Making Movies
The film front has slowed lately, not through lack of effort. I retain great interest and have several projects that I hope to work on. The two leading candidates are extensive documentary following novices in their first year as racehorse owners, and a follow up to our trio of baseball players from the successful documentary “Touching Home.”
I have a draft of a fiction story waiting for rewrite.
And interestingly, the Internet is forcing my writing into a form of filmmaking. Three of the writing jobs that I have scheduled for 2009 require that I videotape the original interview for posting on the website after my written story. The film review I write will be linked to movie trailers. Writing and filmmaking are beginning to blend together.
So far, I have completed one documentary movie (Touching Home). A second film is under production and a third on the drawing board. The first effort was a film about small town professional baseball. I am proud of it; I turned a profit, learned a ton, made many connections, met some helpful film people and finished feeling anxious to get to work on the next film. My future efforts will build on the experience.
While I was working on “Touching Home” I kept a diary of the year. When time allows I may use the notes to write a book about the experience. I have roughed a draft of the first two chapters of the potential book and will attach them to this page. Should you read these early chapters you will realize that Justin Zimmerman, an experienced film maker and his company “Brickerdown Productions, were invaluable in my movie venture. Justin is a fine filmmaker, excellent teacher and good guy.
Minor Movie Madness
(How I made a film, had a blast, learned a ton and made back my investment)
Scene 1
On January 12th, 2004, I woke up, rubbed the sleep from my eyes, stretched,
and decided to make a movie. The genesis of a bizarre idea like going into
the movie business is difficult to pinpoint, maybe a dream, perhaps mental
illness, maybe karma – who knows? When I get strange compulsions
like this, I make a list of plusses and minuses, assets and liabilities,
pros and cons, Hall and Oates. I’m always making lists. I’ve
made more lists than the New York Times book club. I scrambled out of bed,
got dressed, grabbed a cup of coffee, sat down at the computer and began
typing.
Here are my filmmaker’s lists:
Reasons for making a movie:
1) I like movies.
2) Might be fun
Reasons against making a movie:
1) Absolutely no knowledge of filmmaking
2) Do not know a single person in the movie business
3) Do not have a script
4) Do not have a story
5) Do not have a clue
6) Few financial assets
7) Cleveland is several thousand miles from Hollywood
8) People will laugh at me
9) My wife and daughter may not tolerate another of my flights of fancy
10) No fund raising experience
11) Was unable to master operation of a disposable camera at last wedding
I started on the film project immediately.
Since I was at the computer typing these stupid lists, I began with the Internet. I typed, OHIO/ DOCUMENTARY /FILM. A screen of web sites popped into view. I scrolled to a site that listed the Ohio University film department. I clicked on, rooted around the site and found the e-mail address of the head of the school, a Mr. Charles Fox. I wrote this note.
Dear Mr. Fox,
I have a project in mind and I need some advice. Actually, I need some names.
I am interested in having a documentary film made. I do not want to make
the film; I want to hire a brilliant filmmaker for the project. I have a
subject, an idea, and most importantly, I have financing.
The reason I contacted you first is when I typed in -- Ohio/documentary/film,
The Ohio University school of film popped up first. This looked like a good
place to begin my quest.
I am looking for an excellent graduate of your program who is looking for work.
A candidate needs the following criteria.
Talent/enthusiasm
Resident of Ohio
Time (this will be a year-long project)
Samples of work for me to review
my question is this... Can you suggest any names of novice filmmakers that
I could contact?
Thank you,
I have a confession. This letter, the first in my film career, contained several exaggerations, exaggerations that bordered on outright fibs. This is odd, I rarely fib. I have only been in show business for a few minutes and already I am gripped by creative license. I must be careful not to get sucked into the vortex of show business and become a lying cocaine fiend. In the e-mail, I wanted to impress Mr. Fox. So I mentioned, “I have a project in mind, an idea and financing.” In reality, the project just occurred to me when I woke up this morning, my ideas are very vague and I may know a few people who might loan me some money.
Mr. Fox fell for my ruse. He wrote back that evening with a couple of names. Before I could fire off a thank you to Mr. Fox or before I could write to the possible documentary filmmakers, one of the names on the potential filmmakers list e-mailed me.
Dear Bob:
Charles Fox forwarded you message to me.
My name is Justin Zimmerman. I am a young filmmaker and a recent graduate of Ohio University. I am also currently an Assistant Professor of Cinema at Denison University and the head of a small independent production company called Bricker-Down. My films helped me to become Ohio’s highest granted individual artist from the Ohio Arts Council last year.
The easiest way to learn about my work is a www.bricker-down.com.
If I were to describe the source of inspiration for documentary work,
I’d
use your words
From the story that you wrote for Ohio Writer Magazine called Hold the Ketchup. “This
will
Sound like Fiction but it is fact.”
I am known for making high quality, socially introspective documentaries.
Recently, I
Have finished a first cut of a documentary on the first interscholastic sporting
activity –
crew, a race between Harvard and Yale in 1852. I was hired by a New England
business interested in seeing the two schools race on Lake Winnipesaukee again,
something the two colleges have done only once since 1852. The doc intrigued
me for several reasons - crew started the sports industrial complex, yet is
ignored by the media today. The young men who raced against each other found
themselves on the opposite sides in the civil war - half became officers, men
died on both the union and Confederate sides of the battle. And, finally, a
railroad company sponsored the first race, so this was the first organized
sporting event that was corporate sponsored.
