Abe Schwartz

LA Comedy Shorts Film Fesitval Is Hilarious, Worth the Time

2013-04-18T18:07:44-04:00

I attended LA Comedy Shorts Film Festival recently, and while I had zero expectations heading in, it turned out to be one of my most enjoyable film festival experiences in a while. Held at Downtown Independent Theater and Hilton Doubletree nearby, the festival is a mix of short comedy film screenings, timely panel discussions with comedic talent and business-minded experts, and lots of funny people having a blast for a few days.

Now in its fifth year, LA Comedy Shorts Fest brought out known funny people like Key & Peele, Wayne Brady, Billy Gardell, Wendy Mclendon-Covey, etc., as well as lots of funny emerging comedic talent from around the world with films in competition. Gary Anthony Williams ("The Boondocks", "Weeds", etc.) serves as Artistic Director, and his hilarious and friendly presence seemed to permeate the entire event. He's also one of the best improvisers I've ever witnessed; his troupe The Black Version left a packed house laughing out loud for two solid hours with a live (black!) version of Aladdin set in 1980s Memphis.

For a variety of reasons, LA Comedy Shorts Fest stood out as a really enjoyable film fest that I'd absolutely attend again:

-Proximity. Unlike most larger film festivals, it's all contained in two downtown LA venues, only a block away from one another. I've loved Downtown Independent Theater since I first premiered my own film there a few years back. It's one of the best places to discover and view independent films of all lengths in LA.

-The Staff. Like an idiot, I lost my iPad after the first panel discussion Friday morning. Thinking it was gone forever and almost ready to throw in the towel on the whole damn event, a staffer managed to find it and save the day. From PR to concession workers to the festival directors, everyone I had the pleasure of meeting was friendly, warm and accommodating.

-Not overwhelming. I find it easy to get overwhelmed at larger film festivals that have tons of events, screenings, red carpet events, etc., all occurring at the same time and bombarding me at once. The schedule has one solid track. Either attend what's going on or don't. I already had a few unrelated events to attend, so I was only able to squeeze in the festival at select times. Not having to choose between A, B, C, etc., etc. at every possible hour was nice. When I was free, I attended, and everything from the film blocks to the panel discussions were all worthwhile to excellent. It was refreshing to be left wanting more rather than experiencing a paradox of choice.

-Panel discussions. I attended three and all were excellent. Both "Wheelers and Dealers: Comedy Producing and Development" and "Digital Doubledown: Making New Media Work for You" reinforced the current reality that comedic content creators need to be CREATING CONTENT, not just writing it, from nearly every conceivable angle. "Get Lit: Comedy Writing Panel" featured insights from Academy Award winner and "Community" dean, Jim Rash as well as an agent-writer debate that bordered on hostile and left the audience riveted. I love a great panel discussion and LA Comedy Shorts Fest delivered, for me, panels on par (if not exceeding) those at South by Southwest.

In short, LA Comedy Shorts Film Festival is a damn good way to spend a weekend in April if you're at all interested in A. Laughing or B. Creating stuff that makes others laugh. With short form video more prevalent than ever, I'm confident this festival will continue to stick around and get bigger... though hopefully not so big it's no longer the same shorts fest.

Forget About Romney: Stacey Dash Masturbates In Front of Her Pug and Smokes Weed Out of an Apple!

2013-02-07T18:05:35-05:00

Well, not in real life, but Stacey and I just put together a short called STACEY DASH IS NORMAL: The Dip, and in it, you better believe she does what the headline says. The short was partially inspired by the Seth Godin book, The Dip a great read on the subject of figuring out when to quit and when to persevere. (In Hollywood, especially, it's not always easy to distinguish between the two.)

I've been a fan of Stacey's since she was hilarious in Clueless. Since I've gotten to know her, I've learned that she's even more unintentionally hilarious. I can't think of anyone else with her looks at her age (46!) who's able to get a reaction from people so effortlessly. It's fascinating to me. STACEY DASH IS NORMAL is a concept we're exploring in which Stacey plays an over-the-top version of herself. We recently released a teaser trailer, and the plan is to continue to experiment with different ways in which Stacey can butt heads with people, pets, inanimate objects, whatever.

In The Dip, it's Stacey's daughter's 9th birthday, but Stacey wasn't invited to the party put on by her kid's stepmother. Alone at home with her pug mix and a raging libido, Stacey fumbles through a day that keeps getting worse. The Dip is an introduction to the awkward, conflicted world of STACEY DASH IS NORMAL. (FYI: No pugs were harmed during filming, and the weed was actually mint tea.)

On YouTube:

On Funny or Die:

STACEY DASH IS NORMAL: The Dip - watch more funny videos

On Collaborating With Stacey Dash

2012-12-13T00:15:50-05:00

I've known Stacey Dash for several years, since I first moved to LA after college. We met on the set of an indie film, where a friend was working in casting. Stacey had a supporting role, and there was considerable down time, so we ended up discussing movies and TV. I quickly discovered that we share a similar sense of humor and both love the films of Bruce Robinson (Withnail & I, How to Get Ahead in Advertising), Curb Your Enthusiasm and more. She had a script idea that she wanted to develop. Over the next several weeks, I helped her plot out the story, then we both found ourselves busy with life, and the project fell through the cracks. We stayed in contact, mostly in the form of the occasional email or phone call. She sent me a congratulatory email when my no-budget feature got distributed. I did the same when Single Ladies was dominating the Twitter discussion. Recently, we decided to collaborate on some new projects, and there hasn't been a dull moment since.

