Here's an excellent article which puts the indie movement into perspective
and potential return on investment.  It's a really long article, but something I
want archived in case they take theirs offline.  So, keep making those films
even if you don't get distribution.

-Anup



THE LONG TAIL
By Chris Anderson
from Wired Magazine
http://www.wired.com/wired/archive/12.10/tail.html

Forget squeezing millions from a few megahits at the top of the charts. The
future of entertainment is in the millions of niche markets at the shallow end
of
the bitstream.

In 1988, a British mountain climber named Joe Simpson wrote a book called
Touching the Void, a harrowing account of near death in the Peruvian Andes.
It got good reviews but, only a modest success, it was soon forgotten. Then, a
decade later, a strange thing happened. Jon Krakauer wrote Into Thin Air,
another book about a mountain-climbing tragedy, which became a publishing
sensation. Suddenly Touching the Void started to sell again.

Random House rushed out a new edition to keep up with demand.
Booksellers began to promote it next to their Into Thin Air displays, and sales
rose further. A revised paperback edition, which came out in January, spent
14 weeks on the New York Times bestseller list. That same month, IFC Films
released a docudrama of the story to critical acclaim. Now Touching the Void
outsells Into Thin Air more than two to one.

What happened? In short, Amazon.com recommendations. The online
bookseller's software noted patterns in buying behavior and suggested that
readers who liked Into Thin Air would also like Touching the Void. People
took the suggestion, agreed wholeheartedly, wrote rhapsodic reviews. More
sales, more algorithm-fueled recommendations, and the positive feedback
loop kicked in.

Particularly notable is that when Krakauer's book hit shelves, Simpson's was
nearly out of print. A few years ago, readers of Krakauer would never even
have learned about Simpson's book - and if they had, they wouldn't have
been able to find it. Amazon changed that. It created the Touching the Void
phenomenon by combining infinite shelf space with real-time information
about buying trends and public opinion. The result: rising demand for an
obscure book.

This is not just a virtue of online booksellers; it is an example of an entirely
new economic model for the media and entertainment industries, one that is
just beginning to show its power. Unlimited selection is revealing truths about
what consumers want and how they want to get it in service after service, from
DVDs at Netflix to music videos on Yahoo! Launch to songs in the iTunes
Music Store and Rhapsody. People are going deep into the catalog, down the
long, long list of available titles, far past what's available at Blockbuster
Video,
Tower Records, and Barnes & Noble. And the more they find, the more they
like. As they wander further from the beaten path, they discover their taste is
not as mainstream as they thought (or as they had been led to believe by
marketing, a lack of alternatives, and a hit-driven culture).

An analysis of the sales data and trends from these services and others like
them shows that the emerging digital entertainment economy is going to be
radically different from today's mass market. If the 20th- century entertainment
industry was about hits, the 21st will be equally about misses.

For too long we've been suffering the tyranny of lowest-common-denominator
fare, subjected to brain-dead summer blockbusters and manufactured pop.
Why? Economics. Many of our assumptions about popular taste are actually
artifacts of poor supply-and-demand matching - a market response to
inefficient distribution.

The main problem, if that's the word, is that we live in the physical world and,
until recently, most of our entertainment media did, too. But that world puts
two
dramatic limitations on our entertainment.

The first is the need to find local audiences. An average movie theater will not
show a film unless it can attract at least 1,500 people over a two-week run;
that's essentially the rent for a screen. An average record store needs to sell
at least two copies of a CD per year to make it worth carrying; that's the rent
for a half inch of shelf space. And so on for DVD rental shops, videogame
stores, booksellers, and newsstands.

In each case, retailers will carry only content that can generate sufficient
demand to earn its keep. But each can pull only from a limited local
population - perhaps a 10-mile radius for a typical movie theater, less than
that for music and bookstores, and even less (just a mile or two) for video
rental shops. It's not enough for a great documentary to have a potential
national audience of half a million; what matters is how many it has in the
northern part of Rockville, Maryland, and among the mall shoppers of Walnut
Creek, California.

There is plenty of great entertainment with potentially large, even rapturous,
national audiences that cannot clear that bar. For instance, The Triplets of
Belleville, a critically acclaimed film that was nominated for the best animated
feature Oscar this year, opened on just six screens nationwide. An even more
striking example is the plight of Bollywood in America. Each year, India's film
industry puts out more than 800 feature films. There are an estimated 1.7
million Indians in the US. Yet the top-rated (according to Amazon's Internet
Movie Database) Hindi-language film, Lagaan: Once Upon a Time in India,
opened on just two screens, and it was one of only a handful of Indian films to
get any US distribution at all. In the tyranny of physical space, an audience
too thinly spread is the same as no audience at all.

The other constraint of the physical world is physics itself. The radio spectrum
can carry only so many stations, and a coaxial cable so many TV channels.
And, of course, there are only 24 hours a day of programming. The curse of
broadcast technologies is that they are profligate users of limited resources.
The result is yet another instance of having to aggregate large audiences in
one geographic area - another high bar, above which only a fraction of
potential content rises.

The past century of entertainment has offered an easy solution to these
constraints. Hits fill theaters, fly off shelves, and keep listeners and viewers
from touching their dials and remotes. Nothing wrong with that; indeed,
sociologists will tell you that hits are hardwired into human psychology, the
combinatorial effect of conformity and word of mouth. And to be sure, a
healthy share of hits earn their place: Great songs, movies, and books attract
big, broad audiences.

(page 2)

But most of us want more than just hits. Everyone's taste departs from the
mainstream somewhere, and the more we explore alternatives, the more
we're drawn to them. Unfortunately, in recent decades such alternatives have
been pushed to the fringes by pumped-up marketing vehicles built to order by
industries that desperately need them.

Hit-driven economics is a creation of an age without enough room to carry
everything for everybody. Not enough shelf space for all the CDs, DVDs, and
games produced. Not enough screens to show all the available movies. Not
enough channels to broadcast all the TV programs, not enough radio waves
to play all the music created, and not enough hours in the day to squeeze
everything out through either of those sets of slots.

This is the world of scarcity. Now, with online distribution and retail, we are
entering a world of abundance. And the differences are profound.
To see how, meet Robbie Vann-Adibé, the CEO of Ecast, a digital jukebox
company whose barroom players offer more than 150,000 tracks - and some
surprising usage statistics. He hints at them with a question that visitors
invariably get wrong: "What percentage of the top 10,000 titles in any online
media store (Netflix, iTunes, Amazon, or any other) will rent or sell at least
once a month?"

Most people guess 20 percent, and for good reason: We've been trained to
think that way. The 80-20 rule, also known as Pareto's principle (after Vilfredo
Pareto, an Italian economist who devised the concept in 1906), is all around
us. Only 20 percent of major studio films will be hits. Same for TV shows,
games, and mass-market books - 20 percent all. The odds are even worse for
major-label CDs, where fewer than 10 percent are profitable, according to the
Recording Industry Association of America.

But the right answer, says Vann-Adibé, is 99 percent. There is demand for
nearly every one of those top 10,000 tracks. He sees it in his own jukebox
statistics; each month, thousands of people put in their dollars for songs that
no traditional jukebox anywhere has ever carried.

People get Vann-Adibé's question wrong because the answer is
counterintuitive in two ways. The first is we forget that the 20 percent rule in
the entertainment industry is about hits, not sales of any sort. We're stuck in
a
hit-driven mindset - we think that if something isn't a hit, it won't make money
and so won't return the cost of its production. We assume, in other words, that
only hits deserve to exist. But Vann-Adibé, like executives at iTunes, Amazon,
and Netflix, has discovered that the "misses" usually make money, too. And
because there are so many more of them, that money can add up quickly to a
huge new market.

With no shelf space to pay for and, in the case of purely digital services like
iTunes, no manufacturing costs and hardly any distribution fees, a miss sold is
just another sale, with the same margins as a hit. A hit and a miss are on
equal economic footing, both just entries in a database called up on demand,
both equally worthy of being carried. Suddenly, popularity no longer has a
monopoly on profitability.

The second reason for the wrong answer is that the industry has a poor sense
of what people want. Indeed, we have a poor sense of what we want. We
assume, for instance, that there is little demand for the stuff that isn't
carried by
Wal-Mart and other major retailers; if people wanted it, surely it would be
sold.
The rest, the bottom 80 percent, must be subcommercial at best.

But as egalitarian as Wal-Mart may seem, it is actually extraordinarily elitist.
Wal-Mart must sell at least 100,000 copies of a CD to cover its retail overhead
and make a sufficient profit; less than 1 percent of CDs do that kind of volume.
What about the 60,000 people who would like to buy the latest Fountains of
Wayne or Crystal Method album, or any other nonmainstream fare? They
have to go somewhere else. Bookstores, the megaplex, radio, and network
TV can be equally demanding. We equate mass market with quality and
demand, when in fact it often just represents familiarity, savvy advertising,
and
broad if somewhat shallow appeal. What do we really want? We're only just
discovering, but it clearly starts with more.

To get a sense of our true taste, unfiltered by the economics of scarcity, look
at
Rhapsody, a subscription-based streaming music service (owned by
RealNetworks) that currently offers more than 735,000 tracks.
Chart Rhapsody's monthly statistics and you get a "power law" demand curve
that looks much like any record store's, with huge appeal for the top tracks,
tailing off quickly for less popular ones. But a really interesting thing
happens
once you dig below the top 40,000 tracks, which is about the amount of the
fluid inventory (the albums carried that will eventually be sold) of the average
real-world record store. Here, the Wal-Marts of the world go to zero - either
they don't carry any more CDs, or the few potential local takers for such fringy
fare never find it or never even enter the store.

The Rhapsody demand, however, keeps going. Not only is every one of
Rhapsody's top 100,000 tracks streamed at least once each month, the same
is true for its top 200,000, top 300,000, and top 400,000. As fast as Rhapsody
adds tracks to its library, those songs find an audience, even if it's just a
few
people a month, somewhere in the country.
This is the Long Tail.

You can find everything out there on the Long Tail. There's the back catalog,
older albums still fondly remembered by longtime fans or rediscovered by
new ones. There are live tracks, B-sides, remixes, even (gasp) covers. There
are niches by the thousands, genre within genre within genre: Imagine an
entire Tower Records devoted to '80s hair bands or ambient dub. There are
foreign bands, once priced out of reach in the Import aisle, and obscure
bands on even more obscure labels, many of which don't have the distribution
clout to get into Tower at all.

(page 3)

Oh sure, there's also a lot of crap. But there's a lot of crap hiding between
the
radio tracks on hit albums, too. People have to skip over it on CDs, but they
can more easily avoid it online, since the collaborative filters typically won't
steer you to it. Unlike the CD, where each crap track costs perhaps one-
twelfth of a $15 album price, online it just sits harmlessly on some server,
ignored in a market that sells by the song and evaluates tracks on their own
merit.

What's really amazing about the Long Tail is the sheer size of it. Combine
enough nonhits on the Long Tail and you've got a market bigger than the hits.
Take books: The average Barnes & Noble carries 130,000 titles. Yet more
than half of Amazon's book sales come from outside its top 130,000 titles.
Consider the implication: If the Amazon statistics are any guide, the market for
books that are not even sold in the average bookstore is larger than the
market for those that are (see "Anatomy of the Long Tail"). In other words, the
potential book market may be twice as big as it appears to be, if only we can
get over the economics of scarcity. Venture capitalist and former music
industry consultant Kevin Laws puts it this way: "The biggest money is in the
smallest sales."

The same is true for all other aspects of the entertainment business, to one
degree or another. Just compare online and offline businesses: The average
Blockbuster carries fewer than 3,000 DVDs. Yet a fifth of Netflix rentals are
outside its top 3,000 titles. Rhapsody streams more songs each month
beyond its top 10,000 than it does its top 10,000. In each case, the market that
lies outside the reach of the physical retailer is big and getting bigger.
When you think about it, most successful businesses on the Internet are about
aggregating the Long Tail in one way or another. Google, for instance, makes
most of its money off small advertisers (the long tail of advertising), and eBay
is mostly tail as well - niche and one-off products. By overcoming the
limitations of geography and scale, just as Rhapsody and Amazon have,
Google and eBay have discovered new markets and expanded existing ones.
This is the power of the Long Tail. The companies at the vanguard of it are
showing the way with three big lessons. Call them the new rules for the new
entertainment economy.

Rule 1: Make everything available

If you love documentaries, Blockbuster is not for you. Nor is any other video
store - there are too many documentaries, and they sell too poorly to justify
stocking more than a few dozen of them on physical shelves. Instead, you'll
want to join Netflix, which offers more than a thousand documentaries -
because it can. Such profligacy is giving a boost to the documentary
business; last year, Netflix accounted for half of all US rental revenue for
Capturing the Friedmans, a documentary about a family destroyed by
allegations of pedophilia.

Netflix CEO Reed Hastings, who's something of a documentary buff, took this
newfound clout to PBS, which had produced Daughter From Danang, a
documentary about the children of US soldiers and Vietnamese women. In
2002, the film was nominated for an Oscar and was named best documentary
at Sundance, but PBS had no plans to release it on DVD. Hastings offered to
handle the manufacturing and distribution if PBS would make it available as a
Netflix exclusive. Now Daughter From Danang consistently ranks in the top 15
on Netflix documentary charts. That amounts to a market of tens of thousands
of documentary renters that did not otherwise exist.

There are any number of equally attractive genres and subgenres neglected
by the traditional DVD channels: foreign films, anime, independent movies,
British television dramas, old American TV sitcoms. These underserved
markets make up a big chunk of Netflix rentals. Bollywood alone accounts for
nearly 100,000 rentals each month. The availability of offbeat content drives
new customers to Netflix - and anything that cuts the cost of customer
acquisition is gold for a subscription business. Thus the company's first
lesson: Embrace niches.

Netflix has made a good business out of what's unprofitable fare in movie
theaters and video rental shops because it can aggregate dispersed
audiences. It doesn't matter if the several thousand people who rent Doctor
Who episodes each month are in one city or spread, one per town, across the
country - the economics are the same to Netflix. It has, in short, broken the
tyranny of physical space. What matters is not where customers are, or even
how many of them are seeking a particular title, but only that some number of
them exist, anywhere.

As a result, almost anything is worth offering on the off chance it will find a
buyer. This is the opposite of the way the entertainment industry now thinks.
Today, the decision about whether or when to release an old film on DVD is
based on estimates of demand, availability of extras such as commentary and
additional material, and marketing opportunities such as anniversaries,
awards, and generational windows (Disney briefly rereleases its classics
every 10 years or so as a new wave of kids come of age). It's a high bar,
which is why only a fraction of movies ever made are available on DVD.
That model may make sense for the true classics, but it's way too much fuss
for everything else. The Long Tail approach, by contrast, is to simply dump
huge chunks of the archive onto bare-bones DVDs, without any extras or
marketing. Call it the Silver Series and charge half the price. Same for
independent films. This year, nearly 6,000 movies were submitted to the
Sundance Film Festival. Of those, 255 were accepted, and just two dozen
have been picked up for distribution; to see the others, you had to be there.
Why not release all 255 on DVD each year as part of a discount Sundance
Series?In a Long Tail economy, it's more expensive to evaluate than to
release. Just do it!

(page 4)

The same is true for the music industry. It should be securing the rights to
release all the titles in all the back catalogs as quickly as it can -
thoughtlessly, automatically, and at industrial scale. (This is one of those
rare
moments where the world needs more lawyers, not fewer.) So too for
videogames. Retro gaming, including simulators of classic game consoles
that run on modern PCs, is a growing phenomenon driven by the nostalgia of
the first joystick generation. Game publishers could release every title as a
99-cent download three years after its release - no support, no guarantees, no
packaging.

All this, of course, applies equally to books. Already, we're seeing a blurring
of
the line between in and out of print. Amazon and other networks of used
booksellers have made it almost as easy to find and buy a second-hand book
as it is a new one. By divorcing bookselling from geography, these networks
create a liquid market at low volume, dramatically increasing both their own
business and the overall demand for used books. Combine that with the
rapidly dropping costs of print-on-demand technologies and it's clear why any
book should always be available. Indeed, it is a fair bet that children today
will
grow up never knowing the meaning of out of print.

Rule 2: Cut the price in half. Now lower it.