In any event, please contact me with any questions. I will gladly send you some of my work.
Justin Zimmerman
Wow. Things were moving fast. I had hooked up with a real filmmaker before
I had a chance to think about what the hell kind of film I wanted to make.
I hit the treadmill in my basement, cranked up the CD to Bob Marley and
the Wailers and jogged a few miles; this always seems to get my creative
juices flowing. Before I hit the third mile a film plan began to develop.
A movie about harness racing, show the viewer what it is like to train
a young racehorse. I returned to the computer and got back to my filmmaker.
Justin,
Gosh, that was fast. I hardly organized my thoughts. I just got this brainstorm a few days ago. The project is very, very preliminary.
I write a humor column for a harness race horse magazine. Harness horse racing is a terrific sport, but the popularity is fading fast. I'm always looking for ways to introduce the sport to new fans - that is the genesis for an idea.
To hugely simplify my thoughts… I would like to put together a documentary film that profiles a few novice participants as they face the ups and down of a first year in the harness race game.
Two key words in the above sentence are documentary and novice. Novice - the target market would be people who know absolutely nothing about our sport. Documentary - this genre seems the least expensive. The success of the zillion realities shows people like to watch other people. I have a scenario in my head to add drama to the concept.
As I said, this is very preliminary. I will keep your note on file. If the stars align I may contact you.
Bob
I knew the stars would align. I went back to the treadmill for another mile.
As my feet pounded the whirring rubber and sweat ran down my neck I mulled
over the idea of a documentary on harness horse racing. I love the stupid
sport and it would be nice to do something to give it a lift. Perhaps the
powers that be in harness racing, the United States Trotting Association,
would want to get involved in a project like this. The big plus would be
money. If the USTA wanted to get aboard I could just be an intermediary.
Training and racing horses is a fascinating. I have many contacts in the
harness race world. I stepped off the treadmill and returned to the computer
to send this idea to the highest person on the harness race food chain
that I could think of (I always go as high as possible up the ladder. I
find these upper level people are often just as human as underlings and
not following normal procedure saves time). Mr. Fred Noe, executive President
of the United States Trotting Association, was probably annoyed or astonished
to find this e-mail pop up on his computer.
Dear Fred, (I always use first names no matter how big the shot is)
”I sent a long letter outlining the scheme (making it sound like it was well though out even though I was making stuff up on the fly)”
Mr. Noe was on the ball. He got right back to me. If he though I was insane, he did a nice of job of concealing his feelings. He said he would run the idea past a small committee of harness horse aficionados and executives and get back to me shortly.
Mr. Noe was as good as his word. The next day he wrote a nice note saying the project was discussed but the harness race crowd would take a pass for now. They gave me the name and address of a real big hitter in Hollywood, Alan Kirschenbaum, who is a huge harness race fan. I decided to drop him a note.
Dear Allan,
So I quickly penned another rambling letter.
A week later I received a nice hand written letter postmarked, Burbank California.
The Hollywood mogul wrote that he felt my proposal was “worthy of
consideration” and he “would keep it in mind if he found an
appropriate market.” This may be show business talk that translates
to “get lost loser” but the fact that a major producer of television
shows like “Yes Dear” and “Coach” would take time
to hand write me a letter and lick a stamp felt like a major accomplishment.
I already felt like I was in the movie business.
So, the horse/film idea was falling apart. Well, actually it never came together. The good news was two very important people listened and responded to my runaway train of an idea for a horserace documentary film. The bad news was they did not climb aboard.
The rejection did not faze me. I thrive on rejection. When I send out a freelance story and it comes back “thanks, but no thanks” I never bat an eye. My warped impression is not one of disappointment but rather sadness that the imbecilic editor was so stupid as to not recognize my brilliance. Many editors and movers and shakers fail to recognize my potential so I am always prepared. In fact, while waiting for the final thumbs down on the horseracing scenario I was already formulating a substitute plan for making a film. The replacement idea was a film about baseball, minor league baseball; this is a topic I know quite a bit about.
Switching to a baseball film for the theme of the movie had two benefits. I would produce this film independently and I knew of a few potential markets for a good finished product on baseball. The minor league baseball film scenario had a major league drawback - it would require I pay all the bills. This small detail was easily shuffled to the back burner. Seven minutes after reading the Hollywood producers “thinking about it” letter I was back at the computer launching my baseball film in earnest.
………
Exactly one year later the movie “Touching Home, Baseball in the Bushes,
was finished. The adventure required, a crash course in filmmaking, 14 trips
to baseball parks, $12,000 from my groaning bank account, pre-production
work, four months of filming, four months of editing, post production work,
lots of fun and making several new friends. This is the first chapter of
a book on the making of this film. A second film is under production.
Chapter 2 (February)
Year of the Minor Movie Madness
Revisions, Rejections and Rejuvenation
Justin Zimmerman had mailed me copies of two movies he had filmed. I watched
them both a couple of times and was impressed. We had been keeping up a
perfunctory e-mail correspondence about DVD’s and filmmaking in general.
I asked if he liked baseball (yes) and if he liked character driven documentaries
(yes). I started to like the guy. I got a sense he really wanted to make
movies. Even though I never met him, I started to trust him. I felt he
was the guy I wanted behind the camera of my first film.
Justin,
We should see if you have any interest in my new project or if it is "doable" before I ramble down 1-77 or I 71.