The Stacey Dash I know is a much more interesting character than the Stacey Dash often depicted in the media. Yes, she's going on 46 and still resembles a hot 28 year-old. In fact, she's even more ripped these days than during her iconic turn as Dionne in Clueless. (Did you know she practices kung-fu?) Stacey's been blessed with great genes and takes amazing care of her body. As someone who used to be overweight and have breathing problems, I find her commitment to personal health inspiring. I'm a white Jewish guy in his 20s who listens to rap music and loves basketball. It never ceases to amuse me how often I hear her name mentioned in rap lyrics and hear of active NBA players hitting on her on Twitter.

So, Stacey decided to endorse Mitt Romney. Big deal. So did nearly half the country. Stacey considers the economy to be issue No. 1. For some people, it's gay rights. For others, it's Israel or medical marijuana legalization. Stacey's political leanings depend on the issues, and she's always been cool with discussing/debating with me, a (gasp!) liberal. She'll respect your beliefs and hold a great conversation, unless you approach her like a jerk, which a lot of people seem to do online. I guess it's easy to do when hiding behind a keyboard or touch screen, though I've never seen anyone show her anything but love in person. I have relatives whose politics differ from mine. I've had roommates with politics vastly different from mine. It's never been an issue to me, unless people are dicks about it. Stacey's never been a dick about politics, and we're able to work together just fine.

The fact that Stacey was able to command so much attention with one Romney-themed tweet was, to me, incredible. I had just written the pilot episode of Stacey Dash Is Normal, the new comedy series she and I are developing, and one of its storylines includes a Twitter controversy. The Mitt Romney backlash became life imitating art (or simply scripted comedy), and then I knew we were really on to something. Stacey is as bold as anyone I know and never shies away from controversy. She has a world view unlike anyone else I know, and a razor-sharp and often dark sense of humor. She takes my jokes to another, much more specific and intense place.

Stacey and I are in the process of getting Stacey Dash Is Normal off the ground. The show is a scripted comedy in which she plays an over-the-top, conflicted version of herself. We recently co-produced this teaser trailer, as well as some additional content, on next to no budget:

There will be more to come. For now, follow Stacey (@RealStaceyDash) and me (@AbeSchwartz) on Twitter for updates.

From Girls to No-Budget Filmmaking: Alex Karpovsky's Red Flag Is Sparse, Brilliant

2012-08-28T17:55:28-04:00

Alex Karpovsky is all over the place. Whether you know him by name or not, if you've been following independent film for the past several years, you know his face. He has starred in Lena Dunham's Tiny Furniture, Brian Poyser's Lovers of Hate, Andrew Bujalski's Beeswax and too many other features to count. He is currently on HBO's Girls as Ray, the barista who stole Shoshanna's virginity. Karpovsky is also an accomplished writer/director with multiple features under his belt. I recently had the chance to check out his latest, Red Flag, and I loved it. The film is a dark comedy about a narcissistic filmmaker (named Alex Karpovsky) who tours the South with a microbudget feature (Karpovsky's actual second feature, Woodpecker) while dealing with a break-up, existential issues and his own neurosis. Red Flag was produced on a shoestring budget though feels like anything but. I became so curious about what went into the production, I had to flag down Mr. Karpovsky to get the details.

In real life, Karpovsky was given the opportunity to tour six or seven states in the South (with a rental car and per diem) and show Woodpecker at various art house theaters. Though the idea sounded incredibly lonesome to him, he didn't want to turn down the financial opportunity. Naturally, the solution was to build a film around the tour dealing with the theme of loneliness. Inspired by Curb Your Enthusiasm, Michael Winterbottom's The Trip, and Going Places with Gerard Depardieu, Karpovsky wrote a 30- to 35-page outline without dialogue. The shoot itself took 12 days, and the story beats did not change while shooting. There was a lot of flexibility with shooting locations, though, as most of the time Karpovsky and crew didn't know where they'd be next.

Depending on how you look at it, the film's crew size was either one or two people. Adam Ginsberg operated the camera (a Canon 7D), ran audio (wireless lavs) and also edited the film. Robin Salant served as production manager, and along with lead actress Jennifer Prediger, helped interact with locals and lock down locations sans permits. Just about every actor other than the leads was a non-actor selected at random.

I really could not recommend this film more highly, especially for independent filmmakers working on miniscule budgets. Red Flag is a clinic on how to create an interesting story with whatever means you can access. Check out the trailer below, and "Like" the film on Facebook to find out where and when you'll be able to check it out.

Eight Things About Curb Your Enthusiasm With Executive Producer Tim Gibbons

2012-07-31T11:33:02-04:00

One of my favorite shows is Curb Your Enthusiasm. I love the improvisational feel, the show's fearless approach to tackling taboo subject matter and how various story lines seem to weave together effortlessly. I recently had the chance to discuss Curb with executive producer, Tim Gibbons. Mr. Gibbons, who also runs Betty White's Off Their Rockers, is easily one of the kindest people I've encountered in Hollywood, and his IMDB page is beyond impressive. I truly appreciate him allowing me into his office to bother him for a bit. Anyway, in honor of the eight seasons of Curb Your Enthusiasm, here are eight things you may or may not know about the show:

1. One of the biggest problems on set is actors cracking up and blowing takes. Whether it's Larry David collecting himself after a J.B. Smoove one-liner or Ted Danson having to hold back giggles after a Richard Lewis facial expression, it's not uncommon for the crew to have to wait several minutes until the hilarity subsides.