Thanks to the success of Apple's iTunes, we now have a standard price for a
downloaded track: 99 cents. But is it the right one?
Ask the labels and they'll tell you it's too low: Even though 99 cents per track
works out to about the same price as a CD, most consumers just buy a track
or two from an album online, rather than the full CD. In effect, online music
has seen a return to the singles-driven business of the 1950s. So from a label
perspective, consumers should pay more for the privilege of purchasing à la
carte to compensate for the lost album revenue.

Ask consumers, on the other hand, and they'll tell you that 99 cents is too
high. It is, for starters, 99 cents more than Kazaa. But piracy aside, 99 cents
violates our innate sense of economic justice: If it clearly costs less for a
record label to deliver a song online, with no packaging, manufacturing,
distribution, or shelf space overheads, why shouldn't the price be less, too?
Surprisingly enough, there's been little good economic analysis on what the
right price for online music should be. The main reason for this is that pricing
isn't set by the market today but by the record label demi-cartel. Record
companies charge a wholesale price of around 65 cents per track, leaving
little room for price experimentation by the retailers.

That wholesale price is set to roughly match the price of CDs, to avoid
dreaded "channel conflict." The labels fear that if they price online music
lower, their CD retailers (still the vast majority of the business) will revolt
or,
more likely, go out of business even more quickly than they already are. In
either case, it would be a serious disruption of the status quo, which terrifies
the already spooked record companies. No wonder they're doing price
calculations with an eye on the downsides in their traditional CD business
rather than the upside in their new online business.

But what if the record labels stopped playing defense? A brave new look at
the economics of music would calculate what it really costs to simply put a
song on an iTunes server and adjust pricing accordingly. The results are
surprising.

Take away the unnecessary costs of the retail channel - CD manufacturing,
distribution, and retail overheads. That leaves the costs of finding, making,
and marketing music. Keep them as they are, to ensure that the people on the
creative and label side of the business make as much as they currently do.
For a popular album that sells 300,000 copies, the creative costs work out to
about $7.50 per disc, or around 60 cents a track. Add to that the actual cost of
delivering music online, which is mostly the cost of building and maintaining
the online service rather than the negligible storage and bandwidth costs.
Current price tag: around 17 cents a track. By this calculation, hit music is
overpriced by 25 percent online - it should cost just 79 cents a track,
reflecting
the savings of digital delivery.

Putting channel conflict aside for the moment, if the incremental cost of
making content that was originally produced for physical distribution available
online is low, the price should be, too. Price according to digital costs, not
physical ones.

All this good news for consumers doesn't have to hurt the industry. When you
lower prices, people tend to buy more. Last year, Rhapsody did an
experiment in elastic demand that suggested it could be a lot more. For a brief
period, the service offered tracks at 99 cents, 79 cents, and 49 cents. Although
the 49-cent tracks were only half the price of the 99-cent tracks, Rhapsody
sold three times as many of them.

Since the record companies still charged 65 cents a track - and Rhapsody
paid another 8 cents per track to the copyright-holding publishers - Rhapsody
lost money on that experiment (but, as the old joke goes, made it up in
volume). Yet much of the content on the Long Tail is older material that has
already made back its money (or been written off for failing to do so): music
from bands that had little record company investment and was thus cheap to
make, or live recordings, remixes, and other material that came at low cost.
Such "misses" cost less to make available than hits, so why not charge even
less for them? Imagine if prices declined the further you went down the Tail,
with popularity (the market) effectively dictating pricing. All it would take is
for
the labels to lower the wholesale price for the vast majority of their content
not
in heavy rotation; even a two- or three-tiered pricing structure could work
wonders. And because so much of that content is not available in record
stores, the risk of channel conflict is greatly diminished. The lesson: Pull
consumers down the tail with lower prices.

(page 5)

How low should the labels go? The answer comes by examining the
psychology of the music consumer. The choice facing fans is not how many
songs to buy from iTunes and Rhapsody, but how many songs to buy rather
than download for free from Kazaa and other peer-to-peer networks.
Intuitively, consumers know that free music is not really free: Aside from any
legal risks, it's a time-consuming hassle to build a collection that way.
Labeling is inconsistent, quality varies, and an estimated 30 percent of tracks
are defective in one way or another. As Steve Jobs put it at the iTunes Music
Store launch, you may save a little money downloading from Kazaa, but
"you're working for under minimum wage." And what's true for music is doubly
true for movies and games, where the quality of pirated products can be even
more dismal, viruses are a risk, and downloads take so much longer.

So free has a cost: the psychological value of convenience. This is the "not
worth it" moment where the wallet opens. The exact amount is an impossible
calculus involving the bank balance of the average college student multiplied
by their available free time. But imagine that for music, at least, it's around
20
cents a track. That, in effect, is the dividing line between the commercial
world
of the Long Tail and the underground. Both worlds will continue to exist in
parallel, but it's crucial for Long Tail thinkers to exploit the opportunities
between 20 and 99 cents to maximize their share. By offering fair pricing,
ease of use, and consistent quality, you can compete with free.

Perhaps the best way to do that is to stop charging for individual tracks at
all.
Danny Stein, whose private equity firm owns eMusic, thinks the future of the
business is to move away from the ownership model entirely. With ubiquitous
broadband, both wired and wireless, more consumers will turn to the celestial
jukebox of music services that offer every track ever made, playable on
demand. Some of those tracks will be free to listeners and advertising-
supported, like radio. Others, like eMusic and Rhapsody, will be subscription
services. Today, digital music economics are dominated by the iPod, with its
notion of a paid-up library of personal tracks. But as the networks improve, the
comparative economic advantages of unlimited streamed music, either
financed by advertising or a flat fee (infinite choice for $9.99 a month), may
shift the market that way. And drive another nail in the coffin of the retail
music
model.

Rule 3: Help me find it

In 1997, an entrepreneur named Michael Robertson started what looked like
a classic Long Tail business. Called MP3.com, it let anyone upload music
files that would be available to all. The idea was the service would bypass the
record labels, allowing artists to connect directly to listeners. MP3.com would
make its money in fees paid by bands to have their music promoted on the
site. The tyranny of the labels would be broken, and a thousand flowers would
bloom.

Putting aside the fact that many people actually used the service to illegally
upload and share commercial tracks, leading the labels to sue MP3.com, the
model failed at its intended purpose, too. Struggling bands did not, as a rule,
find new audiences, and independent music was not transformed. Indeed,
MP3.com got a reputation for being exactly what it was: an undifferentiated
mass of mostly bad music that deserved its obscurity.

The problem with MP3.com was that it was only Long Tail. It didn't have
license agreements with the labels to offer mainstream fare or much popular
commercial music at all. Therefore, there was no familiar point of entry for
consumers, no known quantity from which further exploring could begin.
Offering only hits is no better. Think of the struggling video-on-demand
services of the cable companies. Or think of Movielink, the feeble video
download service run by the studios. Due to overcontrolling providers and
high costs, they suffer from limited content: in most cases just a few hundred
recent releases. There's not enough choice to change consumer behavior, to
become a real force in the entertainment economy.

By contrast, the success of Netflix, Amazon, and the commercial music
services shows that you need both ends of the curve. Their huge libraries of
less-mainstream fare set them apart, but hits still matter in attracting
consumers in the first place. Great Long Tail businesses can then guide
consumers further afield by following the contours of their likes and dislikes,
easing their exploration of the unknown.

For instance, the front screen of Rhapsody features Britney Spears,
unsurprisingly. Next to the listings of her work is a box of "similar artists."
Among them is Pink. If you click on that and are pleased with what you hear,
you may do the same for Pink's similar artists, which include No Doubt. And
on No Doubt's page, the list includes a few "followers" and "influencers," the
last of which includes the Selecter, a 1980s ska band from Coventry, England.
In three clicks, Rhapsody may have enticed a Britney Spears fan to try an
album that can hardly be found in a record store.

Rhapsody does this with a combination of human editors and genre guides.
But Netflix, where 60 percent of rentals come from recommendations, and
Amazon do this with collaborative filtering, which uses the browsing and
purchasing patterns of users to guide those who follow them ("Customers who
bought this also bought ..."). In each, the aim is the same: Use
recommendations to drive demand down the Long Tail.

This is the difference between push and pull, between broadcast and
personalized taste. Long Tail business can treat consumers as individuals,
offering mass customization as an alternative to mass-market fare.
The advantages are spread widely. For the entertainment industry itself,
recommendations are a remarkably efficient form of marketing, allowing
smaller films and less-mainstream music to find an audience. For consumers,
the improved signal-to-noise ratio that comes from following a good
recommendation encourages exploration and can reawaken a passion for
music and film, potentially creating a far larger entertainment market overall.
(The average Netflix customer rents seven DVDs a month, three times the rate
at brick-and-mortar stores.) And the cultural benefit of all of this is much
more
diversity, reversing the blanding effects of a century of distribution scarcity
and
ending the tyranny of the hit.

Such is the power of the Long Tail. Its time has come.

Chris Anderson (canderson@...) is Wired's editor in chief.

Hello,

It's been a while since my last update, especially for the people on the
'special
notices only' setting.  I have six films screenings starting this Saturday
(5/14)
through the following Saturday at three different schools.  Unfortunately, two
of them are on the same night - it's like having to choose between your kids'
baseball game or piano receital.  But I'm not complaining.  These student fests
are pretty long and it's hard to determine where my films will play,  Nausheen
a group member here wrote and directed `12th Man'.

Let me know if you're even remotely interested in going because I will then
send you email updates (as opposed to yahoo group updates) as locations,
dates and times are subject to change.

I also tried to put as much info on there about the film and my role in it.

I hope to see you there.

Anup



"EMEKA"
Chapman University Screening
Written & Directed by Chido Osueka
Saturday, May 14, 2005
Between 12pm – 6pm

Chapman University
Argous Forum Rm 208
1 University Dr
Orange, CA 92866-1005

Admission: Free

Synopsis: An immigrant woman faces hardship to support herself and her
son.
Genre: Drama
Original Format: Super 16mm
Running Time: 13 min
My Role: Day Player (one scene)

-------------------------------------------------------------

"THE PACKAGE"
Chapman University Screening
Written & Directed by Chris Coulter
Saturday, May 14, 2005
Time ?

Chapman University
Argous Forum Rm 208
1 University Dr
Orange, CA 92866-1005

Admission: Free

Synopsis: Two soldiers caught behind enemy lines.
Genre: Drama/Action
Original Format: Digital
Running Time: 15 min
My Role: Lead

-------------------------------------------------------------

"A GIRL AND A GUN"
Synopsis: A quirky film noir set in the mid-80s about a guy, his girls, and his
gun.

San Diego State University Screening
Written & Directed by Adam Thomson

Thursday, March 19, 2005,
Program Starts: 7pm
San Diego State Univ.'s Don Powell Theater

Admission: $5 include a BBQ beforehand

Genre: Comedy/Film Noir
Original Format: Super-16mm
Running Time: ~12min
My Role: Lead

Directions to Campus:

From Los Angeles
* I-5 South
* Merge onto I-8 East

From River
* I-15 South
* Merge onto I-8 East

From Yuma
* I-8 West

From Mexico
* 805 North
* Merge onto I-8 East

From San Diego International Airport
* Turn left onto N. Harbor Dr.
* Turn left onto W. Grape St.
* Merge onto I-5 South
* Merge onto CA-163 North
* Merge onto I-8 East

From I-8, take College Avenue exit and go south. San Diego State University
will be on your right.

Proceed past Canyon Crest Drive through (the first stoplight) then make an
immediate right turn to the green Information Booth for parking information.
Ask the parking guard for directions as to where you may park.

Paid visitor parking is available in designated campus lots. Please refer to the
campus map (http://sdsu.edu/map/index.html) for specific visitor locations.

-------------------------------------------------------------

"BIRTH CONTROL"
Synopsis: A man and a woman discuss their future.

Chapman University Screening
Written & Directed by Alex Lavin

Thursday, March 19, 2005 - 7pm
Chapman University
Argous Forum Rm 208
1 University Dr
Orange, CA 92866-1005

Admission: Free

Genre: Drama
Original Format: Super 16mm
Running Time: 3 min
My Role: Lead

-------------------------------------------------------------

"FUTILITY"
Synopsis: A high school girl deals with incredible amounts of problems that
parents never understand.

UC Irvine Screening
Written & Directed by Ben Lieu

Friday May 20, 2005
Program Starts 7pm

University of California at Irvine
Humanities & Instructions Building (HIB 100)

Admission: Free
Free Food

Genre: Comedy
Original Format: Digital 24p
Running Time: 14 min
My Role: Day Player

-------------------------------------------------------------

"THE 12th MAN"
Synopsis: A woman steals a cricket ball from a college team and has to deal
with the repercussions.

Cal State University Long Beach Screening
Written & Directed by Nausheen Dadabhoy

Saturday, May 21, 2005
Cal State Long Beach Carpenter Performing Arts Center
Doors open at 7:30 and the show begins at 8:00*

General Admission is $8.00
Students, seniors, and children get in for $6.00.
Parking is $3.00.
Tickets can be purchased at the box office.

Genre: Drama/Comedy
Running Time: ~12 min
My Role: Supporting

*Please be on time at 12th Man is going to be the first film screening that
night. The show is 2 hours long and there are refreshments afterwards.

Here's the Carpenter Center website for more info:
http://www.carpenterarts.org

Here's the address:
6200 Atherton St.
Long Beach, Ca
90840

The Carpenter Center is located on the corner of Atherton and Palo Verde.
Attached is a map of where is can be found on the campus.

This place seats 1,074 people, so feel free to invite friends and family to
come as well.

I hope you can all make it,
Nausheen

1. Grassroots Distribution
2. Filmmaker wanted to shoot wedding
3. Free movies for a month
4. Free film competition
5. Audition Alerts
6. Group member updates

_________________________________________________________


1. GRASSROOTS DISTRIBUTION

http://www.Trueindiemovies.com

_________________________________________________________

2. FILMMAKER WANTED TO SHOOT WEDDING

A close friend of mine is getting married this summer in LA and wants a
filmmaker (not a wedding videographer) to shoot his wedding.  He wants it to be
very interesting and filmic.  There is excellent pay.  I would do it, but I'm in
the wedding.  If you're interested or know someone who would be please have them
contact me.

-Anup
____________________________________________________

3. FREE MOVIES FOR A MONTH

When they visit http://www.blockbuster.com, sign up for membership and enter the
word "friends" into the Promotional Code field, they will receive their first
month of service FREE.

_________________________________________________________

4. A VERY COOL FESTIVAL

This festival has a very relaxed approach to programming a festival (no age
restrictions on film, low entry fee, etc).  They also have a free competition to
produce a film based on their script and compete with others.
-Anup

More info: http://www.southsidefilmfestival.com

_________________________________________________________

5. AUDITION ALERTS

http://www.auditionalerts.com

_________________________________________________________

6. GROUP MEMBER UPDATES

PRODUCER - LA/OC

Hey, my name Sabina Shamdasani.  I'm currently pursuing a Master's in Film
Production at Chapman University.    I come from a business and marketing
background, so I am into producing if anyone needs producing help.  But being in
film school, I've had experience working in  all aspects of production - from
First. A.D. to grip - you name it, I can do it!  Just wrapped my own production
'Dear Dada Ji,' starring Kumar Pallana ['The Terminal", "Royal Tennebaums",
"Bottle Rocket"] & Tania Kapoor, which I wrote, directed & produced.  Looking to
gain experience as a filmmaker and meet like minded people so we can make some
cool films together!   Email is always a great form of contact at
karmatheoryfilms@ [no space] yahoo.com

----------

ACTOR  - LA

My 1st "LA Show" "The Marriage" opens next week!  If any of you
are up this way, then please stop on by.  The cost for tickets is the "nice
price"
of free.

It's been a weird wonderful experience getting back into a scripted play
again.  The director is very talented, and the cast is fun too.  It's a Korean
play, though luckily for me its been translated into English as my Korean is a
little rusty.

Cheers one & all!
Darren

Wednesday April 20 @ 11am (Butler Building #3)
Monday April 25 @12pm (MOD Lobby)
CalArts
24700 McBean Parkway
Valencia, CA 91355

Saturday May 7 @ 3pm
Air-Hall
Korean Cultural Center
5505 Wilshire Blvd
Los Angeles, CA

----------

LINE PRODUCER - NY

Hi Anup,
I  wanted to share with you and your group the trailers of a movie I line
Produced. The movie is called Jo Bole So Nihaal - *ing Sunny Deol,Kamaal
Khan,Shilpi Sharma,Nupur Mehta. Directed By:- Rahul Rawail Produced By: N.R.
Pachisia

Please click on this link to watch two of the trailers -
http://www.mydesiradio.com (Please tell all your friends and come back for more
trailors and previews)
http://www.glamsham.com/movies/previews/jbsh.asp

For Media enquiries/Pictures/Press Kit for North America- Please contact -
Abhishek Chauhan - 917-547-6768 or by e-mail at
abhishekchauhan@ [no space] gmail.com
Line Producer - Jo Bole So Nihaal -

Releasing May 13th at a theatre near you.