First of all, let me introduce myself a bit more, for the past few years I have written a column in a national horserace publication, Hoof Beats Magazine (ironically it is headquartered near you in Columbus Ohio, occasionally travel down to talk to my editor.) But my main beat is minor league baseball, I have written about this sport for 14 years. I have connections and knowledge in both of these odd galaxies.
Here is a broad outline of my documentary idea.
Once upon a time, a small town in PA, tried to start a baseball team called the Lehigh Valley Black Diamonds. They ran out of money before they opened the doors. The league office (Independent Atlantic League) needed to keep an even number of teams so someone got the idea to have this "orphan team" play all their games on the road. So they did. For the past few seasons’ this team has repeated the scenario - they are called the Pennsylvania Road Warriors. I spoke to the league president last week and they will play one last season before finding a home.
I believe a documentary that follows a few players on this "baseball team without a home" would be fertile ground for a documentary. I have tons of ideas and notes for a story arc, locations, set ups, dates, etc. - But the basic drama would be character studies on a few young players that are so desperate to keep their baseball dreams alive that they will play for a team without a home on this low level of the baseball hierarchy.
What will happen? Hey, it's a documentary - the kids selected as subjects may get cut during the season (which would be a good story line) or may make it to the hall of fame (another good story line). It would be real drama, the backdrop of baseball field; locker room, buses, etc are appealing. I also have some ideas on where a film of this ilk might find market niches in the baseball world as well as the film world.
Two critical factors if this idea has legs - (time and money), your time, my money. The final season of the Road Warriors begins in May so the window for pre production is small. Well, that is a very rough outline. You may feel I need therapy. Anyway, if your interest in this idea is lukewarm or nil, perhaps you could recommend a student that might want to "play ball"
Justin wrote back with quickly and with enthusiasm.
Bob,
I'm really interested in character driven docs -- sounds like you've got
a
winner, frankly. You have a nice historical foundation, a strong potential
for drama and sacrifice. The audience will feel the investment and it is
exciting that it is in the present. They will watch the team rise and fall,
we will find individuals to specifically follow and we see what happens.
Hoop Dreams is a good example of this shooting mentality. It is a great doc.
The Rookie, a narrative, but with the thematic connection you'd want from
your doc. From your previous e-mails, I assumed your idea would be in this
vein. I do not think you need therapy. The potential audience for a film
of this caliber is great.
Now, the fun part Are you suggesting this idea as a large-scale student
project? I am not a student, are you planning on paying a crew? if so, how
much? How many individuals do you want on your crew? What commitment do you
need from this crew? Have you secured independent financing? What is your
budget? How long do you want to follow this team? What is your time frame?
When do you want this film to end? Have you been granted permission to film
this team? Is the team interested in contributing to the film? You know, money
and time. :)
Talk to you soon. Jcz
I spent the next half hour trying to organize my thoughts. Writing back and
forth via e-mail was a great comfort. Cyberspace was a shield, it gave
me time to organize my thoughts, temper my enthusiasm, and make up bullshit
to answer his questions. Soon I had a letter ready that I hoped would bring
the film idea into focus.
Justin,
Long story - short. My first film idea (one still in my head and on my computer) had to do with horse racing. I went so far as to contact the head honcho of the sport, he took my idea to a committee of big shots - but in the end, they shook their heads no. Too bad, because this project might have gotten funding from the national organizations. Perhaps another day, or perhaps if this project... oh well, I digress.
The baseball idea was plan "B".
Money is an issue (isn't it always). It will come out of my pockets (which are shallow). I am a virgin to film making so the costs may be prohibitive. Economy is a must. Here are a few thoughts ...
If I do not have enough money to hire tons of professionals; I would like to take a shot with an amateur. I’m thinking small crew, (maybe one) basically a hidden camera. Not a "talk to the camera feel as the samples you sent." I would like to use an over the shoulder style. The interaction between players, managers will hopefully propel the dialog (if you have ever been on the bench or on the bus, these kids talk constantly to quell their demons).
Tape not film (costs). Keep it rolling.
Shooting schedule, not too rigorous. (As little as 3 sessions of 3 days), I believe the Road Warriors open the season in Bridgeport Connecticut and close in New Jersey
Primary shooting from the last day of tryouts (see who makes the roster) till the first game of the season. Then schedule a second shooting toward the end of the season.
A few ideas for secondary shootings possibilities; the town that awaits franchise, hometowns of the selected players to see their homes and loved ones, mid season, tryout Camp and several others.
I talked to the league commissioner on the phone, if I decide to do the project he wants to see a more complete proposal but I think it will work out - in the long chance they said no this baseball documentary can still be made.
The thing I like about this is it has a beginning and an end and is character driven in an interesting location.
Bob
The ball was rolling. At this point I had no idea of the type of money we
were talking about to make a film. I had no idea WHY I wanted to make a
film. I just knew I would find the money and make the film, somehow, someway.
I left to grab a Big Mac and when I returned the computer wrote a follow
up letter
Justin,
Forgive me if this is ridiculous. (I know as much about making a film as nuclear fission). I know you are a teacher of film (I was a teacher of golf, tennis, reading and history for many years). I can tell you are a busy guy and this deal is sort of short notice. I imagine you have a pool of salivating potential filmmakers. So, thinking out loud, hypothetically. Is something like this possible?
You oversee the project.
I write the check for a few grand.
You grab a few great students for the bulk of the work.
I supply a sort of screenplay (things I think would work).
The cash is used to rent your equipment, travel for the cameramen or camerawomen,
food, tape, sound track, directors chair, snappy "Take two splatboard" (whatever).