2. Curb shoots off of tight 7-8 page outlines rather than traditional scripts. Scenes are written paragraph-style, and all of the story beats are fleshed out prior to shooting. If a specific bit of dialogue needs to be expressed, it will be in the outline in quotes. Otherwise, the actors create the dialogue on the spot. The actors will then be directed down the path of the beats, though they'll frequently wander off and discover improv hilarity. Currently, story ideas are broken by Larry and a select few other writers who also serve as executive producers. There was a point where Larry handled nearly all of the writing himself, and he still is the one to write outlines on yellow legal pads, which are then handed off to his assistant to be typed.

3. The show can be a crapshoot from a production standpoint. Due to the improvisational nature of Curb, it can be tough to plan the right amount of time to spend in a particular location or on a given scene. Essentially, great creative freedom translates to constantly having to watch the clock.

4. Hard work but a relaxed process: It takes about six months to write ten episodes in a given season. Pre-production through final delivery of season eight lasted 54 weeks. Pre-production lasts six weeks, then two shows are shot in a row, which takes 14 days. A week-long working hiatus follows, which includes scouting, production meetings, casting, editing or anything else necessary for the show to function. In total, there are five shooting cycles and four hiatuses to get through all ten episodes. (Got all that?) Most half-hour comedies shoot each episode in five days. Curb shoots each episode in seven, allowing for extra time to find the funny. (Essentially, the handcrafted style of Curb would be undoable on a network.)

5. Working with Larry is GREAT. People always seem to wonder if he is essentially playing himself, but in truth, his character is an overly-neurotic, pumped-up steroid version of the Larry underneath. In real life, Larry David is incredibly kind and beloved by actors, whom he allows tons of freedom. He's also a brilliant producer who is never shy about dealing with any issue that may arise.

6. While Larry is the writer, creator and stars in nearly every scene, he relies heavily on directors to be his eyes while he's on camera. All of the directors are long-time friends of his, and while Larry lets them do their work, he has a very clear idea of what he wants and how to get it. It all comes down to the finished product and whether or not it's funny.

7. Post-production is where the show really becomes Larry's. The editing process on Curb starts on day one, with hard drives being shipped back at lunch so that editors can start immediately. Editors work for about three weeks on their own cut, incorporating notes from the script supervisors on set. Then, Larry takes over, fine-tuning each episode for weeks with input from directors and other producers. There's no dispute over who gets final cut.

8. It's hard to say how many more seasons of Curb there will be, but unlike with any other show, HBO has an open door policy for whenever Larry wants to do additional seasons. My fingers are crossed for a season 9...

The Exquisite Corpse Project: Fresh New Docu-Comedy Seeks Audience

2012-07-16T18:30:27-04:00

Creating a micro-budget indie film that is both hilarious and wildly original is no simple task. The Exquisite Corpse Project, which has been racking up awards at festivals in Los Angeles, is a film deserving of a much larger audience. Part absurdist storytelling, part documentary on the nature of the collaborative process, the movie is incredibly entertaining and represents everything I love about truly independent filmmaking.

What's it about? Director Ben Popik brought together five comedy writer friends (Chioke Nassor, Joel Clark, Adam Conover, Dave Segal and Raphael Bob-Waksberg) and presented them with a challenge: Each had to write 15 pages of a movie while only being able to read the previous five pages of the script. They agreed to write the movie as long as Popik agreed to shoot whatever was on the page, and thus, the concept was born. All but two of the film's collaborators were founders of the sketch comedy troupe, Olde English, so the movie certainly brings the funny. What really makes the movie work is the seamless integration of documentary footage, which provides a sweet, occasionally sentimental undercurrent to the not-as-disjointed-as-you-may-expect scripted story.

You might as well check out the trailer:

The Exquisite Corpse Project (2012) -- official trailer from Exquisite Corpse on Vimeo.

In some ways The Exquisite Corpse Project could serve as a poster-child for the challenges facing talented independent filmmakers in 2012. The film's DSLR cinematography looks great, the concept is wildly original and consistently entertaining, the production features slick effects and catchy music, and there really isn't a moment where the film feels uninspired. In my mind, it's simple: A large percentage of all types of people over the age of 16 (or so) should undoubtedly enjoy this movie.

This is a film that was engineered to be the best possible product, not the easiest sell or to fit perfectly into a known genre. The product is stellar, and in an ideal world, that should carry the most weight. The reality is that the film faces some obvious marketing challenges: The film doesn't feature any known stars (at least yet), and it's not the easiest concept to communicate to closed minds in limited time. The sad and scary truth is that such marketing challenges could potentially prohibit a film this excellent from reaching the audience it deserves. But, fuck that nonsense. The Exquisite Corpse Project is a smart, funny film made by smart, funny people. I see no reason why smart, funny people shouldn't embrace it as long as they're made aware of its existence.

I'm incredibly anxious to see how The Exquisite Corpse Project continues to fare, and I sincerely wish the filmmakers all the best. This is the type of indie that I want to see succeed.

For more information about the The Exquisite Corpse Project (i.e., where you'll be able to see it), check out the film's official page or click "Like" on Facebook.

Produced By Conference Is A Notch Above

2012-06-06T16:20:01-04:00

I've attended my fair share of entertainment industry-related conferences in Los Angeles in the past few years. Perhaps my favorite is the Produced By Conference, put on by the Producers Guild of America. It's a who's who of top-tier producers in film, television and new media collected for a weekend of speaking sessions, workshops, networking events, tech demos and more. It's the place to be to learn about current and evolving trends in production, distribution, finance, marketing, as well as branding and media strategy.