----------
MAKE-UP ARTIST - LA

I worked with Suma on a Chapman short a few weeks ago this was my first aging
makeup and I freaked out when I saw myself looking 15 years older.  She did a
terrific job.

ElviraFX@[no space]yahoo.com
http://photos.yahoo.com/elvirafx

-Anup

----------

MAKE-UP ARTIST - LA

I worked on USC short a few weeks ago and underwent makeup for about 1-1.5 hrs
by Brian.  I didn't see his work until he completed it.  I was amazed.  I looked
like a tattered homeless man.  During the screening one of the students thought
the director hired an actual homeless person for the role.  Amazing work by
Bryan.
-Anup

Bryan Wiersma
310.503.7447
----------

STANDUP - LA

I'm performing stand-up at The Improv on April 17 at 8pm.
The Improv is at 8162 Melrose Blvd.
They ask that you try to get there at 7:30.
Last time I did this show at The Improv, folks were treated to Chris Rock's
brand of humor as he toured a few of LA's clubs working out his Oscars'
monologue.  I can't speak for him or anyone else, but I promise... if you come
to the show, Robin Williams and Dave Chapelle might perform too.
You can find details and stuff at cracker comedy's website:
http://whiteboycomedy.com/.
Thanks for your time.
- yo

http://www.SidVeda.com

----------

As you have noticed, it's been a while since my last newsletter.  I've shot
about 4 shorts and have two more coming up this week and next.  My second
Chapman film I acted in, "Necessary Illusions" won the 'Visionary Award' at the
Washington D.C. Film Fest last month:
http://www.dciff.org/2005Awards.htm

View Trailer:
http://www.filmmakerinterviews.com/Anup_net/images/Necessary_Illusions_Teaser.mo\
v

Finally, after so many rejections I've had with my other films, docs and people
telling me not to give up my dayjob, it's nice get something, but it's not like
I would've given up otherwise.  A friend of mine said to me after I told her
about this film that she totally believes in the 'law of averages'.  I've always
believed in that as well, but never applied it to filmmaking/acting.  Basically,
just keeping putting stuff out there - there's going to be films that suck and
there will be some stellar ones, but just keep going.  It's a game of numbers.

Don't forget to  check out the LINKS section on this site for lots of, um, yeah,
links.

http://movies.groups.yahoo.com/group/AnupSugunan/links

I hope you're all doing well.  Keep me posted and I flip it back around on here.

-Anup

FILM FESTIVALS

AMAZON SHORT FILM COMPETITION

Amazon is now accepting short films for competition:
http://www.amazon.com/shortfilms

-----------------------------------------------------------

DOC FESTIVAL

Free doc festival accepting submissions:
http://www.amnh.org/programs/mead/submit.html

-----------------------------------------------------------

INSPIRATION FILM FESTIVAL

No Entry Fee

3277 Perlita Avenue
Los Angeles California 90039
U S A
Phone: (323) 646-5376
http://www.inspirationfilmfestival.com

__________________________________________________________

CAST/CREW CALLS

LA Indie Short

What started off as a student project for me in January has now manifested
into a professional short film. "Wings of Fire", as the project is now known, is
the story of a physically challenged hip hop dancer who meets a ballet
teacher suffering form leukemia. The story is about their self discovery
through a fusion of dance and disability.

The lead character for the movie will be played by Autianya Pascqua who is
physically challenged in real life. Auti is a hip hop dancer, a choreographer,
an actress, CEO of a non profit … she really kicks butt.

All the details of the project are available at www.neetamittal.com

"Wings of Fire" is my first endeavor in filmmaking at this level of involvement;
I
am writing, producing and directing this short. I have to put together a lot of
resources in terms of cast, crew, locations, permits, insurance, craft services,
etc. At this point, the aim is to get as many resources donated as possible.
(We will be shooting on Sony HDW F900 donated by a camera rental
company. It is one of the best HD cameras out there. )

I am reaching out to all my friends and acquaintances for help (no, no…don't
sweat….no donations). If you could just make a few inquiries in your
community and contacts for the resources listed on the film's website ( http://
www.neetamittal.com/wings_of_fire/resources/index.html ), it will be a great
help to me. I will keep updating the list as items get added or checked out.

I am also looking for a co-producer on this project, so please email me if you
are interested.

And thank you so much for your consideration.

Regards,

Neeta Mittal
neeta@ [no space] neetamittal.com
-----------------------------------------------------

San Diego Indie Short

Gariss (whose film also screened with Interminal on 3/2) will be holding
auditions.

Saturday, March 19
San Diego, CA

This audition and the film will be shot in SAN DIEGO.
Be prepared to dance. Must know, but don't have to be good at just
be willing to try the following dances: The Running Man, The Roger
Rabbit and The Cabbage Patch.

more info: gariss@ [no space] fourthproject.com
http://www.fourthproject.com

--------------------------------------------------------------------

AFI Student Short

All roles for people who appear South Asian:

Dadi (65-75 year old woman), preferably North Indian,
fluent in Hindi, relatively nimble, comfortable with
bending and squatting, able to sing (casually, bhajans
and aartis), and comfortable with chopping vegetables
and cooking on a gas stove.

Nikhil (6-8 year old boy), or older that can play
between age 6 and 8, must be able to communicate at
least in broken Hindi, comfortable in large groups of
people, good attention span, and able to take
direction.

Radha (woman in her mid to late 30s), fluent in Hindi,
English with a bit of an accent, first generation
immigrant, but relatively Westernized and
career-oriented.

Naveen (man in his late 30s), fluent in Hindi, English
with a bit of an accent, first generation immigrant,
good with kids.

Naina (12 year old girl), or someone who can play that
age, must have at least basic Hindi speaking ability,
good attention span, ability to take direction.

more info: anupradhan@ [no space] yahoo.com 
__________________________________________________________

TO DIE FOR

Theo van Gogh directed `Submission' written by Ayaan Hirsi Ali (an ex-
muslim woman) and was subsequently murdered.  Here's the controversial
film:
http://www.ifilm.com/ifilmdetail/2655656

__________________________________________________________

"INTERMINAL" SCREENING

Wed March 23, 2005 ~9pm
Thin Room (just above Onyx)
852 Fifth Ave
San Diego, CA 92101
http://www.cinemasocial.com
http://www.Anup.net
We had a terrific screening on 3/2.  Thanks for the support.  A lot of people
couldn't make it, so we're having another screening.

Hope to see you there.

-Anup

__________________________________________________________

ASK THOMAS

Filmmaker Interviews is starting a new column with tech-guru Thomas Mathai
answering your questions regarding almost anything technically related to
filmmaking.
Send you queries to askthomas@ [no space] FilmmakerInterviews.com.  It will
be posted on the site.

-Anup

__________________________________________________________

NEW SITE FOR MUSICIANS/COMPOSERS TO POST

http://www.Mp3tunes.com

__________________________________________________________

ART WORK

Storyboard Artist  (and man of many hats) Harish Rao's artwork online -
http://www.vision2words.com/gallery/mixed-media
__________________________________________________________

STAR BILLING

Great article on Billing (lead, supporting, principle, extra, etc) and
additional
misc common questions actors have for CDs.
http://more.showfax.com/columns/avoice/archives/2005_02_21.html

__________________________________________________________

2006 SD FILM COMMISSION RESOURCE BOOK

Get 3 FREE crew listings in the Film Resource Guide by the SD Film
Commission.

http://sdfilm.com/resourceguide_form.asp


__________________________________________________________

PREPRODUCTION PLANNING

Here's an interesting article from Adam Rudder:

Question from a filmmaker: How do I schedule my shoot to save money?
The answer is from prior grant winner, Mindy Johnson, teacher of Docu
School, Producer, Writer, and Filmmaker.  Mindy says, "Do the following:"
* Try to schedule your shoot over a weekend, if possible.  Rental companies
might make a deal with you to rent equipment over the weekend which could
be 3 days for a one day price.
* Question every price for rentals, do your homework and do not accept the
first quote.  Prices aren't the same everywhere.
* See if you could get a discount on equipment by offering a link to your
website, screen credit, etc.
* When hiring your crew, make a flat buyout agreement with them. That
means the person accepts a flat rate for whatever hours they work – you do
not pay overtime.  Negotiate your rate for the whole show, just in case you do
one shoot, and your second shoot might not happen for many months later.
Schedule your start and wrap day (if known), scouting or prep days, wrap
days and travel days.  Negotiate your per diem, credits, and deferments, if
any.  Promise them a pay date too.
* Put your crew on hold, but do not confirm until you are sure of your exact
production shoot date.
* Think carefully when scheduling a shoot for multiple cities.  Determine if
it's
cheaper to do it in one trip or multiple trips.
* Someone who works for free seems to be cheaper than an experienced
person. But who will work faster, and add more to your film?  Don't skimp on
cameraperson, editor or writer.
* If a person or event is on a remote location, schedule your interview, B roll,
etc at one time, do not travel to the same location twice.
* Create a realistic shooting schedule – keep in mind it takes longer to light
an
interior set than it does to light a day light exterior set.  It's easier to
shoot one
interior and one exterior on the same day, rather than 2 interiors.
* When on distant location, hire local crews when possible.  Call film
commissions in the state and city you are working in to get personnel.
* Have the camera and sound people take thorough notes, and label the
tapes.  It will save you time in the editing bay.
* Purchase stock footage if it would be difficult or expensive to shoot the same
subject.
* When covering military or NASA events, it is possible an event will be
photographed by a governmental agency, in which case the footage is public
domain and you can get access to it.
* Purchase phone cards for long distance calls; it's especially cheap at the 99
cents store.  It's less expensive than using a long distance phone company
calling card.
* Whatever equipment you rent, make a detailed list of each piece, its ID # to
insure all equipment is returned to the rental company, and nothing is lost in
transit.
* Network with other filmmakers to purchase tape stock in bulk, if you are
using the same stock, and divide it among all of you. Mindy Johnson is
teaching a 10 week Docu School to create proposals, pitches, budgets, action
plans and more. See Store on www.fromtheheartproductions.com
* https://commerce2.i2net.com/able5stores/stores/1/index.aspx

SCREENINGS

My first 16mm short film, INTERMINAL, for which I wrote the screenplay and
produced, will have a screening in two days.

View Trailer:
http://www.filmmakerinterviews.com/Anup_net/images/
Interminal_Teaser_30s.mov or go to my site: http://www.Anup.net

WHAT: Premiere Screening of INTERMINAL at Cinema Social
WHEN: Wed, March 2 at 9:30pm
WHERE: The Thin Room  (just above the Onyx Room)
852 FIFTH AVENUE
San Deigo CA. 92101
Park in Horton Plaza Mall (4th & E) buy a candybar get validated parking for 3
hours and walk a couple of blocks over to Thin.

more info: http://www.cinemasocial.com

I''ll be there along with some of the cast and crew.  Hope to see you there.

Thanks,
Anup

--------------------

I worked on a Chapman short film last year with Darren (also a member of this
group), who now has an indie feature screening next month.
-Anup



Hey there folks,

From (a wet) Los Angeles!  I promised to pass along when my film (Under The
Gun) was going to be screened, and it will be on Saturday March 12th at
10pm.  Yeah, late, so don't worry if you can't make it.

It's competing this time around in the New York Independent Film Festival in
Los Angeles.  Weird, but there you go.

Our screening is slated for Sat. March 12th @ 10pm, yes 10pm.
Location: Laemmle Theater at 7907 Beverly Blvd in Los Angeles Screen
13.
Tickets are available on the website: http://www.nyfilmvideo.com
On the website you can also get information on other events and films.

So there you have it, the Bat Time & the Bat Channel.  If you want to know
more, drop me a line.

Cheers!
D[arren]

--------------------

Daeg, a very talented child-actor, had a featured role in my film 'Interminal',
however, he is the lead in this beautifully shot and interesting 35mm short
film:
http://www.lancelance.com/film.html
-Anup
___________________________________________________________

CD TIPS

Full Article: https://www.nowcasting.com/actorsink/article.php?articleID=504&
lastUpdate=20050223090651

Julia Kim (Casting Director): Demo reels should start with the actor's current
work and move backwards. As an actor accumulates work, they should lose
the old stuff. The viewing quality and sound should be clean and not many
generations of dubbing. If an actor is lucky enough to have a diverse body of
work, the reel should reflect their range. As far as length, it can include
everything they feel proud of showing. I can always turn it off when I've seen
enough.

NC: Would you describe the best audition you ever saw?

JK: Gosh, I've seen so many good ones. I can't talk about any one specific
audition, but the most memorable auditions have always included an actor
who came in with such a outrageous interpretation, inspired the director to
hire him and rethink the character. The auditions that impress me the most are
the ones in which the actor has really put thought into the character and is so
present in their audition. When an actor is that present in the role, everyone
in
the room forgets they are in a room watching an audition. I think an actor
should commit to their interpretation of the character. Usually a Casting
Director will make the adjustment if it's way off but he or she can tell it's a
good
actor.

___________________________________________________________

THE OTHER AWARD SHOW

List of the 20th Annual Independent Spirit Award Winners from Sat:
http://www.usatoday.com/life/movies/news/2005-02-27-spirit-awards-
list_x.htm

OSCAR NOM "LITTLE TERRORIST"  SCREENS W/ Q&A - SATURDAY - LA

I saw this powerful yet entertaining short back in August at the Palm Springs
Shorts Fest and am pleased to see it move on to this status.
-Anup


SAAFA-LA is honored to host a special screening of OSCAR NOMINATED
film "Little Terrorist" followed by a Q & A session over snacks with Indian film
maker and Oscar Nominee ASHVIN KUMAR -  this Saturday, the 19th of
February.

Ashvin Kumar's 15-minute short film 'Little Terrorist' has been nominated in
the Best Short Film (live action) category for the 77th Academy Awards in
Hollywood.

Little Terrorist is about crossing boundaries and is based on the true story
of a Pakistani boy who crosses the LoC (Line of Control) after his cricket ball
lands on a minefield in Indian territory. The boy is given shelter by an elderly
orthodox Hindu Brahmin. The film is about the relationship between them.

Made on a shoe-string budget, Ashvin garnered his European and Indian
crew in innovative style. "I posted my script on the Net and asked people to
come forward. Those who worked with me were genuinely interested in being
part of the project", said Ashvin Kumar, son of India's first lady of fashion,
Ritu
Kumar.

ASHVIN KUMAR began working as an actor and director in theatre. He
undertook a degree in Media and Communications at Goldsmith's College,
University of London, in 1996, after which he began working in films as an
editor. For more info on Ashvin or the movie :
http://www.alipur.com/little-terrorist/

Details of the event :

Date: Saturday, 19th Feb
Time : 1:30 PM
Fee : $15 (non members)
		 $12 (SAAFA and NET-IP members)
Venue :
Café Bliss
1745 North Vermont Ave.
Los Angeles, 90027
North of Hollywood Blvd./Prospect Ave. (see map below)
Parking : Bank of America Parking lot ($3)
		 Electric Lotus Valet Parking (Intersection of Franklin &
Vermont)

Details :
Screening of "Little Terrorist" followed by Q & A session with Ashvin Kumar.
Snacks will be served after the screening. One drink is included.
Discount offer on a special three hour DVD called "Adventures In Shorts"
which, according to the director Ashvin Kumar, is equivalent to film school.


>>>>>>>>>>>
The discount code with Customflix.com for Ashvin's title "Adventures In
Shorts" has been set up - it is PYKFCBM9 which will give you the DVD for $22
(a $3 discount on the cost price of the DVD)
>>>>>>>>>>>

RSVP: (email/phone calls)
Neeta Mittal
neeta@...
310-643-0399

_________________________________________________________

SHINY HAPPY PEOPLE WORKING

There are so many talented people on this list whom I want to expose to the
other talented people on this same list.  Please send me a breif description of
the work
you do (actor, writer, director, accountant, still photo, etc), your area, and
preferrably a
website (but not required).  Even if you're a greenhorn (have no experience)
but would like to work on projects as a PA (production assistant - you can
never have too many PAs on a set) or in any capacity, just reply to this email.