You orchestrate the final cut.
BTW - I forgot to tell you my big ending to the film. At the end of the last game the players leave (bus, tearful goodbyes, car. plane - who knows). One year later. We track down the players for a "what happened to them segment"... Find if they are still on the baseball journey, flippin burgers or selling insurance.
Bob
He wrote back.
Bob,
No forgiveness needed. You are just asking. You also know the adage -- if you want to do something right, you do it yourself.
I teach intro to film production, world cinema and theory at
Denison University, not Ohio University, though I’m based in Athens.
Charles Fox recommended me to you because he knows I make independent docs
largely by myself. If you want a professionally shot/produced project, I
recommend you hire a professional, not students. That’s just me. At
the
same time, I think your financial instinct for a small crew benefits the
doc
format. Your subjects will respond to a small group of people better than
a
large group, period. I think you can achieve your goals for a small amount
of money. The question is -- what are your specific goals.
Docs need intimacy. People will not be comfortable in front of a camera
until they get used to the camera, and the people with the camera. It’s
too late in the year to bring this project up to my students. I’m still
not sure I’d recommend that option to you even if it were the beginning
of the year. You’re looking for quality and consistency. This is tricky
work.
Here’s how I can help.
If you are interested, you can hire me. I can film by myself. I did it on
the Calling frequently. I did it on One of Five.
We negotiate on an hourly, daily or weekly salary.
I’ve given you some numbers here, so you can do some budgeting based on your shooting schedule.
We include expenses, including travel, food, hotel, DVCAM tapes and
insurance for my equipment in this budget. Should you like the footage you're
getting, I continue. Upon completion, we continue our rate for editing.
Along the way, you consider applying for grants and advertising $ from
baseball, the OAC, etc.
That’s what i can do. Films, like writing, or teaching, take pre-production.
What are you looking for? What do you want it to look like?
Documentaries require a lot of shooting to get key moments. This is what
you're preparing for. I’d be happy to work with you to accomplish a high
quality, independent doc. if the cost of me shooting/editing is
prohibitive, then I hope I was able to help you think about your proposal a
little more systematically.
FYI -- I had many different sources of funding for my films. One of Five
cost approx $10,000 and took a year to accomplish. The Calling was $25,000,
but that included plane rides across the country many, many times. Kind,
my
most recent short, cost $5,000 to create. What is great about hiring
someone like myself is simple -- I own my own equipment, and I’m used
to
doing the kind of work you're looking to do.
Hope this helps.
jcz
It helped a lot, especially the ballpark figures, which did not knock me out of my chair. A few grand would not a problem, well, okay it would be a minor problem but I was fearful he would be talking over $10,000 which would have been a major problem. It also seemed like Justin knew what he was doing – this was excellent, because I did not. He quickly followed with a few more specifics
Bob,
Shooting --
I have a Sony PD150 DVCAM camera. You saw my work samples -- the Calling
was shot entirely with this camera. It is a broadcast quality cam. i have
several mics for on-camera sound selection, including a lavaliere and a
shotgun mic.
Sound -- I also have a TASCAM DAT recorder for double-system sound. if you
were interested in hiring a separate sound-person, they might have their
own
equipment, but my DAT is industry standard, and records broadcast quality
sound.
Editing --I also have a Final Cut Pro 4.0 editing system. i can edit, color-correct
and export to DVDs.
DVCAM tapes cost approximately $15 for 40 minutes of footage.
Hourly rates are negotiable. I have shot and edited from $20 to $50 an hour
for my time, plus insurance for my equipment, and expenses.
I would consider getting "embedded" with the subjects as much
as possible.
Getting the subjects to feel comfortable around camera and the crew (even
if
it is just the director and a camera-person) is essential to capturing key
moments. You didn't mention much about games. If you do hone in on a few
people, you'll want the audience to see them in action -- how do they do
on
the field? There is also a very interesting subculture to minor league
teams -- can really elevate your doc with the surroundings, constant travel,
etc. These are a few things to think about.
Feel free to call.
The equipment information was, of course, incoherent to me. However, it was
nice to know that Justin had a grasp of technical details, acronyms and
evidently had a camera that was operational. Quite a few questions that
required me to make up answers on very short notice. I did.
Justin,
Approximately 45 - 60 minutes. Tape. Unscripted dialog. Fly on the wall. Want the filmmaker to be as invisible and unobtrusive as possible. The film does not need to be overly slick or stylish. I want the selected players to drive the work. I want the viewer to CARE about these kids. I want to show the story, not tell it. I want to show it by having us eavesdrop on the players talking on the bus and on the bench and in the restaurant and in the hotel. I want to capture the hope and fears they feel as they reach for their dream. The sadness if they don't make the grade (and very few do). I have watched these players for years - it is a compelling little drama.
The unique "never the home team" situation is a bonus. The action on the field is just wallpaper (but great wallpaper, a great set for a movie), the DREAMS are the story. Before we get to murky waters like the finances/ student verse pro / hourly rates etc. I have a very simple question. .
I know my synopsis on these pages is sketchy; I have not put the meat on the bones. I have meat. But the question is.... Do you feel enthusiastic about this project at this point? It may be my money, it may be my concept, but in the end, good or bad, success or failure (all relative terms to me) it will be as much the filmmaker’s product.
Bob
He Replied
I have 2 quick answers for your very important question.