At my first Produced By Conference in 2010, I had just completed my first feature on a micro-budget. My goal was to figure out just what I was doing in regards to marketing and distribution. I attended panels with names like "Smashing Windows: DIY and the New Hybrid Distribution" and "Mobile Nation -- Creating and Distributing Content That People Will Watch Anywhere." I left the conference with a great sense of clarity and put together a series of action steps that led to my feature getting onto cable VOD, Netflix Watch Instantly and various other platforms. I don't know if I would have been able to make this happen had I not attended the Produced By Conference.

Just prior to last year's conference, I decided I did not want to produce and direct another indie feature I had written. I had fallen out of love with the script, and I also felt as if I had gotten too close to the sun when it comes micro-budget indies. After having directed, produced and marketed one while blogging about my experiences, it became clear to me that the project absolutely has to be a labor of love, or it's really not worth the time and energy. (After all, getting rich off of a micro-budget indie like Paranormal Activity is akin to winning the lottery.) While I fully support the idea of anyone making and marketing an indie feature for the experience, especially instead of going to film school, I personally needed to take a step back and evaluate just what the hell I was doing before I could take a leap forward.

At last year's conference, I attended an excellent panel with showrunners Marc Cherry (Desperate Housewives), Damon Lindeloff (Lost), Andrew Marlowe (Castle), and Darren Star (Sex and the City). I attended a keynote with Mark Gordon and Harvey Weinstein, two producing legends who shed much light on the current state on the entertainment industry. I watched Marshall Hershkovitz interview NBC Chief Robert Greenblatt, and I witnessed Eli Roth drop knowledge for rebellious indie producers like few others can. I left the conference thinking that I wanted to collaborate more and also have some amazing, original comedy pilots in my arsenal. I've spent the last year heading down this path, and all signs have been indicating that I've made the right decision. While I don't have another micro-budget indie under my belt yet, I could always produce and direct another soon.

Anyway, what I love about the Produced By Conference is just how much ground it covers. It doesn't matter if you've yet to produce your first feature or you just produced a sequel to Transformers, there will be panels and workshops that should be of tremendous value. I'll be attending my third Produced By Conference this year, and I'm especially looking forward to the panels "Marketing Innovation: Finding and Keeping Your Audience," "TV's Mega-Producers: Storytelling Across Multiple Series and Networks," "Passion Projects: Making Films Everyone Says Will Never Get Made" (with Brian Grazer and Peter Berg) and "The New Networks: The Future of Original Programming." More so than just about any other conference I can think of, the Produced By Conference has been a great source of clarity for me. It's one conference that I look forward to attending each year, and if you're serious about producing on any level, I couldn't recommend it more highly.

The Produced By Conference in association with the International CES takes place June 8-10, 2012 on the historic Sony Pictures Studios lot in Culver City.

10 Things With 'Parks and Recreation' Writer, Aisha Muharrar

2012-05-25T12:00:11-04:00

One of my favorite shows is Parks and Recreation. I recently had the chance to sit down, drink iced tea and talk with staff writer, Aisha Muharrar. Aisha penned several of my favorite episodes, including "Born and Raised" and "Operation Ann" this season. Here are ten things that you should know about Aisha, who is both insanely talented and a much more patient iced tea drinker than me.

1. Even when she was just a kid, Aisha knew she wanted to be a writer. While in high school, she wrote a non-fiction book entitled More than a Label. Aisha attended Harvard, where she majored in English and wrote for The Harvard Lampoon to hone her comedy writing skills. (An avid fan of The Simpsons growing up, she was aware that this was where many of The Simpsons' writers first got their start.)

2. She loved The WB shows (Felicity, Buffy, Dawson's Creek) as a teenager and felt that the marketing was perfectly targeted towards her, especially with each show containing strong female characters. Two of her favorite shows of all time are Friends and Seinfeld, and she has always loved watching TV.

3. Aisha's first big break came when she interviewed with Bill Oakley and Josh Weinstein, two writer/producers who ran The Simpsons during seasons seven and eight. While she had initially interviewed with them to be their assistant, the job never materialized. However, the two were willing to read her writing. They were so impressed with her work that they offered her the chance to write for Sit Down, Shut Up! While the show didn't last long, it led to Aisha landing an agent and being sent out on her first staffing season. She met with different shows, but the best fit came when she met Greg Daniels and Michael Schur of Parks and Recreation.

4. Her days at Parks and Rec consist mainly of brainstorming, reworking stories and pitching with the writing staff. (Multiple episodes are being worked on at any given time.) After brainstorming sessions with the other writers on the show, one writer will outline the idea into a story. Most of the time, the same person will write the episode, but due to the order of episodes, directors, etc., it's not set in stone. Once the story outline is complete, the staff reviews the outline and pitches on jokes together. The writer will then go home for about a week to write the episode. Once the draft is complete, the writer returns to the room and the staff pitches again on jokes and evaluates the story. (There's a lot of reworking as a group.)

5. During table reads and rehearsals, the actors on Parks and Rec will often bring something extra that then gets incorporated into the final drafts of scripts. The actors also improvise on set, though even when they're making up their own jokes, they're always committed to the story. (All of the actors know their characters incredibly well.)

6. While I tried to get Aisha to admit her favorite Parks and Rec character, she said she enjoys writing for them all. She loves writing stories for Leslie and hearing her lines read aloud by Amy Poehler. She loves the broad, physical humor that can be infused into Andy stories, and while Ann is typically the straight-woman, she finds a lot of fun in having her deliver in weird and crazy ways. (Her favorite character to write just depends on her mood.) She considers Ron Swanson (my personal favorite) to be very succinct and clear in the way he talks, and it's actually a very specific style of writing just for him. Much of his dialogue is information he already knows and believes to be true, so a lot of his lines are comparable to him delivering his own personal mantras.