-Anup

------------------------------------

COMPOSER

Hello Anup,

I am a film score composer in the North County coastal area of San Diego. I
am looking for any and all work, really. Of course, paid work will get
priority! But at times I have gaps in my schedule, and if a project comes
along that looks interesting, I will work for deferred or even (gasp) no
dough. I have a demo with a wide variety of musical samples that I can send
out on demand to show the various styles I can produce.

The website you visited is for our full-length CD of original pieces, which
we (my girlfriend & I) are very proud of, and I am in the process of adding
a page devoted to our film score achievements. While I am mentioning it - if
you get a chance please visit:

http://sandiego.padres.mlb.com/NASApp/mlb/sd/fan_forum/
rock_padres_vote.jsp

We wrote a song for the "Rock the Padres" contest and can use all the votes
we can get.

Thanks and any more info you need or anything else I can do to help - please
let me know!

Sincerely,
Rob Gironda

more info: http://www.carrieweiland.com

------------------------------------

MAKEUP ARTIST

I'm a Journeyman makeup artist & hair stylist specializing in all aspect of
makeup.  I am available for film, print, weddings, portfolio and Special Effects
work.  I am based in Atlanta, GA and available for travel.  Have experience
with numerous film, video and print projects.

I'm seeking both pay and deferred pay projects. Definately would like to do
more film projects. Some of my work can be seen on:
http://www.musecube.com/pmdzine

~ Priya
priyam18@ [no space] hotmail.com

------------------------------------

SOUND

Sound Production Recordist/ Boom Operator for Film and Video Shoots from
NJ that will travel anywhere to do production work.
ochoasound@ [no space] yahoo.com

------------------------------------

STAND UP

Sid Veda performs at the Improv!

Sunday, Feb 20 @ 10pm; seating opens up at 9:30p
The Improv
the Main Room
8162 Melrose Ave.
Holywood, CA  90046
 
Unfortunately, there is a $12 cover and a 2 drink-minimum, but I'll hopefully
make you laugh that off like so much wasted money.  I mean, wasted brain
cells.

Oh, and as most of you know, I don't have that many friends in this time zone
for various reasons: haven't lived here very long, am very obnoxious, don't
seem to care this year, etc... but I would sincerely appreciate it if you could
invite everyone you've ever known.
 
* Your Managers, Casting Directors and Agents are also more than welcome.
 
more info: http://www.SidVeda.com


------------------------------------

ARTIST

Tilcia Studios Grand Opening Reception will be held over two nights, the 25th
and 26th of February, from 6:00pm to 9:00pm in San Diego.

Along with the anticipated release of Tillack's latest series - Serenity &
Simplicity.

more info: http://www.tilciastudios.com

_________________________________________________________

TO SCHOOL OR NOT TO SCHOOL?

I am going down the school of hardknocks for acting/filmmaking instead of
attending school or taking classes.  So I asked Cheryl Kanekar, a SDSU film
student who has screened her doc at the Palm Springs International Film
Festival, the
following two questions after attending her school's showcase.

1. Why did you decide to go to film school when you could have put that
money towards making a feature film?

  2. Do you think you can learn stuff in film school that you can't learn from
reading books or working on other indie projects?  If so, then what?

-Anup


Her Insightful Reply:

To answer your questions, I'll go with no. 2 first. I
definitely don't think one can learn how to make films
by reading books, the only way to learn is by actually
doing it and making mistakes. That can be done both in
film school and by working on projects. The advantage
of the latter is the real-life experience it gives
you. However you do not have very much control over
the kind of work you get on projects. Especially
directing generally can only be done by a newcomer if
you are funding the project yourself, which is
difficult if you don't have money.

The process of learning consists of making lots of
crappy stuff and figuring out what not to do next
time. Film school gives one the chance to do this
without spending a huge amount. It also lets you try
out all the different roles in the filmmaking process
to understand it as a whole (at least, the best
schools do, some schools segregate you right away,
which I think is a mistake). So, film school gives you
an  opportunity to play around, experiment, learn the
rules and break them, at very low costs -- like any
other opportunity, some people squander it and some
peoople make the most of it. You saw some of that in
the SDSU festival.

I think most of the films you saw in the festival fall
in the category of very first fooling around with a
camera, films that should be learned from and maybe
not screened. My gripe with them was the lack of
originality in idea -- technical skills can be
learned, but who gives a damn about a movie with
nothing new to say, even if the maker learns to be
slick? I don't.

As for question 1, first, film school does not have to
cost as much as a feature film -- SDSU definitely does
not. But more importantly, what's the point of sinking
several grand into a feature without having the skills
to make one? I've seen way too many people with money
do that, as if money in the only thing you need. Film
school can't teach you how to be original (that's the
most important thing), but it can help you develop the
technical skills needed. Basically, to do what you
suggest would be to sink a lot of money into a film
that would mainly be a first learning experience, and
is likely to be not good enough to be screened.

That's why I got into film school, and I think it did
me a lot of good. I'd be interested in hearing more of
your opinion on this matter.

Cheryl


_________________________________________________________

ARTICLES

I noticed while looking through some of the archives of this newsletter, that
the
articles I posted previously with just a link are no longer available on their
server.  So, now I will paste some of the relevant text instead of just the
link.  It
will make this email longer, but more beneficial in the long-run.

-Anup

-------------------------

DIGI-CINEMA

With Investment from Participant, Emerging Pictures Announces 12 City
Digital Cinema Rollout for '05

complete article:
http://movies.yahoo.com/news/iw/20050208/110789004000.html

" As part of the partnership, Emerging will roll-out its Digital Cinema Network
in 12 cities this year, offering an array of programming, including independent
films and international films and other content, ranging from film festival
programming, dramatic performances, and concerts. ...

Emerging Pictures is building its network by creating digital projection
enabled sites at museums, performing arts centers, science & technology
institutions and restored movie palaces. ...

focusing on smaller cities that are "underserved by current art house
exhibitors." He added that by partnering with existing arts organizations, they
would target existing mailing lists and constituencies. ...

Participant Productions was founded last year by eBay pioneer and
philanthropist Jeff Skoll. The company focuses on "socially relevant,
commercially viable feature films and documentaries." As part of the pact,
Participant and Emerging have formed a distribution deal..."

_________________________________________________________

OSCAR MOTIVATED BY $$$?

Best-Picture Race Lands Outside Mainstream

complete article:
http://movies.yahoo.com/mv/oscars/news/apo/20050216/110859492000.html

excerpts:
"For the first time since the 1997 "Titanic" juggernaut, no blockbuster is in
the
mix, and it's the first time in 15 years without at least one $100 million hit
among the best-picture contenders going into the Oscars...

This year's five nominees have sold about 51 million tickets, down 50 percent
or more from each of the previous five years, when admissions for the best-
picture field ranged from 100 million to 118 million.

Audiences for the five top Oscar picks have not been this small since the 1984
awards, when "Amadeus" won best picture. "Amadeus" and its rivals "Places
in the Heart," "The Killing Fields," "A Passage to India" and "A Soldier's
Story"
had been seen by about 41 million people. ...

This is not just an exercise in pointless arithmetic. Executives at the Academy
of Motion Picture Arts and Sciences know from experience that a hugely
popular film leading the best-picture race helps attract viewers for the Oscar
telecast, whose ratings have been in a funk over the last five years.

"We don't have a `Titanic' or a `Lord of the Rings' out there. I think it's fair
to
say it does concern us a bit," said Bruce Davis, the academy's executive
director.

"I have never equated the Academy Awards with how much money a movie
takes in," said Nikki Rocco, head of distribution for Universal, which released
"Ray." "That's the People's Choice Awards. This is not about the public. This is
about the industry bestowing its awards on what they think are the best films
of the year."

In years when commercial hits dominate, Oscar voters are accused of
pandering to popular taste, Davis said. When smaller films prevail, the
academy is criticized for being out of step with the mainstream, he said."

_________________________________________________________

ACTING RATIO

When talking with other actors the most curious topic seems to the ratios of
submissions to auditions to bookings.  So I thought I'd expose my ratio here.

SUBMISSIONS:
Since Jan 16, 2005, I've submitted to approx 150 projects.

AUDITIONS:
Received 12 auditions (I knew 2 of the people who were auditioning the
projects; I skipped one b/c it was too far; I received 2 auditions without
submitting b/c they saw my headshot on a site).
Locations: 3 in SD; 8 in LA; 1 in Ventura

BOOKED:
From those, I've booked 6 thus far (I didn't audition for one since I worked
with
the director before; shot one; other four are coming up, but could always fall
through).

I'm an information junkie if you haven't noticed.  I love those 10million
tickers
tapes and other pieces of info on the tv.  So, likewise, that's why I'm putting
out
this info for you guys in case you're like me.

Keep your chin up!

Anup

I'm really excited about this newsletter because the members of this group are
kicking some bootay and have some serious projects going on.  Rahul's
casting for a feature, Sid & Markham are performing, Naush is looking for a
script & editor and Sabina is looking for a composer.  Adam's shooting his
funny NFL-films spoof short next week. I just got a featured role in the Albert
Brooks film and became SAG-eligible.

If you have any projects or shows let me know and I'll post it.

-Anup

__________________________________________________________

CASTING CALL

SLUDGE!
Non-Union Feature Film
Micro Budget HDV Creature Feature
NON-UNION
Casting Director: Rahul Chatterjee
Interviews:
Shoots: February
Location: Santa Clarita

SUBMIT ELECTRONICALLY via ACTORS ACCESS or
SUBMIT HARDCOPY BY 2/10 TO:
OBSIDIAN PRODUCTIONS
5455 WHITE OAK AVE. 3206
ENCINO, CA 91316

NOTE: PLEASE SUBMIT ALL ETHNICITIES.

[JIM] Male, 25-28. Attractive with a good physique. An
intense young man who has been diagonosed with cancer.
Thin but muscular build, strong sense of gallows
humor...LEAD

[DR. JONES ] Female, 31. Attractve with a good
physique. An academic, a bit too pushy...LEAD

[EMMA] Female, 21. Attractive with a good physique.
College student & future lawyer - very "book
smart"...LEAD

[MIKE ] Female, 19. Attractive with a good physique. A
conspiracy geek, sarcastic with great comic
timing...LEAD

[ANCE] Male, 19. Attractive with a good physique.
Analytical, the real scientist of the group...LEAD

[SHEILA] Female, 18. Attractive with a good physique.
Anarchist, a little misanthropic...LEAD

[GEORGE] Male, 20. Attractive with a good physique.
Athletic frat guy with a Cro-Magnon sense of
humor...LEAD

[AMBER] Female, 19. Attractive with a good physique.
Soroity girl with an attitude...LEAD

[DONNA] Female, 25. Attractive with a good physique.
Petulant wife...

[JAKE ] Male, 25. Attractive with a good physique.
Brow-beaten husband...SUPPORTING

__________________________________________________________

COMPOSER WANTED

I'm shooting my film in about 3 weeks!  Lots to do but we're looking in pretty
good shape right now.  The film stars Kumar Pallana of 'The Terminal' & 'The
Royal Tenenbaums.'  I'm sure you're familiar with his work, he's a lot of fun to
watch on screen!

Anyhow, I am in the process of looking for a music composer for this piece.
This is a short film and will be entered into festivals (locally, nationally &
if well
received, internationally as well).  It's a cross cultural film and the music
would
include a fusion of traditional & modern styles. There are about 3-4 musical
sequences of varying lengths.  If you know anyone who is interested, please
do let me know.  It is a student film and I can't afford to pay right now, but
should it win any award money in festivals I'm more than willing to work
something out.

Thanks Anup, let me know if you need any more info.
Sabina Shamdasani
Writer/Director
'Dear Dada Ji'
http://www.karmatheoryfilms.com

__________________________________________________________

SCRIPT & EDITOR WANTED

Here's a great chance to have a produced script.  Naush is a CSU Long
Beach film student looking for a script which she'll shoot on film (16mm).  Her
requirements follow.
-Anup

This is the "challenge" I sent out to the writing kids.
3-5 minutes
2-3 character
2-3 locations
Something that can be shot in 3 days and something quirky, stylized,
fantasyesque, etc.

Nausheen
ndadabhoy [nospace] @gmail.com

__________________________________________________________

FUNNY MAN SID VEDA

Hola.  I am performing stand-up this week, and I would love for you to come
laugh at me. I would love it even more if you bring lotsa folks. If you can make
it, please tell the door-folk that you are there to see Sid..

Thanks!
Sid
http://www.SidVeda.com

Thursday, February 3rd
8:00 pm, seating starts at 7:30 pm
Cover $10

Room5 Lounge
143 N La Brea Ave Second Floor
Los Angeles, CA 90036-2911

http://whiteboycomedy.com/lineup-room5.htm

__________________________________________________________

MARKHAM'S THEATRE

Our play opens on Friday...
It's actually seven short plays.
http://www.apartmenta.org

I'm in a hilarious one called "$3.50"
a tale of video store late fees.  (he, he, he)

We were nominated for an ovation award last year for
"best new play"
We lost to Athol Fugard, but really, you can't be disapponted losing to athol
fugard LOL.

Markham Reilly
http://www.nowcasting.com/markhamreilly
http://www.apartmenta.org

__________________________________________________________

LESSONS I LEARNED THIS WEEK

I just worked as an extra on Albert Brooks' (Finding Nemo, The Muse) Untitled
Project which eventually led to a featured role.  Here are a few things I
learned from working on it for eight days.

Get the novelty of being on screen out of your system because it will hurt your
chance of getting a featured role later on in the same project.  I'd say that it
took me about 3-4 major projects to get it out of me.  Now, I will hide my face
at all times and hope for a featured role.

I ended up getting the role because the casting director was walking around
asking who can drive a right-hand drive stick-shift truck.  I immediately jumped
at it and said yes even though I'd never done it before.
Then, Albert selected me for the role which turned out to be
3 more days (or rather nights, 4pm – 5am) of shooting.  I even got my own
room in a honey-wagon trailer. I was excited about that – the first time I could
actually say, `I'll be in my trailer' and not have it be a joke. :)

Next time, I will let the casting directors know upfront that if they need
anyone
for anything, to please let me know.

During these eight days, I became SAG-eligible by accumulating 3 vouchers
(I ended up with 6 total).  However, this does not make me a better actor. I
used to think SAG actors were so much better, but it's just a title.  It means
nothing in terms of performance - don't hide behind a title.  So, just keep at
it
and try and find projects that will give you vouchers, then YOU can decide if
you want to join or not.

I will NOT join because I want to be able to continue working on non-union
films.  I will join when a big project comes my way with a decent role.
However, if you are not interested in acting I would recommend trying to join
asap and then work background (aka extras) as a job because it's really
flexible – IF you live in LA because there aren't as many union work
elsewhere.  Plus, you meet so many people who can possibly refer you for
another project if you perform well.

The pay is double.  Scale for an extra is $118/8hours currently, but you get
`bumps' for bringing your own wardrobe, changing wardrobe, mileage, late
lunches (meal penalties), etc.

-Anup

CORRECTION:

I forgot to mention that Judy Cook is only looking for people who can pass as
South Asians (India, Pakistan, etc) only for the 'Untitled Albert Brooks
Project'.
Judy Cook 323.692.7555

I apologize for the lack of information.

-Anup

___________________________________________________________

SAG & AFTRA NEWS

Actors Unions Reach Deal With Producers

"Hollywood's two major actors unions announced late Thursday they have
agreed to a new contract with film and TV producers worth $200 million over
three years.

The Screen Actors Guild and the American Federation of Television and
Radio Artists had been immersed in negotiations with the Alliance of Motion
Picture and Television Producers since Dec. 6. The unions have nearly
200,000 members nationwide.

Under the agreement, which still needs final approval, actors will get a 9
percent minimum pay raise over three years, increased money for the unions'
health and pension plans and greater protections for stunt actors and extras,
SAG said in a statement.
ADVERTISEMENTHowever, actors did not get a larger share of DVD
residuals, which unions representing writers and directors had tried
unsuccessfully for in their recent contract negotiations..."

http://movies.yahoo.com/news/ap/20050121/110630508000.html

WAY TO GO CINEMA SOCIAL & SDAFF!

