaron Thomas (Friday Night Lights, CSI:NY), Andrew Marlowe (Air Force One, Castle), actor/director Domenica Scorcese, and legendary cinematographer Victor Kemper. We’ve also been honored to receive consecutive grants from the Academy of Motion Picture Arts and Sciences.

The Film Lab is also deeply appreciative for the support of the Spalding University Brief-Residency MFA in Creative Writing Program, where I teach screenwriting.

This year’s Filmmakers’ Studio event is as exciting as any we’ve done yet — and only $50! Check it out below, and attend if you can. It’s a steal!

The Kentucky Film Lab, in conjunction with the IdeaFestival, presents: Jon Landau (Producer of Avatar and Titanic) in a workshop for emerging producers, plus ½-day, hands-on workshops in Production and Screenwriting.

Saturday, October 2nd 2010 at the Kentucky Center for the Performing Arts in Louisville, Kentucky

REGISTER NOW to reserve your space: http://www.kyfilmlab.com/

Full-day session is $50 (Thanks to our generous supporters)

AGENDA:

9:30am   General Session and Producer Updates

10am-1:30pm – Your choice of hands-on workshops in Screenwriting with Michael Dougan or Red Camera and Lighting with Steve Staley/Kentucky Grip and Lighting

1:30-3:00pm – Networking and lunch (bring your own)

3:00-4:00pm – General Session with Jon Landau

7:00-8:00pm – IdeaFestival with Jon Landau

REGISTER NOW to reserve your space http://www.kyfilmlab.com/

contact: Arthur Rouse at info@kyfilmlab.com

Guess what! Your favorite movie, Road Trip 2: Beer Pong, is now airing on TBS…in the wee, wee hours of the morning. But they changed the title to Road Trip 2: Get Your Pong On, because beer is the devil, even on cable.

You can sign up for an email reminder to watch or Tivo the movie, which the Dept. of Shameless Promotion tells me may have an influence on how TBS continues to run it. Go here to sign up.

I’ve told the story of my filmmaking dream often, but never here, and never with such urgency. Next week, the state government of Kentucky will vote on House Bills 530 and 290, which could effectively nullify all of the progress that was made less than a year ago when the state passed its first film incentive package. Granted, that package was not nearly up to snuff in competing with competitive film states, but it did provide enough to draw Disney to the Commonwealth so it could film parts of Secretariat, and positively impact Kentucky’s economy for over three weeks. It was a good start. Four other films are slated to begin production in the state this year and next, but without even our base incentive package, they would have no reason to come. My producing partner and I were considering rewriting my Florida-based script to be shot in Kentucky, but now it wouldn’t be worth the effort to relocate. The repeal of our incentives will be retroactive to 2009, so the business Disney did in our state will no longer be eligible for its benefit. How does that make us look?

When I was a student at the University of Kentucky, there was no film program in place; and today, at our Commonwealth’s flagship institution of higher learning, there still isn’t. I cobbled together what I could out of several different schools and departments to prepare myself as best I could to begin a career in film and media arts. Ultimately, I had to leave the state to study my craft, spend my money elsewhere, and apply my talent, energy and drive to bettering the California economy in pursuit of my interests. Since then, movies I’ve written have filmed in Los Angeles, Vancouver, and Atlanta. I’m still in the west, because as a writer, filmmaker, and educator, the prospects for work in Kentucky are so sparse that it doesn’t make sense to move home. This effect is called “brain drain.” Our best and brightest artists (not that I consider myself to be one) often leave the Bluegrass and never come back because there are no opportunities for them to work here. Last year’s film incentive package was a first step toward clogging that drain and keeping our talent in state. The Bluegrass Technical and Community College, EKU, NKU, WKU, Spalding, and Asbury College now offer film production courses. U of L is developing a continuing education and magnet program for film, reaching from middle school through college. The goal: to create a film literate and work capable crew base to attract productions to our state and get our citizens jobs. Efforts by these institutions and the Kentucky Film Commission, of which I’m a member, are necessary first steps toward changes that can make a huge difference to the Commonwealth’s economy long-term, but rescinding our incentive package next week will quash them.