7. Aisha recently acted in, wrote and produced a short called "Black Best Friend" on Funny or Die. (It's very funny and worth checking out, especially if you're a fan of Casey Wilson.)

8. While she's drawn to TV comedy, Aisha also embraces more understated content. She loves the films of Nicole Holofcener (Please Give, Friends with Money), who has also directed episodes of Parks and Recreation. Working on a smaller, more character-driven movie is something she'd like to do in the near future.

9. Aisha has ambitions to direct. One day, she would also love to create her own show and serve as showrunner.

10. She regards Michael Schur (showrunner/exec producer) as the ideal boss. Not only does she consider him incredibly smart, she says he's consistently the funniest person in the room. She finds him very encouraging and supportive, and instead of killing a joke, he's always able to take whatever the concept is and build it into something that works for the show. One thing Aisha said about Michael Schur that really stuck with me: "He really just loves to laugh and keep the laughter going."

Movie Cloud Could Be a Game-Changer for Independent Film

2012-05-14T09:26:07-04:00

If you haven't heard of Movie Cloud, allow me to lay it out for you. Dov Simens (the world-renowned film instructor) and Derek Christopher (president of TV/Film Seminars) have set out to revolutionize the way independent films are produced, distributed, and consumed. The duo considers Hollywood to be a monopoly and claims that only 200 of the world's 50,000+ independent films are released for mass consumption each year. Movie Cloud aspires to be the home for the remaining 49,800+. While the numbers should be taken with a grain of salt, independent filmmakers and fans have reason to be optimistic about what Movie Cloud represents and could ultimately become.

The tools have never been more accessible. Anyone with access to a DSLR camera, a laptop with editing software, and a few friends can go out and make a movie. The thing is, there are no guarantees that that movie is going to end up in top-tier festivals or find its way onto cable, Netflix, Hulu, etc. Movie Cloud wants to be the online destination for the independent filmmaking 99% -- a full working movie studio, a resource center that offers people the tools they need to make their own movies (including screenwriting software, budgeting software, etc.), a movie bank (for people to have access to funds to make their movies), and a social network to enable marketing and distribution.

While the video is a little... tongue-in-cheek, I believe Dov and Derek's hearts are in the right place. I also can't speak highly enough about Dov as a film instructor and motivator. If it weren't for his two-day class in New York, I never would've sprouted the cajones to produce and direct a micro-budget feature. If Dov brings the same level of enthusiasm to this new endeavor, I have no reason to believe it won't be successful. MovieCloud.com is also an undeniably killer URL. Apparently, Dov and Derek have been offered massive sums of money for the URL, but they've turned it down in order to launch Movie Cloud on their own terms as a crowdfunding effort. To me, that's just punk rock and represents everything that crowdfunding should be about.

Whoever figures out how to consolidate and successfully distribute the massive amount of independent films currently being produced stands to become wildly successful. Movie Cloud is positioning itself to have a fighter's chance, and considering that Dov and Derek legitimately want to put the power back into the hands of the filmmaker, it's at least worth checking out their IndieGoGo page for more information. Viva la indie film revolucion!

Sharing Digital Hollywood 2011

2011-10-24T19:30:11-04:00

This past week I attended Digital Hollywood at the Ritz Carlton Hotel in Marina Del Rey, CA. It's always an interesting conference to check out, consisting of a mix of entertainment industry professionals, top players from established digital companies and people looking to make connections with both. With the digital space rapidly evolving, it's the place to be if you're looking to gain a better sense of how entertainment and tech are converging. There was a lot to take in, but here are the items that I found most "Share"-worthy:

-- Amber J. Lawson is a force in the world of digital comedy, and I love what she's doing with her new philanthropic initiative, "Transforming the World Through Comedy." Lightening the mood is a great way to draw attention to serious causes, and I hope this continues to gain traction.

-- The paper resume is clearly not the future, and .pdf/.doc attachments are just so... one-dimensional. The future is the online resume, and sites like About.me and Vizualize.me. are definitely worth checking out. Same goes for Branch Out, a Facebook app that functions similar to LinkedIn though uses your Facebook connections. Also, more and more recruiters are turning to Twitter to fill jobs. Sites like TwitJobSearch.com and TweetMyJobs.com are great resources for finding real-time job listings on Twitter.

-- Oren Katzoff from Cracked.com (of which I'm a fan) claimed that sharing videos late in the day, rather than earlier, works better for his site. The reasoning? It's tougher for people to watch video content while at work; thus, Cracked will typically post editorial content earlier in the day and videos later on. This may not be the new rule, but it's definitely something to keep in mind.

-- Part of Digital Hollywood was the Urban Media Summit. I only attended one panel, though most of the time was spent trying to lock down just what "urban" means. Does it mean African-American and Latino? Under 25? Is it the new mainstream, or is it simply a mindset? It was actually kind of fun hearing audience members argue with the panel about this. My definition of "urban" is when execs salivate over the idea of Jay-Z or Eminem's involvement in the marketing. Or something like that.

-- I really like what Principato-Young Entertainment is doing to keep its talent roster active in the digital space. Corey Moss, VP of Digital, has been helping talent develop original ideas for the web, and the content is then matched to the appropriate outlet. One web series to look out for is Allison Becker's series on MyDamnChannel, "You Snooze You Lose." (She was great on "Mayne Street.")