Tsunami relief at Cinema Social at the Thin Room last week raised about
$22.5K !!!

http://www.CinemaSocial.com

__________________________________________________________

EXTRAS CASTING FOR ALBERT BROOKS UNTITLED PROJECT

Contact Casting Director Judy Cook ASAP for Tuesday 1/25 shoot
323.692.7555 – leave a message after the long out-going message
Please let her know I referred you.
-Anup

__________________________________________________________
PILOT CASTINGS:
http://MyWorldMag.com/CASTINGCENTRAL.htm

__________________________________________________________

ACTOR PROFILE

Our very own Atlanta-based actress Mrinalini Sharma has an article on her
method-acting style as she walks us through a day in her life when a shoot is
in progress.
-Anup

http://www.nripulse.com/Archives/DayInLifeDec.htm
__________________________________________________________

HBO SERIES ON ACTING

Clips from "Unscripted":
http://www.ifilm.com/ifilmdetail/2660607

__________________________________________________________
INDIE DISTRIBUTION

First Run Features was founded in 1979 by a group of filmmakers to advance
the distribution of independent film. Under the leadership of the late
independent film pioneer, Fran Spielman, First Run Features quickly gained a
reputation for its controversial catalog of daring independent fiction and non-
fiction films. First Run Features remains one of the largest independent
theatrical and home video distributors in the United States, releasing 12 to 15
films a year in theatres nationwide and 40 to 50 videos and DVDs annually.

The First Run legacy includes films by such notable directors as: Spike Lee,
Michael Apted, Rose Troche, Sven Nyqvist, Jane Campion, Ross McElwee,
Michael Winterbottom, Maria Luisa Bemberg, Barbara Kopple, Peter Jackson,
Daniel Bergman, Dariush Mehrjui, David O. Russell, Lizzie Borden, Claude
Chabrol, Jan Svankmajer, Claire Denis, Benoit Jacquot, Marleen Gorris,
Radley Metzger, Deborah Shaffer Victor Nunez, The Brothers Quay, George
Sluizer, Monika Treut, and Satyajit Ray.

http://www.firstrunfeatures.com/about.html

AUDITIONING ETIQUETTE

I helped a friend audition about 100 people over the last two weeks.  I learned
a lot by doing that.  I think it's important to do the opposite of what you want
to
do.  If you want to act, cast.  If you want your film in a festival, be a
festival
programmer.  You'll see a surprising contrast in what works and what doesn't.

Very breifly, a couple of things that stood out from the audtion sessions:

-Don't be a flake.  I recognized a few people on the list who flaked on me
(again) from a previous casting call which they flaked on.  You think they'll
get
another shot of even getting an audition from me again?  Also, if another
filmmaker runs a list by me, I'll immediately point them out, so they don't
waste
people's time.  That slot could have been booked by a serious actor.  If you're
running late or can't make it, call and leave a message.  Let us know asap.

-Be pleasant.  When we're scoring many actors, a lot of them will tie in terms
of performance, so guess who gets thrown out?  Yup, the grumpy ones.

-Don't take forever to get into character.  We had one who took about 30
seconds before each reading for all the different roles.  We just sat there
looking at each other wondering if she had a migraine or something.  If you're
going to do that, make sure you can deliver the goods like Pacino.

-Don't wear black because when we went back and watched the video, all
people in black looked formless.

Here's a good article on auditioning from NowCasting.com that talks more in
detail about similar experiences I had.

https://www.nowcasting.com/actorsink/article.php?articleID=500&lastUpdate=
20050118104537

-Anup

__________________________________________________________

INDIE DISTRIBUTION

Laemmle and Zeller Partner On New Distribution Outfit; First Release is "Up
For Grabs"

"Laemmle and Zeller said that they will focus on releasing indepedendent
films and said that because their new company has no extra overhead, they
will remain highly selective when deciding to release a movie...

...Laemmle and Zeller said that they are in negotiations on two other films.
LZF will release 4-8 films each year according to the partners. "

http://movies.yahoo.com/news/iw/20050118/110607060000.html
__________________________________________________________

CARE TO DANCE?

Indie Spirit Lives on at Sundance

"Critics say the Sundance Film Festival has become too big, too commercial,
too focused on celebrity sightings and star-driven movies at the expense of
spotlighting undiscovered talent. "

http://movies.yahoo.com/news/ap/20050119/110617368000.html

----------

Also if you're in the Park City area around Sundance time, check out Sharat
Raju's excellent short film 'AMERICAN MADE'.

-Anup

http://www.americanmadethemovie.com
__________________________________________________________

WHERE DO YOU DRAW THE LINE?

Golden Gate Officials Angry With Filmmaker

"The film project was proposed as a documentary intended to "capture the
grandeur" of the Golden Gate Bridge.

But after a year, filmmaker Eric Steel ended up with footage of 19 deaths and
several attempts by people who wanted to end their lives by jumping off what
is regarded as the world's No. 1 suicide landmark. "

http://story.news.yahoo.com/news?tmpl=story&cid=493&ncid=790&e=7&u=/
ap/20050120/ap_en_mo/golden_gate_suicides

___________________________________________________________

AIDA
Australian Institute of Dramatic Arts

Come see the next new wave of AIDA actors in "MOUTH OPEN, SLIGHT
SMILE..." an acting showcase. Our first Showcase in early 2004 had full
houses. You want training?  We got training!!  Tasty eats.  Icy libations.
UNFORTUNATELY NO FREE VALET PARKING IS AVAILABLE FOR
STUDENTS, but come anyway and support your peers.  And some of the best
unseen talent in Los Angeles!

Wednesdays:  January 19th, 26th, and February 2nd at 7:30pm.
The Complex Theatres.
6472 Santa Monica Blvd in Hollywood. 90038. @ Wilcox in Hollywood.
Under the direction of CEO Paul J. Parker.
Go to http://www.aidaacting.com for more details.

Finally our next FREE acting classes will be on Monday January 31st, 2005
witlh classes at both 6pm and 8.30pm. to register tell friends to go to
www.aidaacting.com

We look forward to seeing you at AIDA in January 2005
Paul Parker
CEO
AIDA

___________________________________________________________

RADIO KILLED THE POLITICAL STAR

Clear Channel Rolls Out More Liberal Talk Radio

http://news.yahoo.com/news?tmpl=story&u=/nm/20050120/media_nm/
media_clearchannel_dc

___________________________________________________________

I apologize for the poor formatting below.  I'm trying to work on it.
-Anup


LOCAL TSUMANI RELIEF EFFORT AT THIN - SD

Learn more about the cultures of the regions devastated by tsunamis
while
helping to save lives through your donation. Join SDAFF at Thin,
Wednesday
Jan. 12th, for an evening of films from Thailand and India and to
hear the
personal story of a local survivor. All proceeds from the event will
be donated
to Direct Relief International, ranked by Forbes as one of the most
efficient
U.S. charities. The event is open to the public (21 and over) and
there is a
minumum $25 donation. Plus, there will be food donated by Star of
India and
$4 Skyy Vodka drink specials.

* When:  Wednesday, Jan. 12, 2005, 8 p.m.–midnight
* Where:  Thin Bar, 852 Fifth Ave., Gaslamp Quarter (21 and over
only)
* Cost:  Minimum $25 donation to Direct Relief International

The evening will feature Ong Bak: Muay Thai Warrior, a fast-paced
action
Thai thriller showcased at the latest SDAFF feature film lineup.
Local
filmmakers will also show short documentaries exploring cultures of
South
Asia, with Cheryl Kenkar's Pyramid of Women on India and Dawn
Poomee's
Ma-Nang on Thailand. Attending the event will be special guest and
local San
Diegan, Brandon Behle, who will share his firsthand account of
escaping the
tsunami in Ko Phi Phi,Thailand.

more info: http://www.sdaff.org & http://www.cinemasocial.com
___________________________________________________________

ARTWALLAH CALL FOR ENTRIES (CFE)

Deadline: Feb 15th
Entry Fee: $0
Types of work:  All (incl. Film, music, dance, etc)
Date of Festival: July '05
More Info:
http://www.Artwallah.org

___________________________________________________________

NETFLIX FRIENDS

Netflix is trying to find another way to lock in its customers with
this new
feature.  I think it will be an interesting avenue to discuss films
or just see one
another's taste.  So, if you're a member and want to try this let me
know via
email.  Yes, you do have to be a member for this.
-Anup

___________________________________________________________

...AND THE OSCAR GOES TO...

Film Crane Creators to Get Oscars

The creators of two camera crane systems that allow directors to film
wide,
sweeping action sequences without pushing a camera along static sets
of
tracks will be honored with Oscars for their achievements.

http://movies.yahoo.com/news/ap/20050108/110521944000.html
___________________________________________________________

NEVER COMING TO A THEATER NEAR YOU

indieWIRE's Top 15 Undistributed Films of 2004
http://movies.yahoo.com/news/iw/20050103/110477406000.html
___________________________________________________________

2004 INDIE RECAP

Considering Some of the Successes and Disappointments at the 2004 Box
Office


"...On the tougher side, THINKFilm's Urman finds that companies are
aggressively competing for a small audience that does not want
challenging
films. "Good alternative films will always find an audience," he
noted," But
tricky, risky, demanding ones are reaching fewer and fewer people in
theaters..."

"... it is challenging to "break through the clutter" in the crowded
marketplace
today, adding "There seems to be an increasing 'feast or famine'
routine for
(indie) films that is cutting out the middle class..."

"... a number of major newspapers are 'lost in translation'" -- they
are trying to
reinvent their editorial content to connect with a larger younger
demographic -
- this process has also impacted the entertainment sections of the
paper and
here is the real rub! The younger set are less influenced by
newspapers in
making their moviegoing choices and read less. Therefore, it no
surprise that
newspapers are losing even more of their readers..."

"...The attractiveness of home theatres combined with DVD's has made
theatrical distribution seriously more challenging in a very short
time period.
This is especially true for the 25-45 audience which is the bread and
butter
audience for independent films..."

"...It's a great time to be in independent film," they said via
email, "Studios are
churning out more and more standardized fare for global consumption,
and
audiences in general, and upscale audiences in particular, are
exhausted by
them. 'The Passion', 'Fahrenheit', and 'Super Size Me' are
spectacular
demonstrations of this and I know more are coming."

http://movies.yahoo.com/news/iw/20050105/110495064000.html
___________________________________________________________

ONLY CERTAINITY IN LIFE: FILM AND TAXES

Bloomberg Signs Tax Incentive Legislation to Lure Productions to NYC

http://movies.yahoo.com/news/iw/20050106/110503224000.html

UN-REALITY SHOW

From Steven Soderbergh's And George Clooney's Section Eight production
company comes Unscripted, a new fictional series revealing the lives of
struggling actors in Hollywood.

http://www.hbo.com/events/unscripted/index.html

___________________________________________________________________

THE WRITE STUFF

Novelist Rushdie condemns Britain for not protecting Sikh playwright

http://story.news.yahoo.com/news?tmpl=story&u=/afp/20041226/en_afp/
britainsikhsplay_041226172831

[click on link, then copy and paste line two at the end of it in the browser -
not sure why yahoo group does this. -Anup]
___________________________________________________________________

Q&A WITH TV CASTING DIRECTOR (CD)

"...do you look at non-represented actors?

...Yes, I do. For the most part, we go through agents. It's just the way it is.
But
interestingly enough, and for whatever reasons, last year on Eve, we Taft-
Hartleyed so many people. It was usually always the smaller parts and we
certainly always had to justify to SAG what we were doing. I know a lot of
casting directors who won't even see anybody who is not SAG because they
don't want to get fined. You really have to—you know the Taft-Hartley
situation, right? The casting director has to prove to SAG that they auditioned
a certain number of actors and then to say why this non-SAG person got the
part. "

Part One: https://www.nowcasting.com/actorsink/article.php?articleID=380&
lastUpdate=20041215094737

"If a chair is sitting there, don't ask them if you should stand or sit. You
make
that decision. If you ask, they're usually going to say, "Go ahead and do
whatever you want." And by asking you've already given away some of your
power. The other thing I've noticed is that a lot of times the chair maybe
moved over to the right where another actor has put it out of their way. The
next actor will come in and sit in it figuring that's where the chair's supposed
to be. Don't. Command the space. You decide if you want to use the chair,
and where you want it. You decide what you're going to do rather than asking
the producers what you should do.

And then, don't shake hands with everybody. Producers really don't like that.
It's fine to say, "Hi, how are you?" being nice and friendly and all of that
stuff,
but they have twenty actors waiting in the lobby and they want to get on with
it.
So don't chitchat for a long period of time. After the initial, "hi, how are you
doing?" you pretty much should look to the casting director and ask, "Am I
reading with you?" or "Are you ready?" Or nod to them to let them know you're
ready. And get on with it. And then if they want to chat afterwards, then you've
already auditioned and that's fine. That gives them room. It's fine to say,
"Would you like to see anything else?" And sometimes that will open it up to
where they may direct you. "

Part Two: https://www.nowcasting.com/actorsink/article.php?articleID=381&
lastUpdate=20041216154832


The above is through their newsletter, so I will not be repeating their work
after this.  Sign up on their site: http://www.nowcasting.com
-Anup
___________________________________________________________________

NETFLIX vx. BLOCKBUSTER ONLINE

"...DVDs now representing more than 50% of all revenues for a Hollywood
film (e.g., equal to the total domestic, foreign and TV revenues),...

...So, what does DVD visionary Lieberfarb foresee in the future of the shiny
disc? You got it; video on demand, delivered over the Internet. Again, what's
at stake here is not just Blockbuster vs. Netflix, or TiVo vs. Amazon. It's the
very infrastructure of one half of the movie business, unfurling in parallel to
the digital delivery and projection systems that will eventually transform..."

http://movies.yahoo.com/news/fs/20041223/110384050400.html
___________________________________________________________________

KEEP WATCHING THOSE  FILMS

"He's [Martin Scorsese] not only one of the greatest filmmakers of all time,
but he's a film historian. The man has seen almost every film ever made, up
until 1980."

"You get an education while working with him, every single day," adds
DiCaprio. "You can ask him a question about a character or a way that a
scene should go, and he can show you 20 different examples of filmmakers
that have done that in the past. The way it's been done right and the way it's
been done wrong. It's an incredible learning experience."

http://www.filmstew.com/Content/Article.asp?ContentID=10437&Pg=2

ROBERT RODRIGUEZ RESIGNS DGA

http://filmforce.ign.com/articles/505/505009p1.html

___________________________________________________________________

GET IT IN WRITING

DiCaprio, Maguire Sued Over Indie Film

"...The actors have said they made the film as a "favor to a friend" and did so
under the agreement that it would never be promoted as a feature-length movie."

http://movies.yahoo.com/news/ap/20041220/110359104000.html
___________________________________________________________________

THEIR PAST

I've been talking to fellow actors and directors who are concerned about doing
projects because the calibur is not high enough.  Sometimes, it's a tough call,
but I think the more you're on the set the more you'll learn and the bad movies
will just die off. Guess who made the following movies:

1. Piranha Part Two: The Spawning
2. Dementia 13
3. Evil Dead II
4. The Party at Kitty and Stud's
5. Dead Heat on a Merry-Go-Round
6. A Nightmare On Elm Street

See answers at the very bottom...

-Anup

___________________________________________________________________

CAST AND CREW CALL - SD

Hello all,

I'm producing/directing a new project and thought you
might be interested.

It's a hilarious low budget spoof on bar life.  A fun
short script-- the majority of the scenes will be shot
at a very hip, stylish, sheik, sexy club in downtown
san diego. Lots of fun! DRESS appropriately. One
screening already set-up, more in the works.