Film production provides hundreds of jobs across a vast array of fields. Construction, transportation, carpentry, electric, grounds keeping, computer science, accounting, legal, food services and lodging are but a few fields of service that people don’t often consider when thinking about how people make movies. Hundreds of men and women work on a movie at any one time. They must eat, sleep, and be transported. Sets must be built. Costumes created. Bills paid. Food, fuel, and equipment bought. Each movie that comes to our state is a huge chunk of business, but Kentucky’s government is prepared to raze our fields before they’ve even had a chance to sprout. Don’t let it happen. Please, contact your state reps and let them know how you feel about protecting and nurturing a film economy in the Commonwealth. Louisiana, New Mexico, Florida, West Virginia, North Carolina, Michigan, Iowa, and Georgia are all doing it, so why can’t we?

Let’s develop the talent within our state, keep it at home, and profit from it. I want to come home!

Find your Representative: www.lrc.ky.gov/Legislators.htm <http://www.lrc.ky.gov/Legislators.htm>

Conference Committee members:

Senate Members:

David Williams <http://www.lrc.ky.gov/Mailform/S016.htm>
Katie Kratz Stine <http://www.lrc.ky.gov/Mailform/S024.htm>
Robert Stivers <mailto:Robert.Stivers@lrc.ky.gov>
Ed Worley <http://www.lrc.ky.gov/Mailform/S034.htm>
Dan Seum <mailto:Dan.Seum@lrc.ky.gov>
Johnny Ray Turner <http://www.lrc.ky.gov/Mailform/S029.htm>
Carroll Gibson <http://www.lrc.ky.gov/Mailform/S005.htm>
Jerry P. Rhoads <jehttp://www.lrc.ky.gov/Mailform/S006.htm>

House Members:

Gregory Stumbo <http://www.lrc.ky.gov/Mailform/H095.htm>
Larry Clark <mailto:Larry.Clark@lrc.ky.gov>
Rocky Adkins <http://www.lrc.ky.gov/Mailform/H099.htm>
Jeff Hoover <mailto:Jeff.Hoover@lrc.ky.gov>
Robert Damron <mailto:Robert.Damron@lrc.ky.gov>
Bob DeWeese <mailto:Bob.DeWeese@lrc.ky.gov>
John Will Stacy <http://www.lrc.ky.gov/Mailform/H071.htm>
David Floyd <http://www.lrc.ky.gov/Mailform/H050.htm>

Call your Representative: 502/564-8100

I did an online interview with Roger Ebert about writing and stuff. Not really Roger Ebert. But I did do an interview.  You can find it here.

Also, I was a judge for the Derby City Film Festival, which is next weekend in… The Derby City. You should go and stuff. The festival movies are, like, really good, and the people are way cool. Our friend Kelly Rouse’s movie is a finalist in the Documentary category, and it’s about her dad’s band, The Nightcrawlers, and their hit song, The Little Black Egg, and it totally rocks. You can buy it on iTunes now. I did. Twice.

Thanks, I’m sure, to my Facebook friends, Twitter followers, and blog readers no doubt, Road Trip 2: Beer Pong won the award for best comedy in Straight2DVD’s first-annual write-in contest.  Details here. Thanks for voting if you did!

Visionary trendsetter, Apple, does not include writing credits on its iTunes movies. Why? Please email itunesmarketing@apple.com to ask.

I’m kind of a Twitter and Facebook fanatic. I like to see what people are doing, saying, and thinking  out in the world, and both of those applications cater to my need for people knowledge.  They are also great for market research, and to that end, I have a saved Twitter search for “Road Trip-Beer Pong,” which updates me when anyone says anything about the movie. On Tuesday, I awoke to discover dozens of tweets offering links to illegal downloads of the film, which apparently was  leaked overnight. This is not a unique situation. Nearly every movie made is leaked to the internet, these days. And most pirates don’t bother to think about what they’re doing — it’s free, they want it now, and it’s easy.  Those who do think about what they’re doing believe they’re “sticking it to the man” atop the rich, powerful, corporate studios.

