The Film School was hosting its annual Gala and graduate program graduation, where they screen the 4 graduate thesis films, so Geoffrey was one of the distinguished guests. We also screened Ballast, which is a story worth a separate post.
There was a lot of driving around, some cool (free) lunches and Julie was super cool and super European, which makes her even super cooler.
The highlights? They actually had nothing to do with films or screenings. Frank, the Dean, wanted Geoffrey to have a little relaxation, so we all went to Wakulla Springs - one of the largest freshwater springs in the world and the shooting location for cinema gems such as Creature from the Black Lagoon and Tarzan.
I had never been there before but it was absolutely beautiful. It was also a spoiling first time venture since we chartered a tour boat with only 8 passengers, so I was free to roam to any side to snap some cool pics.
The other highlight? Taking Geoffrey and Julie to the mall. With monopoly money being worth more than the Dollar, to Julie and her Euro, everything in America is practically half off, so she wanted to buy some gifts for her son, whom I became a size model for.
Nothing eventful happened, I just like the image that I’m walking around a clothes store at the Tallahassee Mall with the Director of the Sundance Film Festival.
This is the last adventure that involves driving Geoffrey Gilmore (the Director of the Sundance Film Festival) around Tallahassee, Diet Cokes, private jets, The Visitor, tea, a 4 AM flight, and of course, coffee. Part onePart two, Part three, and Part four.
Saturday I got a little taste of the “geography is not a factor” Hollywood life. With the Dean out of commission from the University President’s dinner, I had to drive Geoffrey and Paul to Flightline, a private jet terminal. I didn’t even know Tallahassee was big enough to justify private jets, but I guess the Senators like to arrive in style.
Geoffrey and Paul were going to a film festival near Tampa to see a film Geoffrey’s nephew was screening. Of course IÂ hoped they would ask if I wanted to fill the Dean’s seat, but it didn’t happen.
To burn some time before the flight, we went to the on-campus Starbucks. I know Starbucks is pricey, but I didn’t know it was possible to spend $70. Paul bought some of the CDs at the counter. “I don’t think anyone has ever bought those before,” remarked the Barista. I wouldn’t imagine $20 CDs were a hot sell with college students. They just needed a student to bring someone like Paul in.
I feel like I redeemed myself with conversation talk during this coffee-break (tea for Geoffrey). We talked about the design of the campus and Tallahassee, which isn’t very impressive. No career talk or “what do you want to do” questions.
After coffee, I drove them to the Flightline building. Inside there was no line, no security. Just a sliding door that goes straight to the tarmac. They told me they would call when leaving Tampa, so I was free for the day.
I found ways to keep myself busy, but as the estimated pick-up time approached (11 pm), I kept getting calls from Paul saying they were going to be a little late. One of the advantages of hiring a plane is they wait for you.
They didn’t leave until around 1 AM, so they arrived at 2 AM. But here’s the fun part. Geoffrey’s flight back west left at 6 AM. So after dropping him off, we arranged to meet at 4:30. Going home would just be too tempting for sleep, so I occupied myself at All Saints Cafe, our 24 hour beatnik coffee house.
I did doze off, and woke up at 4:25, just in time to rush over to the hotel. I honestly don’t remember what we talked about on the drive to the airport, but Geoffrey was thankful for all the driving.
Our goodbye was better than the introduction, with a proper handshake and a “I’ll probably see you around” from me. I drove home and crashed, fortunately in that order.
In retrospect, I wonder how I could have used this situation to a career advantage. I just didn’t want to be that guy that pushes a copy of his script or talks about himself every chance he gets. If anything, this experience brought me a lot closer to Paul Cohen.
So no, I didn’t get some mega deal or an ‘in’ into Sundance. But I think I was memorable. I’m the guy that picked Geoffrey Gilmore up from the airport at 2 AM and drove him back at 4.
HBO - Good ratings, reviews, press, buzz, recognition.
A&E - Docs are ratings challenged. We try to launch them theatrically to get the branding out there, make people aware of the film for television. Considered successful if financially we break even.