Please submit photos/resumes. Auditions scheduled by
appointment for the weekends of Jan 8th/9th &
15th/16th

Casting for the following roles:

• Jennifer (Best looking girl in club, must be
physically expressive and excel at physical humor
20-28, any ethnicity) CO-STAR

• Lee (21-33, any ethnicity, nerd, best friend of
Lead) SUPPORTING

• Frankie (21-33, any ethnicity, nerd, MUST do good
nerdy voice, best friend of Lead) SUPPORTING

• Narrator (Male, deep, god-like classic voice—think
NFL Films) VOICE OVER

• Jen (Female, Very attractive, 20-30, any ethnicity,
Jennifer’s best friend) SUPPORTING

• Jenny (Female, Very attractive, 20-30, any
ethnicity, Jennifer’s best friend) SUPPORTING

• Cindy (Female, Very attractive, 20-30, any
ethnicity, Jennifer’s best friend) SUPPORTING

• Scott (Male, any ethnicity, 21-40) FEATURED

• Bartender (Male 25-35, good looking, well-built,
cocky, any ethnicity) FEATURED

• Cocktail Waitress (Female, 18-30, slim, attractive,
any ethnicity)

• Montage Girls#1-5 (attractive women, 18-35; any
ethnicity, opportunity to reject and/or slap the male
lead)  :)

• Vivica (Female, 18-30, any ethnicity, very
attractive, fit, will be wearing lingerie or bra and
panties for comical scene--no nudity) FEATURED

• Ex-boyfriend (21-35; any ethnicity, comfortable
wearing tighty whiteys—funny physical humor) FEATURED

• Male Coup (male, 21-45, any ethnicity)

• Female Coup (female, 21-45, any ethnicity)

• Meathead (Male, any ethnicity, 21-35, jock, broad
shoulders)

• Barfly (25-35; White male, Bar regular)

• Random Woman (30-60, any ethnicity, big boned,
personality of a witch or a hag)

• Elderly man (60-80, White man, gentle disposition,
can play playful drunk) FEATURED

• Analyst (Male, 25-40, clean cut, professional—think
post-game sports show/post-election analyst) FEATURED

• Interviewer (Male, 21-30, any ethnicity, rookie on
the job) FEATURED

• Deejay: (male or female 18-30; any ethnicity, Actual
deejay preferred)

• Bouncer (Male, 25-35, any ethnicity, needs to look
like a bouncer)

• Club Dancers (male/female, 20-30,  any ethnicity)

More available  information upon contact

CREW
I am currently looking to round out our crew. I have
some of the slots filled and we’re currently in
discussions with others.  This is going to be a really
fun environment.

Basically, a group of talented filmmakers got together
and decided to just have some fun and max out our
credit cards---so in other words, this is a labor of
love and we want to work with others who share the
same joy in filmmaking!

We are shooting DV and we are looking at tentatively a
4 day shoot. If you know of some talented filmmakers
or aspiring filmmakers(or you yourself are
interested), please let me know or have them contact
me. If by email: please put in the header/subject
line—“BAR MOMENTS”

I will go into more detail about the project when you
contact me.

If you are posting this outside of pool of people you
know personally, please let me know, I have an
alternative email/phone contact.

Positions in discussion are below…

• DP  (shooting digital, must be able to light club to
look like film—looking for a very talented, passionate
DP).

• Sound (there is very little dialogue, lots of
ambient club sound, interviews and audio sync etc)

• Line Producer/upm (potentially already have one
lined up, but ideally want to have two)

• Grips (one of which to work very closely with DP)

• Gafs

• PA’s

• Wardrobe


Thanks!!
Adam
barmoments@ yahoo.com (no space)

___________________________________________________________________

THEIR PRESENT

The answers to the above movie titles:

1. James Cameron (dir. Titanic, T2)
2. Francis Ford Coppola (dir. The Godfather)
3. Sam Raimi (dir. Spider-Man)
4. Slyvester Stallone (act. Rocky)
5. Harrison Ford (act. Star Wars)
6. Johnny Depp (act. Pirates of the Caribbean)

INDIE FILM MAGAZINE AND WEB

http://www.IndieSlate.com

They have a section called "Reel Stories" where you can write in about your
stories about production.
-Anup

__________________________________________________________________

INDIE BOX OFFICE

http://www.indiewire.com/boxoffice/

__________________________________________________________________

SDSU (San Diego State University) FILM STUDENT SHOWCASE

Friday, Dec 17, 2004
5:30pm BBQ
7pm Screening
Tickets are approx. $10

Little Theater Bldg in the Communications Bldg
Map: http://www.sdsu.edu/map/display.cgi?226,74
http://www.sdsu.edu

They were not very good about returning phone calls, so this info may not be
completely accurate.
-Anup

__________________________________________________________________

PRODUCE IT LIKE NAYAR

A member of this group, Harish Rao, interviewed Deepak Nayar (Bend it like
Beckham, Bride & Prejudice, etc):

http://hollywoodmasala.com/frontpage.aspx?cat=newsdetail&PostID=3319
__________________________________________________________________

ECHO PARK FILM CENTER
1200 N. Alvarado Street LA CA 90026
PH# (213) 484-8846
http://www.echoparkfilmcenter.org
__________________________________________________________________

PUBLIC DOMAIN: FREE DOWNLOADS OF MOVIES

http://www.archive.org/movies/collection.php?collection=feature_films
__________________________________________________________________

SHORT FILMS OF LEADING MUSIC VIDEO DIRECTORS
ENJOYS LA PREMIERE

The Music Video Production Association (MVPA) will be holding the premiere
screening of The 7th Annual Director©ˆs Cuts Film Festival next month, which
highlights short films and experimental works of today©ˆs leading music video
directors for the Los Angeles film community.

In addition to the incredibly diverse short films, three previously unaired
director©ˆs cuts of music videos will screen, two of which are world
premieres, by master directors Mark Romanek, Mark Pellington and Michel
Gondry.

The event will be held at Universal Studios on Friday, January 7, 2005.  The
screening will be followed by a reception with the filmmakers and hosted
bar.  Ticket order forms are currently available at www.mvpa.com.

©¯We feel really strongly about these films, that were selected by a panel of
their music video peers,©˜ says festival producer Drea Clark. ©¯With so many
music video directors going on to helm feature projects, this is a great way
to get an idea of their narrative potential.©˜

The program has premiered in Los Angeles annually to top feature film
scouts, agency creatives and management companies, and tickets have been in
high demand since its inception in 1998.  The 98 minute program includes
work by 15 directors and covers all visual and emotional genres.

The 7th Annual Director©ˆs Cuts Film Festival features short films by
directors with such video experience as: Brett Simon (Hoobastank "The
Reason"), Shaun Peterson (Train ©¯Calling All Angels©˜), Charles Jensen (Von
Bondies ©¯Tell Me What You See©˜), Eric Henry (Buckethead ©¯Spokes for the
Wheels of Torment©˜), Doug Aitken (Barenaked Ladies ©¯It©ˆs All Been Done©˜),
Ruben Fleischer (Dizzee Rascal ©¯Stand Up Tall©˜), Bob Odenkirk (HBO©ˆs Mr.
Show), Dustin Robertson (Usher ©¯Yeah©˜, editor) and more.

Many of the past directors have secured multi-picture deals, gained high
profile representation and confirmed development arrangements as a result of
the LA Program.

To receive additional material for editorial, request a press pass to the
event, and/or other information, please contact the MVPA at info@... or
213.387.1590.

A full listing of the 7th Annual Director©ˆs Cuts films and their
descriptions can be found at:

  http://www.mvpa.com/directors_cuts/directors_cuts_2004.htm

The MVPA is a non-profit trade association addressing the concerns and needs
of the Music Video Production industry.

NON-UNION EXTRAS CASTING CALL

'Untitled Albert Brooks Project'
Casting: Non-Union people who are  dark-skinned and can pass for Indian
(Hispanics, Greeks, Native Americans, etc are encouraged to apply - or get a
nice tan and go in)
Shoot Dates: 1/10/05 - 1/12/05
Casting Dates: 12/22/04 - 12/29/04 (or via email)
Location: LA (not 100% sure about this)
Call 323.692.5620 for complete info

-Anup
__________________________________________________________________

MUSIC IN/AND FILM

ACIDPlanet.com is a site where you can post short films, music videos, and
collaborate or find musicians to work on music for your film.

-Anup
__________________________________________________________________

LET'S TALK ABOUT SEX BABY

Very rarely do I recommend movies because I think it's just an opinion.   I've
mentioned Eurotrip, Brothers McMullen and other films because of their
commentary or something that has to do with their educational aspect towards
filmmaking.

With that said, check out "KINSEY" starring Liam Neeson, for nothing other than
the movie itself.

-Anup
__________________________________________________________________

HE IS A DOCTOR AND HE PLAYS ONE ON TV

A doctor/actor friend of mine, Reef Karim, just made People Magazine`s "Sexiest
Men Alive".  Read an interview about him here:
-Anup

http://hollywoodmasala.com/
__________________________________________________________________

NOBODY KNOWS NOTHING IN HOLLYWOOD

"If there were 500 people working at Paramount, 500 people thought it was
the worst thing they'd ever read in their lives..."

http://story.news.yahoo.com/news?tmpl=story&cid=1896&ncid=1896&e=3&u=
/nm/20041209/us_nm/leisure_chinatown_dc

GIGAPIXEL CAMERAS

This kind of ties in with the HD-DVD making the regular DVDs outdated from my
previous post.  The resolution just keeps climbing.
-Anup

http://www.gigapxl.org/gallery.htm
http://www.tpd.tno.nl/smartsite966.html

___________________________________________________________________

SCREENWRITER'S RESOURCE

This is a great site by Ted & Terry (screenwriters for 'Pirates of the
Caribbean', 'Shrek', 'Alladin', etc).
-Anup

http://www.wordplayer.com

___________________________________________________________________

MOVIE RELEASE DATES

It's amazing that studios spend millions on making these films and then don't
think about the type of movies for the release time.  Who was thinking about
Christmas weeks before Thanksgiving (when 'Polar Express' was released)?  It
opened with a mediocre box office.  People only want to think about carving
turkey on Thanksgiving, not each other while on a conquest to take over the
world.  Alexander opened at only $16M ($21M for all four days during T-day).

Here's an article on possible reasons why 'Alexander' failed.

-Anup

http://movies.yahoo.com/news/fs/20041130/110184800600.html

___________________________________________________________________

CHILD ACTOR DANIEL ZINNA

I met this child actor at a fest earlier this year and was very impressed by his
professionalism and work ethic.  I have not seen his work as he still working on
putting together his demoreel, but he has done fourteen films by the time he was
11 and has done VO and a mutlitude of other things (man, I feel like a slacker).
He is going to Bombay and possibly Delhi from 12/17 - 1/07 and is looking to
make contacts in the industry.  If you know anyone there, please pass his info
onto them.
-Anup

http://www.geocities.com/danielzinna/1.html

___________________________________________________________________

FILM FEST SUMMIT

Talking About The Modern Film Festival, at a Conference in NYC
Wednesday December 8 9:31 AM ET

Reps from a handful of the more than 600 film festivals in the U.S. kicked off
the inaugural International Film Festival Summit in Manhattan on Tuesday,
chatting about some of the issues facing festivals, from audience development,
rental fees,

http://movies.yahoo.com/news/iw/20041208/110252706000.html

___________________________________________________________________

CASE STUDY: THE PASSION - Oscar Race

Continuing with the case study (you can go back and see the archives titled 'CS'
to see Mel's steps in marketing 'The Passion of the Christ').
-Anup

http://movies.yahoo.com/news/eo/20041119/110091930000.html

___________________________________________________________________

SLAVES AND ENSIGNS

It looks like my doc will screen around 9:30pm tonight in downtown SD.  Check
out
http://www.cinemasocial.com for complete info.

Thanks,
Anup

Hello All,

WHAT: My documentary "Slaves and Ensigns: The Far Side of the Border" will
screen in San Diego.

WHEN: Wed 12/08/04 between 9p - 10p

WHERE: Cinema Social in downtown San Diego at the
THIN CLUB
852 fifth avenue
san diego ca 92101

619.341.3506
info@...
www.cinemasocial.com

It will screen with other short films.  If you're in the area, come by and check
it
out.  I'll be there.  It's a really cool club, and no, you don't have to be thin
to get
in. : )

It is also available for viewing on ifilm.  You can access it via my site -
www.anup.net on the 'Films' page.  You can also check out the trailer there.

I hope all is well and if I don't see you on Wed, have a safe and happy holiday
season.


Take Care,
Anup

HD DVDs coming soon:

As I've been preaching for the last several months my theory that HD-DVDs will
replace the current dvds, here's the first article I've seen on it.
-Anup

http://www.cnn.com/2004/TECH/11/11/spark.dvd/index.html

___________________________________________________________

SCREENWRITING EXPO 3 WORTH IT

The Screenwriting Expo 3 held at the LA convention center was so worth the $60
(actually, less because it includes a 1-yr subscription to the magazine).  The
best part were the guest speakers which included: William Goldman (Butch
Cassidy, Princess Bride, etc), Paul Attansio (Donnie Brasco), and many more.  I
took notes and hope to turn it into an article for Filmmaker Interviews, but the
priority is pretty low.  However, I am willing to share the notes as it is
informational and inspirational.  But due to its raw unformatted nature, I don't
want to put it on here.  Email me if you're interested and I'll send you a copy
of it.

-Anup
___________________________________________________________

Netflix to Send DVDs to Independent Film Award Voters


In a move to raise its profile as a purveyor of art films, online DVD rental
outfit Netflix Inc. has agreed to provide free copies of films to 9,000 voters
who will choose the winners of the Independent Spirit Awards next year, a
Netflix spokesman said on Monday...

http://movies.yahoo.com/news/va/20041129/110178650700.html
___________________________________________________________


Bollywood Superstar Lends Voice to Hollywood Movie

Following an old Hollywood tradition of distinguished stars lending their voices
to animated screen characters, the voice of Bollywood's top leading man will
feature in a Hindi language version of "The Incredibles."

http://movies.yahoo.com/news/va/20041130/110181329000.html

"INDIAN COWBOY" SCREENING TOMORROW
Thu, Nov 4 at 1pm

A friend of mine has her film screening tomorrow at  AFM (American Film
Market).  If you're in the area and have some time, check it out.
-Anup

Complete info here:
http://www.indiancowboy.com

___________________________________________________________

HISTORY CHANNEL CONCLUSION

I found out last minute when the showing time was for the History Channel
doc that I was involved with back in summer.  My computer is so super-
crashed (can't even start Windows in safe mode) I couldn't send out a notice
in time to you.

Anyway, they changed the title from "Kings of Babylon" (as listed on IMDb) to
"Kings: From Babylon to Bagdad".  If you recall my previous post right after I
shot it back in June/July, the answer I stated for their question, 'are you
willing
to work as an extra?' was 'only if I get a featured extra role'.  So, that was a
good choice on my part.  I did see myself in four different featured roles.
However, it would have been a gamble to state 'no'.  The ones who stated no
got the leads, but I don't know how many 'no's were thrown out.

Next time I would do the same I guess, but as my credits start racking up, I
would put 'no extra work at all'.  So, there you have it.

-Anup

___________________________________________________________

INTERESTING VIEWPOINT FOR AN ESTABLISHED ACTOR

DiCaprio Says 'Titanic' Sunk Him

Leonardo DiCaprio says he now regrets accepting the role in Titanic that
brought him fame and notoriety. In an interview that will appear in the
December issue of Vanity Fair, DiCaprio says that he wishes that he had
instead accepted the role of a porn star in Paul Thomas Anderson's Boogie
Nights that eventually went to Mark Wahlberg. He said that the public
attention that accompanied his success wrecked his ability to land offbeat
roles. "It's a really obvious thing to say, but the more people know too much
about who you really are, and it's a fundamental thing, the more the mystery is
taken away from the artist, and the harder it is for people to believe that
person in a particular role," DiCaprio remarks in the magazine interview.
http://imdb.com/news/sb/#film1
___________________________________________________________

POLITICAL FILMS

Things to consider when making a political film.
-Anup

Murdered Film Director Had Scoffed at Threats

Dutch filmmaker Theo van Gogh, who was allegedly murdered by a man
dressed in Arab garb while bicycling down a street in Amsterdam Tuesday,
had recently dismissed threats against his life that he had received after
making a short film critical of Muslim treatment of women. In a radio interview,
van Gogh, a distant relative of the 19th century artist, said that the film,
titled
Submission, was "the best protection I could have. It's not something I worry
about." His alleged assailant, a 26-year-old man with both Dutch and
Moroccan passports, was arrested following a shoot-out with police in which
he, along with another police officer and a bystander, were wounded. He
reportedly left a note on van Gogh's body, the contents of which were not
disclosed, although some reports said it contained verses from the Koran.
http://imdb.com/news/sb/#film1
___________________________________________________________

ONLINE MOVIE RENTALS

The price war between online movie renters grew more contentious Tuesday
as Los Gatos-based Netflix reduced its subscription price to $17.99 per
month. The move came following Blockbuster's decision a week earlier to
reduce its price to $17.49 per month. Wal-Mart offers an even cheaper service
that allows just two movies to be out at a time for $15.54. Amazon is also
expected to announce its own movie-rental service within the next few weeks.
http://imdb.com/news/sb/#film1

--------------

I read in an interview with the main gatekeeper of the Sundance film fest in
the book 'Film Festival Survivial Guide' that one of the biggest problems that
he sees with the films coming in (and subsequently rejected) is that the
directors have not seen enough films.  Their film history is poor.  Especially
if
you don't go to film school.  I don't want to be one of those directors.