1. The film will be, in the end, your product. You will own it. You will
market it. You will put it out into the world. So, it doesn't matter what
the person who is crafting it is thinking -- it only matters what they bring
you and that should be of the utmost quality.
2. I believe I’ve said this before, but i will happily say it
again. The
story of the amateur is an interesting one to me. Have you seen Hoop
Dreams? My favorite doc, bar none. Watch it if you have not. Largely fly
on the wall. It is life in the face of sport and sport as life. When I created
the
Calling (for hire, though I own the rights) I was interested in the history
of the sport, the lives of those who raced that first time and then met on
the fields of the Civil War...but i became more interested in the
individuals who coached the ultimate amateurs -- whose sport had no future
after college -- and those who gave everything to that sport anyway. on the
bus, on the fields, on the phones -- your doc would have to have access and
familiarity w/ your subjects, or it just doesn't work. And Bob, the reason
I love doc work so much is because people are so interesting to me. These
guys are not so different from the "ultimate amateurs" in crew.
So yes, if
a long term shoot can be fiscally feasible for me and for you, i think it
would be great to be a part of the film, because the idea is solid and
sounds like fun both subject and photographically-wise.
If you decide that you want to continue looking for other filmmakers, feel
free to e-mail me with further questions. i don't mind advising.
Take care,
Justin
I liked this guy more and more. I wrote.
Justin,
I'm getting a bit jazzed. I like the idea of focusing on the May shoot - then see about going on. If we don't feel the footage is promising, back off... if we are enthusiastic...go crazy.
It is always hard to put $ on a creative process. I'm not a great businessman, the work is always more important to me. For example, an editor asks me to write a 2,000-word story for $200, all I care about is the story. Hell, sometimes I write the piece in 20 minutes. The next time I spend two weeks, take several trips, go to libraries, work all night, and kill myself for the same $200. When I'm writing I don't bother with accounting.
Same with my racehorses, we pay a trainer per month. Boom. Period. I do not ask him to breakdown his hours, the miles the horse jogs, the horseshoes, the amount of feed, straw or explain every expense. Some months I'm sure he is greatly overpaid, some months grossly underpaid. I trust him to focus on the job. I'm sure others work differently. If you want we can work in drips and drabs, but I think it's easier to go with a lump sum. Maybe, put $1,000.00 in an account for the May shoot.
BTW, if I go along, the travel /hotel costs would be lessened and I could help you (what the heck do they call that guy...a key grip?). Watching a film made could make an interesting topic for my freelance writing. Lets start with two things. Set up a meeting and I will contact the Atlantic League office for rights to do the project.
Bob
He Replies,
I’m with you Bob. I like making things. I like teaching. I love documentaries. I’m not a great businessman either. I Write grants and my own work is 100% independent. I like what I am doing but my time and equipment are important, that’s why it is important to be formal about these things at every turn.
One final note, your writing takes time, energy and creativity – my undergraduate work was in film AND English. But the tools I writing are pencil/paper/computer. Shooting a high quality image takes some pretty advances equipment - and you don’t want an MTV kid just running around and shooting art. What you need is a good, solid “flat” image. This final image is modified in postproduction on Final Cut Pro 4.0 (and editing program that I use that is amazing) where you boost color, saturation; balance the whites, blacks and mid-tones, etc. Shooting correctly takes patience; understanding and methodology, just like a powerful story. It just that in film the tools a arguably more complex and certainly a lot more expensive.
Here’s an offer.
I will shoot the May adventure for you. 4 days of work (5th –8th) at $200 per day, totaling $800. This includes camera and sound package and insurance. If we shoot 10 hours each day (an I’m hoping we do this several times) I will get $20 per hour. If we shoot 5 hours I get $40. There will be no charge for pre-production discussion and advice - and I will be talking you ear off because I very much want to shoot this work. This could be paid in two installments.
I will not charge you for the time it will take to transfer al DVCAM tapes to VHS tapes or DVD’s for you to watch.
Your responsibilities will include – drawing up a contract. Buying DVCAM tapes and VHS/DVD blanks. Arranging transportation and paying for mileage if I need to drive, arranging and paying for sleeping reservations, food, arranging team presence - basically paving the way for the cameraman because I want to be in there shooting pretty constantly. The more footage I shoot, the better. You would own all rights to the footage, but you would allow me to use the footage for my demo reel.
If this makes sense to you, maybe you could jet out to Denison for a meeting.
Obviously the deal was almost done. Quite remarkable when you consider I
had never met this kid and had only been in the movie business for a few
short weeks.
Justin, More good thoughts....
Lets talk some general specifics (how's that for an oxymoron).
I will rustle up $2000 - $3000. This should go a long way in covering, six to eight days of filming, travel and expenses, insurance, film, etc for two trips, 1 to Connecticut, 1 to NJ. Is this, if you pardon the pun, in the ballpark?
And this is a logistics’ problem, the Pennsylvania Road Warrior first game is (Thursday) May 6th in Camden NJ. So a 5th to 8th trip would be needed. They end on Sept 19th, so a trip around this time would be needed. These dates are crucial for the film. Other trips or other shoots would be more flexible. Is getting away from your teaching job on these dates a problem? I wish we had eons to plan these things but the dates are what they are and we can't wait till next year because there will not be a next year for the Road Warriors.
As you ponder this, it is probable I would go with you to share expenses on one of the trips (maybe two). I write for a baseball publication and each year I travel to minor league parks, I would use the trip to write a few baseball travel stories.