Magnolia - Bad Box Office for docs in 2007. Magnolia had three high profile releases - Crazy Love, My Kid Could Paint That, and In the Shadow of the Moon. Other outlets have proved successful. Cocaine Cowboy is one of the top selling films on X-Box. The new strategy is to marry content with distribution.
Starz - Starz makes docs for their film library. Create events to help branding. Lots of press is low cost.
Balcony - King Corn’s (doc about the farming industry) filmmakers sold the DVD through their site for $29.95 (cheaper now) and had community screenings for $300 and did very well. People want to see films with their community, not at a theater (I think this was meant more towards small towns). There’s a separate group of people that buy online than in the store.
Red Envelope - Their software can determine how many people want to watch since the films are on Netflix and determine the price. Since Red Envelope was formed, they have 125 titles. 40%-50% are docs.
Q: Do you think audiences are consuming films differently?
Balcony - Some like films in the theater, on TV, the web, community screenings. You get more coverage in the NY Times when you open on Wednesday.
A&E - If a film doesn’t get enough Box Office the theater can kick it out.
Magnolia - The state of specialized films is depressing. We’re all generally screwed. The theatrical experience is unmatched. To survive, we need to learn how to do it differently.
Red Envelope - In four months, Helvetica was seen 120,000 times. Half were streaming through Netflix.com.
Starz - Primary goal of documentaries is to pay off credit card debt and fund the next film. Theatrical release is an unhealthy obsession.
Balcony - Many films shouldn’t be in theaters. It’s a waste of everyone’s time. Not being in theaters feels like a failure, but that might be the right thing to do. Filmmakers always want it, that’s why they made the film.
Q: What do you see changing in the future?
A&E - Social networking growing. Bring people that have a common interest in films together (Facebook).
Magnolia - Theatrical experience is broken. We put a lot of Jesus Camp clips on YouTube, but that backfired, because then people didn’t need to see the movie.
Balcony - Make theatrical an event. One night only. You can make more money in one night than a week. We need to convert the theatrical system.
Audience Questions
Q - How can you get a deal in pre-production?
A - Generally depends on the subject, filmmaker, and if there’s that money shot (Antarctica for March of the Penguins). Typically docs are bought after they’re done.
Q - Thoughts on aesthetic quality. Concerned about viewing docs on iPod?
A - The ability iPods provide to watch during commute are great. One panelist saw 8 people watching content in the subway. Certain forms are better for iPod, while some are better on the big screen. More choices bring a larger audience, which is the end goal.
If a film works on a 3″ screen, you know it will work anywhere.
Q - Biggest mistake films make?
A - (Sort of a round robin of replies):
Not writing name and phone on DVD
Go for best quality you can afford. Sometimes stuff is turned down because quality doesn’t meet standards.
Picking subject that doesn’t sustain the length.
Not pushing hard enough. Push the subject.
Being too long
Subject covered a lot of times before
Unrealistic expectations with music licensing.
Not enough stills for Press Kit
High Quality (True HD) if possible
Follow the delivery schedule companies have. Missing a few elements can make a film unreleasable.
Q - Thoughts on short docs outside festivals.
A - Other options include iTunes, attachment to Op-Eds on NY Times site. Many documentarians with similar subjects/themes can ban together and offer one package with a bunch of shorts, perhaps on DVD.
![[del.icio.us]](http://coffeeandcelluloid.com/wp-content/plugins/bookmarkify/delicious.png)
![[Digg]](http://coffeeandcelluloid.com/wp-content/plugins/bookmarkify/digg.png)
![[Facebook]](http://coffeeandcelluloid.com/wp-content/plugins/bookmarkify/facebook.png)
![[Google]](http://coffeeandcelluloid.com/wp-content/plugins/bookmarkify/google.png)
![[StumbleUpon]](http://coffeeandcelluloid.com/wp-content/plugins/bookmarkify/stumbleupon.png)
![[Email]](http://coffeeandcelluloid.com/wp-content/plugins/bookmarkify/email.png)
Saturday I got a little taste of the “