So, I've been doing Netflix since Jan and love the service (no I don't get
kickbacks for saying this).  I used to buy DVDs, but 1) I can't afford to just
keep
buying unlimited amounts of them 2) my guess is that HD-DVDs will be out
within 5 years and all these current DVDs will be dated like record albums
when the CDs came out.  So for the price of one DVD, you get to see all these
films.  Also, when you go to blockbuster to rent movies,  it's hard to rent an
old
obscure movie for $4.50.  Plus, you don't waste gas or time searching for the
movies.

I just saw 'Metropolis' the other day, it is an incredible film and must-see for
filmmakers.  It was made in 1927 and I was blown away by the quality of it.

-Anup

Screenwriting Expo 3 Needs Volunteers This Weekend!

Volunteer and Attend the Expo

Volunteer at Screenwriting Expo 3 this weekend (Friday, Saturday, or Sunday) and
attend the Expo at no charge.  William Goldman, Aaron Sorkin, Paul Attanasio,
Richard Donner, and Robert McKee will be speaking at this year's conference.

Work one 8-hour shift and attend the rest of the Expo (including networking
parties on Thursday, Friday, and Saturday Nights). You will also be able to
listen to events and speakers as you work your shift.


Shifts:
1. Friday, Nov. 5th, 9 AM to 5 PM
2. Friday, Nov. 5th, 3 PM to 11 PM
3. Saturday, Nov. 6th, 7 AM to 3 PM
4. Saturday, Nov. 6th, 3 PM to 11 PM
5. Sunday, Nov. 7th, 7 AM to 3 PM

What shift can you work?

Please e-mail your name, address, cell phone number, e-mail address, and the
shift you would like to work to jertaub @ yahoo.com.


Screenwriting Expo 3 is the largest conference for screenwriters in the
world. The Expo offers over 350 workshops and seminars on all aspects of writing
and selling your screenplay.

http://www.screenwritingexpo.com/

____________________________________________________________________

INFORMATIVE Q&A SESSION WITH AN AGENT

http://www.actorslife.com/DavidKrasner.html

courtesy of Actor's Life

____________________________________________________________________

FREE* HEADSHOT POSTING SITE & CASTING NOTICES

*In order to be listed you have to pay, but you can still use it to
send a link.  Talentmatch.com is much better.
-Anup

http://www.reelact.com

MUSIC VIDEO CONTEST

You've probably watched the music video channel and thought "I can do better
than that." Well now's your chance. Direct a music video and enter it in the HP
Music Video Contest! You could score a sweet $15,000. Entries are due by
November 9, 2004.

http://www.shockwave.com/sw/spotlight/hp_music/?mid=13244719
______________________________________________________________________________

MACHINE + CINEMA = MACHINIMA

Video games are now coming up with features to 'record' the sequences.  Some
people are now scripting out stuff and turning them into movies.  Speilberg used
it to storyboard parts of A.I.
-Anup

http://machinima.com/

______________________________________________________________________________

GENIUS

Check out my friend's film, GENIUS next time you're at Hollywood Video, or use
Blockbuster Online or Netflix.  It screened with Trade Offs in NYC last year.
Trailer: http://geniusthemovie.com/tease_trailer.htm

-Anup
______________________________________________________________________________

NON-UNION ACTORS NETWORK

http://www.nuan.org/

______________________________________________________________________________

Indie Film Gets Unique Marketing Campaign

Atlanta-based The Convex Group plans to employ a unique marketing scheme to
stimulate sales of its low-budget Christmas movie, Noel, directed by renowned
character actor Chazz Palminteri and featuring a cast that includes Susan
Sarandon, Paul Walker, Penélope Cruz, Alan Arkin, and Robin Williams. The film
is set to debut in about 10 U.S. cities on Nov. 12. On the same day, it will
become available on self-destructing DVDs (for $4.95), and then, two weeks
later, it will air on TNT channel. Reporting on the release plan, Reuters
commented on Monday, "The idea could be especially relevant for low-budget
movies like Noel which open in only a few cities yet compete against national
releases of major movies backed by multimillion-dollar advertising campaigns.
Fans who are aware of the movie but can't find it in their city can turn to the
DVD."

______________________________________________________________________________

"The Most Sexually Explicit Film Ever" Is Passed by U.K. Censors


What Britain's Sky News has described as "the most sexually explicit film ever
in British cinema" has been passed by British censors. On Monday the British
Board of film Classification gave director Michael Winterbottom's 9 Songs an 18
rating -- allowing moviegoers 18 and older to attend it -- commenting that the
numerous sex scenes in it are actually "sensual, not sexual" and that they are
"exceptionally justified by context." It concluded: "Some people may find such
explicit images shocking or unexpected in a cinema film. The Board is sensitive
to public concerns, and its guidelines are based on extensive consultation ...
The Board has concluded in this case that adults should be free to choose
whether or not to see the film." The film follows a young couple from their
first date to their break-up. Their relationship is punctuated by nine concerts
that they attend -- hence, the title.

UNKNOWN ACTORS ACCEPTED

Director Alexander Payne on the Road Again

Alexander Payne is batting a 1,000. His previous feature films --
the abortion comedy "Citizen Ruth," the political satire "Election,"
and the bittersweet road trip "About Schmidt" -- established the
writer/director as a skilled storyteller who created showcase roles
for actors...

"But I just see them all as one; I try not to distinguish between
famous and non-famous when it comes down to making the movie. I just
want to meet everyone; I want to meet a lot of people, hear their
thoughts, audition them, and think who would be best."

http://story.news.yahoo.com/news?
tmpl=story&cid=598&ncid=762&e=6&u=/nm/20041018/film_nm/film_payne_dc

_____________________________________________________________________

EXTRAS WANTED FOR SD SHOOT

One of my fellow filmmakers is shooting a short.  I worked on her
doc which got into Palm Springs Film Fest last year.  Let me know if
you're interested and I'll email her script to you.

-Anup


I'm shooting a very short, surreal film called
"Carnival" on Wednesday, Oct 27. This is part of a
trilogy "Algorithms" about the war on terror, which is
my Master's thesis film. We need to simulate the
crowds at a carnival, since we're shooting in Seaport
Village on a weekday, when there aren't many people
around.

Would any of you have the time to be part of the crowd
in the film? It would also be fun to have the camera
pick out familiar faces in the crowd. If you can come,
feel free to bring friends and family, the more the
merrier.

Also, we're looking for performers of various kinds to
situate at strategic locations -- clowns, acrobats,
mimes, jugglers, magicians, etc. If any of you can and
would like to perform, that would be absolutely
wonderful.

Here are the details:

Date: Wednesday, Oct 27

Time: 1 to 6 pm

Location: Kettner Blvd., by Seaport Village, south of
Harbor Drive (we're shooting right on Kettner, near
where it ends in a roundabout by the bay).

I'm also attaching the screenplay, in case you want a
better idea of the film.

Thanks a lot for your attention and hope to see you
there.

Cheers!

Cheryl


_____________________________________________________________________

CHARACTER NAMES AND LAWSUITS

Here's something to consider when writing character names in your
script.
-Anup


Linklater "Dazed" by Lawsuit

They keep getting older, but apparently their reps stay the same.

Three former high school classmates of Richard Linklater are suing
the filmmaker and Universal Pictures, claiming the trio has suffered
constant humiliation after their last names were used for characters
in Linklater's 1993 cult classic Dazed and Confused...

http://movies.yahoo.com/news/eo/20041011/109753860000.html

_____________________________________________________________________

PRODUCTION QUALITY

I finally saw 'Eternal Sunshine of a Spotless Mind'.  I highly
recommend it.  However, what I want to discuss is the production
value.  It looks like a $60K-$200K (low-budget) film at a festival.
It's nice to see one with huge stars and brilliant writing/directing
team work put it out in its raw form.  The acting, writing, and
directing really shined which made you forget about the low
production value.  Some might argue that the story dictates this
look, but I say with an awesome script and great acting, you can
have any production value you want and still make it work.  Just my
2 cents.

-Anup

NEW CASTING NOTICES

It's $10/mo to register, but it has free casting notice info.
-Anup

http://www.lacasting.com

___________________________________________________________________

QUESTIONS FOR POTENTIAL MANAGER

This is geared primarily for musicians, but about 90% applies to
actors.
-Anup

This article will continue the "Things to ask your Attorney" series.
The approach is to focus in on some of the most important issues to
the artist who is considering or has made the decision to enter into
an agreement with a personal manager. ... This article is being
written as though I were consulting with an artist - you! Once you
have made the decision to sign with a manager, then you should ask
your lawyer the following questions (and any more questions that you
want answered):

1. What is the manager supposed to do for me?
2. How long does the management agreement last?
3. Can I get out of the contract if things don't work out?
4. How much does the Manager get paid?
5. Is there anything the Manager does not commission?
6. Who pays the manager's expenses?
7. Can the manager make decisions about my career without my
permission?


http://www.sitemason.com/newspub/b5fLpu?id=12811

___________________________________________________________________

10% OFF COUPON CODE

for the Screenwriting Expo 3:
Expo3BJohnson

http://www.screenwritingexpo.com/

___________________________________________________________________

SCREENWRITING COMPETITION

AMPAS Names Finalists for Annual Nicholl Fellowships

Ten finalists have been chosen from the more than 6,000 scripts submitted for
the annual Don and Gee Nicholl Fellowships in Screenwriting from the Academy of
Motion Picture Arts and Sciences.

http://movies.yahoo.com/news/iw/20041015/109785918000.html

------------------

The Nicholl Fellowships in Screenwriting program is an international competition
open to screenwriters who have not earned more than $5,000 writing for film or
television. Entry scripts must be the original work of a sole author or of
exactly two collaborative authors. Entries must have been written originally in
English. Adaptations and translated scripts are not eligible. Up to five $30,000
fellowships are awarded each year.

The submission deadline for the 2004 Fellowships was May 1, 2004.

For further information contact: Nicholl Fellowships in Screenwriting at the
Academy Foundation, 1313 N. Vine Street, Hollywood, California 90028-8107, (310)
247-3010 or via e-mail: nicholl @ oscars.org

http://www.oscars.org/nicholl/

___________________________________________________________________

Casting SUPERMAN

In announcing this week that he intends to go with an unknown, director Bryan
Singer (Usual Suspects, X-Men) stays true to the Superman tradition as well as
the memory of the late Christopher Reeve.

http://movies.yahoo.com/news/fs/20041014/109778475900.html
___________________________________________________________________

MOVING HEADSHOTS

Pricey, but interesting...

http://www.movingheadshots.com/ratesheet.html

SCREENWRITING EXPO

This seems like a good deal. I've heard good things about this expo.
-Anup


Dear Screenwriter,

Please register for Screenwriting Expo 3 by 8 PM Friday, October
15th, to recieve your free subscription to Creative Screenwriting
Magazine (a $30 value) and complete information on attending Pitch
Meetings at the Expo.

ONLY $59.95 TO REGISTER

For 3 days of Guests of Honor including Jerry Lewis, Robert McKee,
William Goldman, Aaron Sorkin, Richard Donner, Paul Attanasio,
Arnold Kopelson, and many more. A new guest every 2 hours!

For 3 Days of Panels on the Business of Screenwriting including 2
panels of agents, a producers panel, plus panels on legal
information, entering contests, making your own break, selling your
script over the Internet, TV writing, making your own movies, and
more.

For Access to 300 Producers, Development Execs, Agents, and their
Assistants at 6 different cocktail and networking parties. Don't
miss this chance to network with these decision makers who can
transform your dream into reality.


For Access to Over 350 Seminars and Worshops by the best teachers in
the industry. Faculty include Robert McKee, Michael Hauge, John
Truby, David Freeman, Richard Walter, and Jack Epps. These seminars
are 90-minutes in length and cost $4 additional.


Plus Pitching to over 60 Companies including Industry Entertainment
(Warner Bros.); Spring Creek Productions (Warner Bros.); Neo Art &
Logic (Dimension Films); Gross Entertainment (Disney/Fox); Evolution
Entertainment (Lion's Gate/Disney/Universal); Brad Luff Productions
(Sony); Firm Films (Fox); Mosaic Media Group (MGM, Sony); Circle of
Confusion, Miramax/Dimension Films, and The Brant Rose Agency, to
name a few...


REGISTER BY FRIDAY, OCT. 15th for complete information on pitching
and your free subscription to Creative Screenwriting magazine
(recently named "Best Magazine for Screenwriters" by the LA Times).


Use this link to Register:


www.screenwritingexporegistration.com

Screenwriting Expo 3 is held November 5-7, 2004 at the Los Angeles
Convention Center in downtown Los Angeles. We hope to see you there.

Sincerely,


Erik Bauer, Expo Coordinator
Screenwriting Expo 3


email: info@...
phone: (323) 957-1405
web: http://www.screenwritingexpo.com

____________________________________________________________________

FILM STOCK (of  different sort)

DreamWorks IPO Set at 29 Million Shares

Underwriters for DreamWorks Animation SKG Inc., producer of the
blockbuster "Shrek" movies, Tuesday set the terms of the company's
pending initial public offering at 29 million common shares, with an
estimated price range of $23 to $25 a share.

http://movies.yahoo.com/news/ap/20041012/109760472000.html


____________________________________________________________________

ENTERING THE INDIE WORLD

A&E Enters Indie Film Waters
A&E is getting into the independent film business.

The cable network has launched A&E IndieFilms, a label aimed at
pitching in on the finance and production of documentaries in the
spirit of its own nonfiction programming.

____________________________________________________________________

WEEKLY CASTING/CREW CALL REMINDER:

***************************************************************
ALWAYS USE CAUTION & COMMON SENSE WHEN APPROACHING AUDITIONS:
See Tips: http://www.modelnouveau.com/auditions/aud.htm
***************************************************************


CASTING CALLS:
-FILM/TV:

http://actorsaccess.com (AREA: MAJOR CITIES)
http://www.casting-call.us (AREA: ALL)
http://www.actorslife.com/Auditions.html (AREA: ALL)
http://www.nbc.com/nbc/footer/Contestants.shtml (AREA: ALL)
http://www.vh1.com/shows/casting_call (AREA: ALL)
http://www.mtv.com/onair/castingcall (AREA: ALL)
http://www.extrasformovies.com/casting_calls_auditions.asp (AREA:
ALL)
http://www.hollywoodmasala.com/ (INDO-AM; in FILM/TV FORUM; AREA:
ALL)

-STAGE ONLY
http://web.actorsequity.org/CastingSearch/ (AREA: ALL)

-------------

CASTING & CREW CALLS:
http://www.employnow.com/castingc.htm (AREA: ALL)
http://www.productionhub.com/casting_notices (AREA: ALL)
http://www.craigslist.org/ (choose your city > then choose "tv /
film / video") (AREA: ALL)
http://www.hcdonline.com/jobboard/default.asp (AREA: ALL)
http://www.actorsite.com/cgi-bin/atl/atl.cgi (AREA: ALL)
http://my8by10.com (AREA: ALL)
http://actorsnw.com/callboard.php (AREA: ALL)
http://www.sdreader.com/php/classfront.php?id=stage (AREA: SD)
http://villagevoice.com/classifieds/standard.php?
i_category1=Stage/Screen (AREA: NY)

-STAGE ONLY
http://www.playbill.com/jobs/find/ (AREA: ALL)

-------------

CREW CALLS:
http://www.employnow.com/jobpost.htm (AREA: ALL)
http://www.mandy.com (AREA: ALL)
http://sdfilm.com/crewing.asp (AREA: SD)

HYPNOTIC

The Hypnotic creative team tracks over 100 film festivals annually in search of
new talent. For many of these filmmakers, Hypnotic provides distribution for
their short films to audiences worldwide through outlets like HBO, Showtime,
airlines and traditional TV.

To submit a short film or branded entertainment concept for consideration,
please...

http://hypnotic.com/talent.aspx

___________________________________________________________________________

FILM FINANCING

http://www.civilian.com/tradecenter/


___________________________________________________________________________

PRODUCER'S GUILD

Producers Seek to Limit Phony Credits

Hollywood producers said Wednesday they want studios to stop giving bogus
credits to people as a bargaining chip and say they'll go to court to limit the
use of the "produced by" title.


http://movies.yahoo.com/news/ap/20041006/109712160000.html

___________________________________________________________________________

ACTING ROLES DIMINISHING

Study: Hispanics, Asians Lose Acting Roles

Hollywood acting roles for Hispanics fell 10.5 percent and Asians saw their
performances drop 2.1 percent last year, according to a study released Thursday
by the Screen Actors Guild.