While the studios do lose a lot of money because of piracy, it’s  artists like me who really take a hit to the pocket book.  Each sold DVD generates a very small payment to many of the key creative people who made the movie.  These “residual payments” help artists pay the bills between jobs, because contrary to popular belief, the vast majority of writers and directors are not hopping from one seven figure contract to another.  Most film artists are middle class folks, living on a budget, doing the best they can in an expensive city to get by week-to-week as they fight for their next gig.

So, for two days, using Twitter, I decided to send a personal message to each pirate who admitted to downloading and watching my movie. My message wasn’t about their opinions, good or bad. It was about their actions. And at first, most were astounded to hear from me. Then they got angry. “How dare you challenge my right to steal?” was the general attitude. Or, “your movie sucks, so who cares if I steal it?” They got really mad when they found out I was reporting their user info to Twitter and the Anti-Piracy folks at Paramount. I was threatened, black-listed (from future robbery, I guess, because they never actually BUY anything), called a tool, a twat, a cry-baby, and told to #$%& off.  One guy suggested I was an idiot for relying on residuals — that I should instead ask for more money on the front end.  Sheer ignorance. The system doesn’t work that way at all. And that’s my point. People will always steal.  My goal was to put a face on who they were stealing from, and they didn’t like that one bit.

A few guys wrote back to apologize. Several people had legitimate questions.  And a lot of people were glad to tell me that they liked the movie.  But the internet haters can’t stand sequels like the ones I’ve done — though they watch them anyway.  They think I somehow sold the studio a sequel to the movie they love.  No, the studio approached me with the idea to write a sequel to a popular movie based on their solid marketing numbers. I need to pay a mortgage and buy groceries like everyone else, the folks at the studio are good people whom I like and respect, and so I took the job.  And for that, the haters call me a sell-out hack, as they flame me from their mother’s basements.

AFTER they stole the movie and took the time to watch it, the pirates preferred to tell me how bad it is, with choice vocabulary, as opposed to discussing the reasons why they felt obligated to watch it two weeks before its release, thereby stealing from my family.  One guy said I should be thanking him for the free marketing. One guy tweeted that he loved the movie, even quoting dialogue, then as soon as he heard from me, he flip-flopped into a total hater “who wouldn’t buy it from the dollar bin.” Hilarious.

These last two days were enlightening and exhausting.  Shouldn’t someone speak up when the opportunity is there?  So I did. Part of me regrets it, part of me doesn’t.  The movie is still out there. People are still tweeting about stealing it. Paramount is doing all they can to fight back, and we’re lobbying Twitter to crack down on piracy, which is expressly against their sign-up rules.  But now it’s time for me to get back to work, making more product for them to steal, so I threw up the white flag.

People laugh at those pre-trailer commercials against piracy in movie theaters. And I know this sounds like a sanctimonious Sally Struthers charity commercial to some, but before you click to download, please remember that regular, hard-working people — not just rich celebrities — are paying for your movie experience out of their pockets.

As of today, Road Trip – Beer Pong is officially available to be saved in your Netflix Queue.  I assume it is available at Blockbuster, too, for you blue and gold types.  It is vitally important that you add the movie to your Queue.  Our entire way of life totally depends on it.  I mean, everyone should, of course, buy his or her own personal copy at 12:00 AM on August 11th, but in the meantime, storing the movie in your queue would significantly impact Sophie’s chances of attending college.

And while you’re queuing it up, please make sure to give it 5 stars!  Thanks, I know you’ll do the right thing.

Almost everyday, I get my afternoon news from NPR’s All Things Considered — a national radio show carried locally on KCRW.  It’s been a pocket dream of mine to somehow get on that show someday.  Well, on Tuesday, while I wasn’t mentioned directly, my movie Road Trip – Beer Pong was featured on the show in a rather ignominious story about one of our principal locations, Agnes Scott College.  You can read the full story here:  http://tinyurl.com/kjtzjp