At this point, I dimly realized that I was committing to a road trip with a person who, for all I knew, could be cyber lunatic, axe murder or Tupperware salesman. We were on our way to Camden New Jersey, a city that terrifies me more than lunatics, murder or Tupperware. I would be paying several thousand dollars for the pleasure. On the other hand, Justin was as clueless and blindly confident as I was for he quickly agreed to the lunacy.
Bob
Can confirm availability in May, probably in September. I think we're
in my price range. We’d have to break it down a bit more systematically
before I sign on, but
that shouldn't be a problem for you. As the producer/director, making up
a
budget should be essential to your process. Ii also think it would be good
for you to go on these trips. You’d be another set of eyes, and only
you know what you really want from the project.
First, we need to set a rate for my shooting services, separate from expenses, insurance and tape stock. There are two reasons this is important to me -- 1. I wouldn't have an AC, sound or camera support on this shoot. I’ve worked this way many times in the past, but my hourly salary should reflect these added dimensions to my DP's role. I’ll be lugging my own equipment, setting up the tripod, watching the sound, etc. That’s a lot of work! 2. Again, your job as the producer of this film is to make sure you have an itemized understanding of how the production is working out. Hey, it's your money; you should know where it goes. a lump sum amount won't help you down the road when you're trying to talk about your expenses -- separate and evaluate your line items!
If you're interested in me editing the footage (which I hope you are -- I am!), we should set that rate too. So, let's say that we come to a mutually acceptable hourly rate for my DP services, and that guarantees are made for acceptable food, travel and sleep arrangements in May.
Immediate questions would then include -- am I driving or flying? (Probably
driving). If driving, you'd save yourself some $ by driving and me
accompanying you. That way you wouldn't have to pay mileage reimbursement
of, I believe it's, right now, 34.5 cents a mile. Where would I be staying?
Would we be accompanying the team the entire time? (Not a bad idea --
tape stock is cheap, and we'd be as "embedded" as possible. That
would
increase the $ you spend on your DP, but that's a small trade-off when you
consider all the footage you'll get!) What about field access? Where would
the camera be allowed to go? Not go? What restrictions would we have as a
crew on the bus, in the locker-room, on the field, with the team, with the
coaches, anywhere?
I think this could be quite fun. You obviously have a lot of work to do
with the team -- as far as making sure you and your crew has all the access
they can get! If I were you, director, I’d concentrate on May, separate
from September. That way, you can evaluate the May footage before deciding
about September's crew.
I’d also try to acquire all the archival rights I can. Find the
pictures,
find the footage, and find anything that links this team with its history!
Then
find out who owns that images/sounds/archived info! With a small amount of
shooting, and a small amount of archival footage, we could put together a
TRAILER that could help you raise interest and $!
Wow. I’m tired! I have to go teach now. Talk to you soon. jcz
The deal was done. I e-mailed the stamp of approval for the strange plan.
Justin,
Those terms sound fine. Let’s do it.
Here is a little question. I do crazy stuff but I strive to finance this stuff with equally crazy schemes. For example, I pay for my horses by writing about horses, pay for my travels by producing the Minor Trips publication, pay for my golf by giving golf lessons, etc.
I am curious about something (well, many things actually). Suppose we do end up with a good product. A film that is really good. I know some of my subscribers would purchase "Road Warriors." What does it cost to run multiple copies of a DVD. For example, if I asked to by 100 DVD's of your movie "One in Five" what would this cost? $1 $3, $5?
It is hard to think about selling something like this film, because at this point, and probably for a long time you don't know what the product is... it may be a dud, it may be a jewel. If it is a jewel, I automatically have some markets and even several tenuous connections to the big time entertainment world. If it's a dud it goes into my closet. This is a bigger gamble than racing horses.
As usual, Justin’s answer was prompt and precise
Bob
Me too. I teach and write grants. That’s how I can afford to
make films
independently. It costs about $4 - $5 a DVD to buy high quality apple DVDs.
You can buy DVDs in bulk (not apple, but should work fine) for $2 a pop,
plus cases and cover art costs. So between $3 and $7 at cost for a short
run of DVDs. if
i was to make them for you in other words, not get a share of the profit
once you sold them (which is probably best, since you'll own all rights),
i'd probably charge $10 a DVD for you to sell them at $20. This would
include case and cover art. You could sell them for more if you wished,
depending on the product length and the buyer demand.
Not really. In this film world, you have a say in what the product is comprised
of. You make the calls. You could easily use preliminary footage and
archival footage to make a trailer for the product and pre-sell the film.
You also have a built in audience and potential for a greater sports audience
-- a pretty good bet as far as docs go! Well, whatever. Neither one of us
wants to spend our time on something that'll wind up in the closet,
give me a call this weekend with further thoughts. Jcz
Around this time I explained to Sue, my wonderful wife and partner, the bare
bones of the film scheme. Sue is a gem. I could tell her I was sailing
to Tahiti on a tuna boat to take up painting and Sue would simply smile
her beautiful smile and say something like, “Sure, want me to go
with you?”
Justin,
Thursday around 4 or 5 is my best bet. Pick a restaurant or pub in Denison (nothing fancy, I'm a blue jeans kind of a guy). I hope to stop at the magazine office in Columbus earlier in the afternoon since I'm making the drive - but I can't set this up til Monday.
The only major obstacle I see at this point is the league permission. I will rework the letter and show you the next draft. I purposely made our interaction with the baseball team look minimal and benign. My thinking is once we get something (anything) in writing we can push the envelope on site. We just need the ticket into the dance, then we dance.