-- Expect to see more live events taking a cue from this year's Academy Awards. The Oscar Backstage Pass app pushed the boundaries of interactivity, allowing users to tune in through dozens of different cameras (which they could then operate!), experience app-only interviews, videos and more. (I'd love to see The Masters offer an app that has cameras installed at various places along each hole. Or maybe the Westminster Dog Show could install helmet cams on some of the dogs in competition? Hmm...)

-- I love how Crackle, a digital extension of Sony, is establishing itself as a brand. Crackle offers tons of FREE movies, original web series and more, with their core audience consisting of 18-34 year old males. Crackle can now be found on the XBox 360 and works with Kinect, which should be an ideal fit for their audience and increase exposure. (FYI: You can watch Step Brothers for free on Crackle. Just sayin'.)

The Rights and Wrongs of No-Budget Filmmaking

2011-08-30T11:31:06-04:00

Last weekend, I attended day one of No Budget Film School's "The Art & Science of No-Budget Filmmaking" at Raliegh Studios in Hollywood. The event was run by Mark Stolaroff, who probably knows as much about no-budget filmmaking as anyone. Mark used to be a principal at Next Wave Films, the former low-budget financing arm of IFC that helped launch the careers of Christopher Nolan, Craig Brewer and more. Mark's also out in the trenches producing films, so the information he has to offer is up-to-date and relevant.

I've been thinking for a while that a lot of filmmakers focus on the wrong aspects of moviemaking when there are only limited funds to spend. (ie., You don't need to devote your entire budget to a RED camera or Arri Alexa in order to create quality content.) Mark brought clarity to this notion, and I'd like to share some of my top takeaways with you. Without further ado, I present "The Rights and Wrongs of No-Budget Filmmaking":

A "no budget film" refers to making a movie with the amount of money you can get together right now or tomorrow. If you're planning on mortgaging your home to finance your movie, you're no longer in the arena of "no budget filmmaking." Don't go into debt.

There's really no need to obsess over the latest or best technology. If you can shoot in HD and obtain quality audio, you'll be able to make do.

Embrace your limitations and refuse to spend money wherever possible. How much money you spend is directly related to how good your movie will look, not how good it will be. If you don't have the money for a big crew, that's fine. You'll be able to move more swiftly with a small crew, anyway.

Make sure everyone involved in your production embraces the do-it-yourself (DIY) style. If members of your crew do not and you foresee them being a distraction, cut them out like a cancer.

Your film won't suffer for what it doesn't have. If you try to emulate the look of a big studio film on no money, there's a strong chance it won't turn out well. Aspiring to keep everything on an even level -- production value, sound, acting, etc. -- will keep your expectations realistic, whatever your budget may be. (It's the relative lack of money, not the absolute.)

Write for what you have. If you only have access to X number of locations, actors, shoot days, etc., write for those limitations...and make things feel true. Create your story to meet your available aesthetic.

The no-budget films that end up going places (like to Sundance or South by Southwest) are usually the ones that are most unique. It's important to take a step back and ask objectively, "How unique is the content I'm setting out to create?"

When it come to production value, it's a myth that your no-budget film film has to look great for it to be a success. (After all, great production value without a good story is worthless.) It's far more important to focus on story/script/dialogue and performances than it is to obsess over whether your camera shoots in 4k. If you're going to obsess over production value, concern yourself with locations and production design before over having to use the expensive camera.

Coverage. Plan accordingly so that you can get plenty of it. If you shoot with two less expensive cameras instead of one that's expensive, you'll be thankful when you're in the editing room. If you're only shooting with one camera, allow for enough time so that your DP can capture all the angles you'll need later in post-production.

Don't shoot on film. 35mm and 16mm are expensive! Solid state (and DV tapes) = much, much cheaper.

Rather than rent, buy or borrow your camera. When you buy, you obtain leverage and independence, and you'll be able to shoot whenever you'd like.

Never be afraid to ask for anything. Whether it's locations, equipment, etc., the worst response you'll probably get is "no." (Or "get the hell of my property!") You'll be surprised what you'll be able to obtain for free.

Work with actors who are committed and are happy to be there. While it never hurts to have a known name or two attached to your project, if they're not up for your DIY approach, it's not going to help your production flow smoothly. No budget films are about launching careers; they're showcases for what talented filmmakers can accomplish on micro-budgets. You can work with some more well-known actors on your second film.

If you have extra money to spend anywhere, it doesn't hurt to put it into your audio. Audiences are forgiving of a funky image; bad audio can be unbearable.

Top 10 Takeaways From TV/Film Summit

2011-07-07T21:22:22-04:00

I recently attended the TV/Film Summit, a two-day conference at the Westin by LAX focused on writing and selling for television and film. The days were long (12 hours each!) and jam-packed with quality information from experts Chad Gervich, Ellen Sandler, Jen Grisanti, Linda Seger, Chris Vogler, and Dov Simens. Here are my top 10 takeaways from the event -- i.e., the bits of info that will be forever burned into my brain:

1. In TV, the writer is king. With TV being an infinite experience that stretches over weeks, months, years, there needs to be a built-in story engine. While many films lead to sequels, it's still more of a finite experience with one story, one set of characters and its own beginning, middle, and end. In TV, the story needs to keep going and going, stressing the importance of the writer.

2. Whether you're writing for TV or film, your job is to let people see how you see the world. The more you can tap into your own experiences in order to craft emotionally resonant stories, the better. Jen Grisanti's book, Story Line: Finding Gold in Your Life Story, is an excellent resource in this area.