The survey showed that jobs for all SAG members fell by 1.6 percent in 2003,
which found that women got 38 percent of all roles and white performers received
more than 73 percent of the roles.

http://movies.yahoo.com/news/ap/20041007/109720998000.html

___________________________________________________________________________

SHAWSHANK BABY!
Setting Another SHAWSHANK Standard

Back in 1994, it was the movie no one wanted to make. Ten years later, it’s a
highly anticipated DVD featuring a week’s worth of audio commentary from Frank
Darabont.

http://movies.yahoo.com/news/fs/20041008/109727918600.html


Can you believe that they didn't want to make this movie?
-Anup

___________________________________________________________________________

LITERARY RIGHTS

Depp Snaps Up SHANTARAM

In one of the year’s biggest literary deals, actor Johnny Depp beats out Russell
Crowe for the rights to Gregory David Roberts’ imminent 1,000-page novel...

...Set in the 1980’s, Shantaram: A Novel is about an adventure similar to one
that Roberts lived. The Australian potboiler concerns an escaped convict with a
fake passport who escapes a maximum-security prison and flees to India, where he
reinvents himself as a doctor in the slums of Bombay.

http://movies.yahoo.com/news/fs/20041008/109727291700.html

___________________________________________________________________________

UNDER THE RADAR MOVIES

Shall We Glance?

Given the ongoing barrage of synergistic Hollywood marketing campaigns,
columnist Todd Gilchrist offers his thoughts on the October releases that really
deserve to be seen and heard...

...More films than ever are getting made these days and, as a result, it often
feels like a film is simply flashing through theaters in order to satisfy the
theatrical end of their upcoming (and often far more lucrative) DVD release...

http://movies.yahoo.com/news/fs/20041008/109727283900.html

SLAVES AND ENSIGNS: THE FAR SIDE OF THE BORDER (S&E)

My short doc S&E is now on regular iFilm.  Though it was an honor to
be chosen for iFilmPlus, only paid subscribers could view it.  Now
it's available for everyone around the world.  Click here to view it:
http://www.ifilm.com/ifilmdetail/2634503?htv=12

---------------

S&E was 'invited' to screen at the
4th Annual Minneapolis SMMASH Film Festival
October 17 & 19, 2004

All pertinent info on my site: http://www.Anup.net
Please pass the info on to your friends in that area.

---------------

Special thanks to all those who made it down to the S&E screening at
Imperial Beach Film Festival on 9/11.


Thanks for the support!
Anup
_____________________________________________________________________

This is the 100th Edition of this newsletter since it first started
in Sept 2003 - a cool milestone.
_____________________________________________________________________

This is sent via 'Special Notice' if you are signed up for that
option, you will only receive info about my projects.  To receive
all filmmaking info send me an email or click here to change your
preferences (you must have a yahoo account to do so):
http://movies.groups.yahoo.com/group/AnupSugunan

PALM SPRINGS FILM FESTIVAL RECAP

I attended the Palm Springs International Festival of Shorts last
weekend.  My short "Interminal" was in the market.  Sounds
impressive, huh?  Well, that's a super cool way of saying that it
got rejected.  I've never felt so accepted by a festival that
rejected me.  I was treated better at that fest than another
festival (no names will be mentioned).

Anyway, PSFF was an awesome experience.  I would recommend that for
any filmmaker with a short.  My biggest mistake was not promoting
the hell out of it even though it was in the 'market'.  The market
is basically a small library of just movies and 15-20 booths with
dvds and vcrs hooked up to TVs.  There were many agents and other
industry people there.  So all I had to do was give them the title
(up to 5 out at a time) and they could check it out.  It started
getting crowded towards the end of the fest.

I was there for the last two days, plus the 'best of' day.

It's also the 2nd largest shorts fest in the US and 3rd largest in
the world.  The weather wasn't as bad as I thought it was going to
be.  Even though it was over a 100 degrees, 'it was dry heat'.

There were amazing short films.  These are the writers, directors,
and producers you have to meet.  There's probably a jello's chance
in hell that Lucas will put you in Star Wars VII, but you'll have a
much better chance of starting early with these directors once you
build up a rapport with them.

-Anup

more info here:
http://www.psfilmfest.org/

____________________________________________________________________

DVD DISTRIBUTION DEAL
The site states that they are not accepting shorts currently, but I
spoke to one of the acquisition guys and he said that they are about
to start.

-Anup

http://filmthreatdvd.com/faq.php


____________________________________________________________________

OSCAR QUALIFYING JAPANESE SHORTFILM FESTIVAL (NO FEE)

Deadline: Nov 1, 2004 (delivered, not postmarked)

http://www.shortshorts.org

____________________________________________________________________

HEADSHOTS & INDEPENDENT SPIRIT AWARDS - CALL FOR ENTRIES (CFE)

A little pricey, but a good title if you get it.  Also, it's another
place actors should consider sending their headshots to keep on file.

-Anup

http://www.ifp.org

SLAVE AND ENSIGNS: THE FAR SIDE OF THE BORDER SCREENING

My short doc is going to screen at the following festival:

2nd Annual Imperial Beach Film Festival
DATE: Saturday, Sep 11, 2004
TIME: 3pm (in a block of 8 short doc films ~2hrs)
LOCATION:
Tijuana Estuary (in San Diego, not Mexico)
301 Caspian Way
Imperial Beach, CA 91932 - map

COST: $5

more info:
http://www.ibfilmfestival.com
http://www.anup.net
___________________________________________________________________________

FILMMAKER/INTERVIEWERS WANTED

The site I founded, Filmmaker Interviews is looking for writers who are also
filmmakers.  Please send your resume and writing sample to
hr(at)filmmakerinterviews.com.  There is no pay, but you will get access to
festival passes and be able to interview hi-caliber filmmakers.  Check out the
site and see if it might fit your style.

http://www.FilmmakerInterviews.com

Email me if you have any questions asugunan(at)yahoo.com.


-Anup
___________________________________________________________________________

ACTING CHALLENGE

TNT, the network dedicated to drama, wants to share it's passion for
drama by helping actors who are trying to get their big break.  Seeking males
and females, all types, ages 21 and up, for Dramatic Auditions Tour.  TNT will
give one talented, aspiring actor the tools they need to break into Hollywood.
Winner receives $50,000 cash, and a year in Los Angeles including a furnished
apartment, transportation, acting classes and a publicist.  Twenty semifinalists
will receive $1000.  Auditions held Oct. 7 in LA, Oct. 12 in Las Vegas, and Oct.
21 in NY and are also accepted online and by mail. Actors will be asked to
perform a one minute monologue from a movie airing on TNT.
Monologues are available at the events or log onto www.tnt.tv to see the scripts
in advance.  Auditions will be judged by a panel of celebrity judges
including Dennis Franz from NYPD Blue.

For more information log onto http://www.tnt.tv.

___________________________________________________________________________

SCRIPTS WANTED

PRODUCER OF SAN FRANCISCO CLUB 20 TV HAS A GREAT AGREEMENT WITH
BRAVO/NBC TO SUBMIT SCRIPTS FROM PEOPLE OF COLOR and those that have
people of color as their principle charcters. That is the requirement.
Call Mr. McCartney if you want to know more about this incrediable
situation for all writers of color please call Mr. McCartney for all
interviews (radio & TV) call now before the 9/18/04 deadline.
415-756-8544. Its fab, how Bravo/NBC is reaching out for new material
from Blacks,Asians,Latinos, if chosen your script will go directly to
the producers of WILL & GRACE. Whats more exciting is that Mr.
McCartney's dream of being that "portal", that he has been
preaching,talking,yelling,seminared,conferenced OUT! He has asked just
about everyone for 10 years to open more doors to us and not limit us to
just PUBLIC ACCESS/SPECIALS which is our home base and where we have
developed our craft but when we need to expand and grow financially this
is that time.PLEASE USE YOUR MEDIA TO HELP GET THE WORD OUT. WE NEED TO
GET OUR STORIES TOLD THIS IS GREAT TIME TO DO IT! We sent it to the
Chronicle & Tim Goodman.

We thank all those that have stay with us at PUBLIC/LEASE ACCESS,
SUBMITT BY 09/18/2004 SO GET IT IN NOW!

Tuesday Conner Designs http://www.tuesdayconner.com

FILM SCHOOL FILES

Most film schools have a file where they keep headshots of actors.
I just got back from a USC audition today and went by the STUDENT
PRODUCTION OFFICE in the George Lucas Bldg to drop off my pix. It is
highly advisable to do this as some of these students will be the
next big thing.  Plus, you can get some solid work for your demo
reel.

You can probably get started from this link:
http://www.usc.edu/directories/dept/cinema_television.html

Other schools:
http://www.UCLA.edu

CHAPMAN UNIVERSITY (Orange, CA)
http://ftv.chapman.edu/academics/index.cfm?s=Students

AMERICAN FILM INSTITUTE (Hollywood, CA)
http://www.afi.com/education/Conservatory/default.aspx

SAN DIEGO STATE UNIVERSITY
http://theatre.sdsu.edu/television-film.htm

If the extended links don't work go to their homepage and type
in 'film' in the search field and you should be able to find it.

Also, don't discount community colleges.  They always get a bad rep
in movies, but I've seen some great stuff come from them.  Cameron
Crowe (Jerry Maguire, Almost Famous) went to San Diego City College -
  a CC in downtown SD.

-Anup


_____________________________________________________________________

A NEW ENTERTAINMENT MAGAZINE: "NIRVANA WOMEN"

http://www.nirvanamedia.com

_____________________________________________________________________

FILM FESTIVALS - CALL FOR ENTRIES

CINEMA SOCIAL

Not really a fest, but more of a weekly networking/screening event
at the hip Thin in downtown San Diego every Wednesday night.
http://www.cinemasocial.com

----------------

FESTIVAL OF HORROR

A festival which has recently signed up to this group.
http://www.festivalofhorror.com

_____________________________________________________________________

DOMAIN NAMES

Spike Lee Wins Control of spikelee.com
GENEVA - U.S. movie director Spike Lee has won control of the
Internet domain name www.spikelee.com in a ruling released Friday by
a United Nations (news - web sites) body.
more:
http://story.news.yahoo.com/news?
tmpl=story&cid=493&ncid=790&e=10&u=/ap/20040827/ap_en_mo/people_spike
_lee


Before you become a huge star, you might want to get your name as a
domain name.  Even if you don't set up a site so you won't run into
trouble like Spike.  The cheapest way is through
http://www.GoDaddy.com - where it's only $8/year.  You can reserve
it up to 10 years at a time for only about $80.

-Anup
_____________________________________________________________________


WEEKLY CASTING/CREW CALL REMINDER:

***************************************************************
ALWAYS USE CAUTION & COMMON SENSE WHEN APPROACHING AUDITIONS:
See Tips: http://www.modelnouveau.com/auditions/aud.htm
***************************************************************


CASTING CALLS:
-FILM/TV:

***NEW***
http://actorsaccess.com (AREA: MAJOR CITIES)

http://www.casting-call.us (AREA: ALL)
http://www.actorslife.com/Auditions.html (AREA: ALL)
http://www.nbc.com/nbc/footer/Contestants.shtml (AREA: ALL)
http://www.vh1.com/shows/casting_call (AREA: ALL)
http://www.mtv.com/onair/castingcall (AREA: ALL)
http://www.extrasformovies.com/casting_calls_auditions.asp (AREA:
ALL)
http://www.hollywoodmasala.com/ (INDO-AM; in FILM/TV FORUM; AREA:
ALL)

-STAGE ONLY
http://web.actorsequity.org/CastingSearch/ (AREA: ALL)

-------------

CASTING & CREW CALLS:
http://www.employnow.com/castingc.htm (AREA: ALL)
http://www.productionhub.com/casting_notices (AREA: ALL)
http://www.craigslist.org/ (choose your city > then choose "tv /
film / video") (AREA: ALL)
http://www.hcdonline.com/jobboard/default.asp (AREA: ALL)
http://www.actorsite.com/cgi-bin/atl/atl.cgi (AREA: ALL)
http://my8by10.com (AREA: ALL)
http://actorsnw.com/callboard.php (AREA: ALL)
http://www.sdreader.com/php/classfront.php?id=stage (AREA: SD)
http://villagevoice.com/classifieds/standard.php?
i_category1=Stage/Screen (AREA: NY)

-STAGE ONLY
http://www.playbill.com/jobs/find/ (AREA: ALL)

-------------

CREW CALLS:
http://www.employnow.com/jobpost.htm (AREA: ALL)
http://www.mandy.com (AREA: ALL)
http://sdfilm.com/crewing.asp (AREA: SD)

BOOKS FOR ACTORS & SCREENWRITERS

I read the first chapter of this book and found it to be quite good for actors
(and filmmakers in general).  I'm looking forward to the rest of it:

"Stella Adler: The Art of Acting" by Stella Adler, Marlon Brando, Howard Kissel

and this one was inspiring (as opposed to gaining a lot of knowledge) for
screenwriters:

"Oscar-Winning Screenwriters on Screenwriting: The Award-Winning Best in the
Business Discuss Their Craft"
by Joel Engel

-Anup
__________________________________________________________________

NOWCASTING.COM

I've know about this site for a while, but thought it was only a paid-site. 
However, they do have a limited free service which is really good.  Plus, it's
one of the most popular sites. NYPD Blue, Crossing Jordan, etc have posted the
'sides' (2-3 pages of a script for an audition) on there.

This site is also a great place to post casting calls as well if you're a
filmmaker.

http://www.NowCasting.com

-Anup

__________________________________________________________________

NEGATIVE DVD COMMENTARIES

Well, I finally saw all the Project Greenlight DVDs including the movie.  The
first disc of them pitching their scripts is definately the best one. In the
actual movie, Kevin Pollack was the best part.

However, during the commentary, it just seemed like producers Chris Moore (Good
Will Hunting) and Jeff Balis along with the director were just pointing out all
the mistakes they made during the filmming.  Most of it was dealing with
continuity issues (like when you see the same car in the background show up in
numerous scenes).  I didn't catch any of the mistakes initially, but when they
brought it up it was so evident.  It brought the movie to a whole new low.

So, I realized at that point that I will do my best to not say things to bring
down the value of my movie.  Most movies are made on very tight budgets and you
won't have money for a different car in all 20 scenes or what have you.  That's
the magic of movie-making.  However, if you give the magic away and point out
all the flaws, what's the point?  Just keep the magic alive.

-Anup

__________________________________________________________________

DOC FUNDING AVAILABLE

Anthony Radziwill Documentary Fund Seeks Applications

Deadline: September 1 and March 1, annually

The Anthony Radziwill Documentary Fund, administered by
IFP/New York ( http://ifp.org/ ), provides seed/development
grants for independently produced documentary projects by
U.S. resident filmmakers.

Five grants up to $10,000 will be given in this cycle for
documentary projects in development. http://ifp.org/docfund
__________________________________________________________________

CANON XL2 miniDV CAMERA

This XL2 camera is almost 'there'.  It's an awesome step up from the XL1 which
we used for "Trade Offs" (you can see the quality on the trailer on my site -
www.anup.net).  I'm not being biased b/c it was my movie, but rather from my
film programming stint where I viewed hundreds of films all shot on DV and this
is one the nicest looking one - props to Jenny Ramirez (DP) and Foster Corder
(Gaffer).

The XL2 features a native 16:9 aspect ratio and it has 24p mode (to give it the
film look).  I'm just waiting for the theoretical "XL3" which I imagine will
have the above features plus the added benefit of incorporating HD (which JVC
currently has for about $4K).  We'll wait and see.

http://www.canondv.com

-Anup

__________________________________________________________________

SHORT FILM SCRIPT WANTED FOR DISTRIB DEAL

I have a distribution deal to produce a few "Micro-Budget" digital
features.  If you don't know what that means, then it means you
don't have a script for me.

I'm looking for Urban (action, horror, comedy, christian), Latin
(action, comedy, horror) and Mainstream (action and horror)
screenplays.

I'm particularly interested in turning a Christian play into a
gospel musical.  I would also be very interested in an Urban Martial
Arts movie.

This request is time sensitive so please respond and spread the word
quickly.

Christopher Odom
urbanscripts@...