My sister is a travel agent; she handles a lot of my stuff. In this case I need to find and book at the hotel where the Road Warriors stay.
I also think that when I write for permission, I may ask Joe Kline to give us some time in front of the camera. He is a big deal in baseball (a famous General Manager for several Major League baseball teams). Perhaps he could give the historical background of the Atlantic League, the history of the Road Warriors and the plans for the team next season. This could be a good set - up for the film.
A couple of topics you might think about? Here's a trio.
You mentioned contract, I usually operate "seat of the pants" but you might not.
When it comes to money - handful of cash? Check? Debit card account? Drachmas? Betting vouchers? Shares in one of my racehorses?
My notes for this film are scattered and many. Is there a format or a template that I could use to transpose my ideas to a more coherent form? A sort of "blueprint form that film makers like to work from? Heading to Pittsburgh (my daughter has a VB tournament). Be back Monday AM. Talk then
Bob
After a weekend in Pennsylvania watching my daughter play in several thousand
volleyball games and listening to a squadron of teenage girls shriek, cry,
yell, gossip and have fun, I returned and found this e-mail.
Bob
Thursday at 4 is fine with me for out meeting. Why not drop by my office
-- plug in 122 N Mulberry Street, Granville Ohio 43023 into mapquest.com
and you'll know
right where to go. Once you make it to Granville, it's easy as can be.
It’s the Cinema Department you're looking for. I’m a blue-collar
guy myself
-- I think I know a decent spot.
You put it better than I did, certainly, but that's what I was trying to
say
too. Right. How much can I hang out with these guys? As much as possible!
That’s a great idea. Try to acquire any visual material (and the rights
to use any
visual material) you can for the history of the team. Between the two, you
could have a powerful set-up for the film itself.
I’d prefer two checks, one at the beginning of the shoot and one
at the end.
We don't have to worry about sales tax for the service -- both checks are
under $600. If you want me to purchase the DVCAM stock, I can get
reimbursed for that at the beginning of the shoot, or i can easily send you
to a website (taperesources.com) and you can order it.
I will get you a list of reading material together for the meeting.
See you Thursday!
jcz
I decided to firm up the arrangements with the Atlantic League. I paved the
way with an introductory e-mail.
Joe:
At the end of the week look for a package in the mail.
The packet will include a bio and a sample of my published baseball writing. It will also include a bio of the filmmaker I am hiring and samples of his work (5 films). The packet will also include what we have in mind for the documentary and the access we are requesting from the league (very minimal). I think after you see who we are and the unobtrusive nature of our project you will feel much more at ease.
Joe, I know a bit about you. I remember your tour of duty with the Cleveland Indians before I began writing. During my 14 years on the minor league beat your name pops up frequently, always in a positive light. You seem to be one of those guys who has been everywhere and knows everybody. 3 things I would like to "touch base" with you about.
1) When we shoot this film, we are looking for a voice and a face to set up the film. We need footage of someone introducing independent league baseball and to speak about the history and the future of the PA Road Warriors (I assume they are going to Lancaster next year?). We would like you to be that guy. Think of the Ken Burns documentaries, how the camera cuts from a "voice", a talking head, to the action.
2) Aside from my regular writing jobs, I freelance. Someday I would like to sit down with you and my tape recorder and put together a magazine article about you, sort of "A Baseball Lifer, some changes in the game."
3) And this is a tentative, long shot (hey, I write a horserace column for cripes sake). Have you ever considered writing a memoir of your baseball life? I know this is a busy time of the year for a baseball front office so any project can wait until the "off season."
I will write again after you have a chance to review the material.
Have a great season,
Bob Carson
I spent quite a bit of time composing the letter to the Atlantic League.
I tried to cover all the bases. Our first conversation was a very quick
outline of the project. Mr. Kline was understandably suspicious that I
was trying to sell hem something or trying to get something from the Atlantic
League. In the letter I tried to ease his fears and smooth the way for
a film on the Pennsylvania Road Warriors.
Joe Kline Atlantic league
Dear Joe:
I called last week about a film project. First of all, to ease your mind that I am not some kind of wacko, I enclosed some material as an introduction. I write a horseracing column in the enclosed national publication, Hoof Beats Magazine. See pages 73 an 64. I also freelance. In the past few years I have published over 20 articles. Next month I have one coming out on the Pulaski Blue Jays in Virginia Living magazine. I also write and produce Minor Trips, a very popular publication that has introduced thousands of folks to the joys of minor league and independent league baseball. I enclosed a copy of our last newsletter. I have been on dozens of radio shows talking about minor league baseball, last year I even spent time a consultant for the new Eastlake ballpark construction company. I have been on the minor league trail for 14 years. I have always been a big promoter of independent league (much to the aggravation of the NAPBL.. long story that worked out well). Believe me, I am a friend of baseball.
The filmmaker I am hiring for this project is Justin Zimmerman of Brickerdown Films. They are based in Athens Ohio. He has finished 3 films. You can view his company and his work at his website www.brickerdown.com. He has won several awards and his film, The Calling, is pending national PBS distribution. Justin Zimmerman also teaches film at Dennison University. If you want, I can send you samples of his work.