3. Apparently, when Phil Rosenthal pitched Everybody Loves Raymond, he told execs that every episode should be seen through a very specific prism: Your house is burning down, and your mother and wife are trapped inside. You can only choose to save one. I love this, as it creates a clear, repeatable foundation for conflict.

4. When writing a pilot, it needs to be a prototype of your show. It needs to be THE show, not an origin story. (Write this on a chalkboard 100x, Bart Simpson-style.)

5. TV has 3 seasons: Development (July to Oct), Pilot (Jan to May), and Staffing (April-May-ish to June). Just something to keep in mind.

6. If your concept's not working, go back to your logline or premise line, which really needs to be able to be boiled down to a single sentence. If you can't communicate your concept on the back of a business card, it's not tight enough yet.

7. Studios typically prefer stand-alone shows like King of Queens or Criminal Minds over more serialized shows like Lost or The Killing. Why? Episodes can be watched out-of-order; thus, they can be rerun and syndicated. Syndication = $$$$$$$$$$$.

8. Chris Vogler has a fascinating approach to structure, based around the work of Joseph Campbell. (He's in high demand by Disney's animation department, etc.) Especially if you're writing larger, more epic stories, The Writer's Journey is definitely worth checking out.

9. Dov Simens's 2-Day Film School is a must-attend event if you're considering producing an independent feature. He's a larger-than-life, often polarizing character, but he'll ignite just the fire you need to go out and make your own movie on any budget.

10. It was a joy to meet Linda Seger, who founded the script consultant industry 30 years ago with an ad in The Hollywood Reporter. She remains fascinated by how the industry has grown and evolved, and she's committed to keeping it more cooperative than competitive. (I was pleasantly surprised to hear that it is.) I'm eager to check out her latest book, Writing Subtext.

LA Film Fest, Starring Silverlake

2011-06-28T14:48:39-04:00

I saw three different narrative features this past week at Los Angeles Film Festival that were set in the Silverlake area of Los Angeles. I live in the area, and it was cool to see familiar spots captured through different eyes.

How to Cheat was amazing, and the cast deservingly went on to win Best Performance in the Narrative Competition. The story follows a couple in their 30s attempting to have a child and stars Amber Sealy (who also directs), Kent Osborne (awesome guy, who also starred in Joe Swanberg's Uncle Kent) and Amanda Street. As pregnancy becomes less and less of a reality and their relationship starts to crumble, Kent's character turns to online dating in search of the perfect affair to bring happiness back to his life. (Unexpected consequences ensue.)

Several scenes took place in areas close to the Silverlake Reservoir, and there were insert shots of traffic along the 101 freeway between Alvarado St. and Silverlake Boulevard. I loved how the movie portrayed Silverlake and its inhabitants in an optimistic, though gritty way. No character seemed particularly happy with life, but no one was ready to throw in the towel, either. The movie's also laugh-out-loud hilarious at points, though the drama stings hard and rings true throughout. Shot on next to no budget and without a script (!) I really can't speak highly enough about this movie. Hopefully, it will be available to a wider audience soon.

I couldn't resist being drawn to the premise of L!fe Happens: Krysten Ritter, Kate Bosworth, and Rachel Bilson in a female, metahipster version of Three Men and a Baby set in Silverlake. I really wanted to have an opinion on this movie, negative or positive, though it left me lukewarm. The acting was fine, the movie looked great, and it was cool to see familiar Silverlake haunts like Casbah Café, Silverlake Yoga, Intelligentsia (the best coffee spot), and more.

The story, however, seemed uneven. The movie felt like it kept flip-flopping back and forth from wanting to be a broad, silly comedy to a pilot for a heartfelt Showtime dramedy, only drawn out to 101 minutes. It made me think back to a quote from Robert Bresson's Notes on the Cinematographer that goes, "the mixture of true and false yields falsity." I wish the movie had committed to being either more broad and silly or more grounded and realistic. It's tough to buy into the reality of the world as it is.

(At the beginning of the movie, the main characters blast Chamillionaire's "Ridin' Dirty" out of their car as they drive through the eastside. I'm pretty sure this was to make them look all hip and ironic. Instead, it really just comes off as two white chicks listening to a dated rap track that's also one of the most popular ringtones of all time. Now if they were listening to Odd Future...)

I don't want to be too much of a hater, though. Krysten Ritter proves she's a great actress and deserving of many more leads. She's funny and beautiful, and I wouldn't be surprised if she became a big star. For Kat Coiro's first time directing, what she was able to pull off is really impressive. She creates a vivid and original depiction of Los Angeles' eastside, and if I had the power to hire her to direct a single-camera comedy for TV, I'd do it in a heartbeat. There was also a hilarious sex scene worthy of any Apatow comedy...

Entrance stars Suziey Block, a barista in Silverlake as Suziey, a barista in Silverlake. The story's about Suziey, who mysteriously loses her dog and is then sent on a slow burn towards brutal horror. It was great to see Silverlake Coffee, the Silverlake Dog Park, the corner of Griffith Park Ave. and Hyperion Ave., etc., on the big screen. Suziey holds the screen well, and is believable throughout the movie. I'd sign off on her starring in big budget horror films like Halloween or anything with zombies, no problem. Beyond her presence on screen, I found it really tough to like this movie. It was mostly boring and then just silly by the end.