We really do not need much from the Atlantic League, just limited access to a few players for a very short period of time. The plan is to shoot from May 5 - 8, then return for a second session of a few days later in the season. The filming will be very discreet. This is a documentary in the “fly on the wall” vein. Much will take place away from the park; coffee shop, waiting for the bus, interviews with wives and family, etc. No big set-ups or lights or sound equipment or crew or noise. The two shootings that we would like you to okay are 1) an opportunity to take a bus ride, or at least part of a ride. 2) a few inning on the bench. Not a whole lot different from a local TV clip. Should any player or the manager find Justin’s presence in any way disruptive, we will make it clear from the start that any requests from the team will immediately be honored.
Justin is a pro. He is also relatively young, so he will blend into the woodwork with the best of them.
Believe me Joe, our intentions are to make a film that promotes your league. Our mission is to help. I have promoted independent league baseball since writing a story on a game between the Newark Ohio Buffalos and the Zanesville Grays in a 1994 Frontier League game. Rest assured, our motives are positive, our presence would be minimal.
Bob Carson
Minor Trips / Hoof Beats Magazine / freelance
The phone rang a few days later. The voice on the other end of the line was
Joe Kline. He was very nice, but I sensed he was understandably wary. Joe
mentioned that a couple of big hitters, Ben Affleck and Matt Damon, had
approached the league with a documentary plan but things were still in
limbo. We talked of old times, back in his days with the Cleveland Indians,
Minor League baseball in general, and the future of the Atlantic League.
I felt Joe was feeling me out, not wanting to get involved in a waste of
his time. I sensed he was relaxing. Then an obstacle popped up.
The league did not want to feature the Road Warriors. The Atlantic League has several booming franchises, teams that sell out stadiums. The Road Warriors are not their best product; in fact, I got the impression the strange team is a bit of an embarrassment, a temporary stopgap. A film on the Road Warriors would take some major pushing but the league would work with us if we switched to a different team for the film. Joe Kline and I talked a bit longer. He said he would “go to bat” for us. I said I would keep him informed of the progress on the project.
I hung up the phone and leaned back to think. This movie business is tough. In just a few weeks I had been rejected by the USTA, rejected by a Hollywood producer, and now the original baseball team looked like a no-go. Three strikes – but I was not out, not by a long shot. In fact, while I was waiting for approval from the Atlantic League another idea had risen to the surface of my film career. I was thinking about a different location, a different team. The unavailability of the Road Warriors almost came as a relief.
I decided to let Justin know what was happening.
Justin
Lets shoot for next Wednesday (March 3rd), at your office. Had a nice chat with Joe Klein of the Atlantic League yesterday. He is a neat guy, very knowledgeable; he would be an asset and a possible talking head. But a snag popped up.
Of all the teams in baseball, well over 200, I chose the Road Warriors for the unique "team without a home concept." This idea has proven to be a problem. The Atlantic League has several excellent franchises. They feel, understandably, that a film using the Road Warriors would turn a spotlight on their least attractive team. They would prefer we select another team in the Atlantic League. This remains a possibility. The Road Warriors are a long shot.
If the "team without a home" backdrop is off the table, I have a few alternative thoughts for us to consider. They revolve around, as we said before, time and money. Two alternate ball clubs come to mind. Last season I wrote a story on the Washington Wild Things of Washington County PA, the front office were great hosts and this team would be good to work with. But I have another option to consider, The Chillicothe Paints. Chillicothe has several assets for the film project.
The team plays close to your home base (1 hr). You could commute. No plane tickets, no hotel bills and you would not be hemmed in by a tight 5 days of shooting. You would have more flexibility and should an unusual angle or film opportunity pop up you could jump right on it. You might even get a few film students to do "homework" or take "Field Trips."
The Chillicothe Park is a little gem. Located on a Veterans Hospital campus, very small, very old and presently undergoing renovations.
The "team without a home" hook could be replaced with "the bottom of the baseball hierarchy rung" theme. Our original "character driven plot, beginning and end arc, and all the themes we have discussed" are transferable. And the Paints have a bit of history. One of the original franchises in the independent Frontier league, they have weathered more changes than Michael Jackson's nose.
I will send Joe Klein of the Atlantic league our credentials and keep him abreast of our plans. I will touch base with Chillicothe. Fortunately, we have a bit of time before we commit to a team or a shooting schedule,
Think about these issues. Talk soon.
Bob
I think Justin was more unnerved by the chilly response to the Road Warrior concept.
Bob,
I kind of understand this, and I kind of don't. That’s one heck
of a
sentence, but hear me out. Isn’t much of the point of your doc that
these
are the underdogs, the little guys, and the heart of minor-league baseball?
Your point below is valid -- the film could work with another team. But
don't let go of this idea unless you’re sure it won't work, because
it was a
major aspect of your approach to the subject. This is your money, and your
film. Hopefully the Atlantic League would be grateful of any independent
project
showing the glories and struggles of any of its teams.
Could work. It is, of course, your call! One important angle for you
to consider is intimacy. One of the reasons going to other locales and
sleeping in the same hotels with the guys is proximity -- getting off the
cuff comments, getting late night interviews, seeing the road for what it
is
-- a little baseball, and a lot of traveling and waiting. I would hate to
lose this focus.
I will have a reading and film list drawn up on Thursday. Talk to you soon.
I clicked off the computer and put my feet up on my desk. A sheepish smile
crossed my face. Sue, the greatest wife a guy could ever ask for, saw the
grin as she walked past my office.
“Okay, what are you smiling about now?”
I stood up, walked over and gave her a long hug.
“Another adventure.”
The ball was rolling. The movie would be made. Bet on it.
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