***WARNING: SPOILER ALERT***

For about 60-70 minutes, not much happens and the film feels flat: Suziey's at work, Suziey plays with her dog, Suziey engages in mundane interactions with her roommate -- mumblecore at its most mumblecorey. There are a couple of encounters that border on creepy -- of the "ohmigod, is that car following me?" variety. Then her dog goes missing, she stays in bed a lot, has a one night stand with some random guy, and decides she wants to leave LA. (Again, this is mainly what comprises close to 60-70 minutes of screen time.) At no point does the viewer really get a feeling of what Suziey yearns for or a sense of what's at stake for her. It's just her in her element, mostly bored and alone. Then, her friends (who are barely developed or are not developed at all by this point) throw a going-away party for her. At the party, people are having a good time until... wait for it... an axe murderer shows up, professes his love to Suziey and fucks up everyone else's world! This would have been so funny if the movie didn't take itself so seriously. I love the idea of a Hipster House of Horror "mumbleGore" extravaganza. The horror scenes were just a punchline, though. It's a shame because they were really intense and well put together. If 60+ minutes of the movie was at the dinner party/blood bath and the rest was set-up, rather than the other way around, this movie could have been epic.

I'll admit, I'm not the best person to judge horror films. I don't watch a ton, but one that really worked for me was Hostel. The first 30-40 minutes was all about developing the characters in a foreign land. They were ordinary college dudes in Amsterdam, and we really got a sense of who they are and wanted to be in the world. Then, just as the viewer starts to feel for the characters, they're exposed to the most horrific things imaginable, and we're with them through the gore. Since the characters in Entrance were never fully developed, I didn't really care that they ended up victims to a crazy axe murderer. Instead, it was just funny seeing flannel-clad Silverlake hipsters with axes in their backs, though I doubt that's what the filmmakers set out to accomplish.

Produced By Conference 2011: Let the Work Prove It

2011-06-14T16:16:47-04:00

Last week, I attended the Produced By Conference, put on by the Producer's Guild of America and held on the Disney lot in Burbank. I attended the Produced By Conference last year, and it inspired one of my first (or several) pieces for HuffPost. It's really an amazing concept for a conference that's essentially: "Let's bring together some of the most highly regarded producers in film and television and have them speak about different, relevant issues about being a producer in 2011."

Last year, I went to strictly film-related discussions, though lately, I've been working on some television concepts and figured I'd mix it up. I've been focusing less on directing and all things tech-related, and more on getting back to the basics - writing and producing content (that hopefully can reach a large audience.)

Anyway, here are some of my top takeaways from this year's Produced By Conference:

-Name talent can really elevate a micro-budget production, so keep SAG in mind as they're eager to keep their actors working. SAG recently launched iActor, which is a great new online tool for producers and actors. There are also all types of diversity incentives that I was not aware of. Meaning, if you cast your production to actually resemble the real world, you'll be able to stretch your budget even further.

-It never hurts to have footage already shot when approaching name talent to be a part of your production. (If a picture's worth a 1000 words, 24 frames per second is easily...okay, I was never the best at math.)

-I really enjoy hearing TV showrunners talk about their jobs, and the panel with Marc Cherry (Desparate Housewives), Damon Lindeloff (Lost), Andrew Marlowe (Castle), and Darren Star (Sex and the City) was great. I don't remember who said it, but the idea of "sometimes the best future showrunners are the worst to be on staff" really stood out to me. After all, being on staff is all about clicking into the vision from above. Some people are just better at going full throttle with their own ideas.

-"It's better to have a little bit of talent and a lot of drive than a lot of talent and a little bit of drive." - Mark Gordon

-Marshall Herskovitz interviewing new NBC Chief Robert Greenblatt was excellent. I was really impressed with how poised and down to earth both men were. NBC should be in good hands with Greenblatt at the helm.

-When should you start contacting sales agents about your indie film? As soon as you lock picture.

-While I'm not a huge horror movie fan, Eli Roth is a force of nature, and I have utmost respect for the man. He's embraced micro-budget fearlessness to launch his own career, and he believes that limitation is really the best thing for indie filmmakers, as it allows you to "squeeze your brain." He also recommends being unapologetic if you really want to act in your own stuff and believe you can. There will undoubtedly be naysayers...just let the work prove it.

Short-Form Video Is a Great Way to Launch a Concept

2011-06-06T22:20:40-04:00

I've been really curious about creating short-form content for the web for a while now. Sure, there are hundreds of millions of clips on Youtube that technically qualify as short-form content, but the world of webisodes and short-form branded entertainment has been especially foreign to me. I typically like to think of ideas that would work as features, but features take a long time to produce. Plus, attention spans are only getting shorter and shorter. (My eyes won't stop wandering around the coffee shop as I type this.)

I recently attended a Channel 101 screening to see the star and co-producer/DP/editor of my first feature's short-form collaboration. Something clicked for me there: This is a great medium for testing out an idea! Five minutes is the perfect amount of time for introducing an idea before it becomes something longer and more in depth. (I'm now planning on producing a five minute introduction to my next feature over the next or month or so.)

A lot of known content creators have been turning to the web for a while now, too. Kevin Pollack and Lisa Kudrow have become internet stars with their own short-form series, and there are many others. Babelgum is one site devoted to the medium that's worth checking out.

Metacafe, a great hub for online video, is hosting a new competition in collaboration with Strike.tv that's really a leap forward for online video. They're hosting a web series competition featuring videos by well-known Hollywood content creators, including writers from The Simpsons, The Office and several major motion pictures. The "MetaVote" audience-favorite pick will be awarded the honor of bringing a second season to life on Metacafe, supported by a sponsoring brand advertiser. I love this concept as a launching pad for short-form content, and you can check it out here. (FYI -- I voted for "Daryl from OnCar.")