There's a trend happening with some short filmmakers – stealing. It’s not intentional (I hope) but it’s evident nonetheless. It all boils down to using other peoples’ stuff. Music infringements are the most prevalent (as discussed in an earlier piece here). But there are other “thefts” that can still hurt your film when it comes to getting it sold and seen. And there are just way too many new films being made with one infraction or another. They all end up in the trash bin.
The most worrisome part about this trend is that there’s a mindset among too many filmmakers that seems to scream: “If it’s out there, it’s mine!” Maybe it’s a generational thing? Or an Internet thing? YouTube? It’s unclear where it all started. What is clear is how many films are submitted to buyers like Mini Movie Channel with elements that have been taken from other sources. This is frustrating for buyers because a lot of these films with “red flags” are good and should be seen.
No-Budget and Low-Budget filmmakers have always used “stolen” locations, but that's just one aspect of current films that can cause problems. It’s one thing to get away with not having a location permit for your shoot, but depending on the location, it can come back to bite you. One film that was rejected recently by Mini Movie Channel had a scene that took place in an art gallery with lots of wonderful paintings on the walls. There had been an exterior establishing shot that showed the name of the gallery. Even though the filmmaker probably had permission to shoot there, he didn’t have written permission from the gallery's owner. For one reason or another, he could not get that written permission after the shoot took place. Furthermore, he did not have written permission to include any of the paintings in the scene.
Another film required a scene that took place inside a movie theater. But the filmmaker had used an exterior shot of Mann’s Chinese Theater on Hollywood Boulevard, which established that the interior scene was taking place inside the famous landmark. You can do “drive-bys” of famous places, but the minute you infer that your story is taking place inside one of them, especially privately owned ones, it’s wise to get permission. It’s even wise to get permission from your friend who let you shoot in his apartment.
Using clips from other people’s movies can be a real deal breaker. One film had a TV playing in the background and the program was recognizable. It was a late night talk show. The whole soundtrack for the short film was from the TV show playing in the background. A celebrity was being interviewed and they showed a promotional clip from her latest movie that was about to be released. Then the TV show cut away to a commercial. This presented major problems for the producer who had no written permissions from anyone. In order to clear the elements from the TV show, the producer would have needed written okays from the television network, the production company of the late night talk show, the host, the celebrity, the studio who owned the promotional clip, and then the people who owned the product in the commercial that was seen. There was also music in the TV show and it had to be checked to find out who owned it. Needless to say, the pursuit to get all those clearances in order was daunting and the producer, although he tried at first, finally gave up. And in this situation, if one entity had said “no” then all the other permissions would have been useless.
Another film had interspersed clips from old Marilyn Monroe movies. It was effective storytelling but no one will ever see it commercially because the cost of the rights to those clips was prohibitive.
Note to filmmakers: be sure you have the right to include everything you have in your film. You cannot assume that just because it’s “out there” being used by other people that it’s yours too. And I’m just gonna bet that if you saw something from your movie being used by other people without your permission you wouldn’t much like it. Am I right?
October 14, 2008
October 10, 2008
How Not To Be A Stupid Filmmaker: Trademarks and Logos
You can’t stick voodoo pins in Barbie. OK, actually you can (it’s a free country). But if you do it in your movie, you probably won’t be able to sell the film you just made of Barbie’s suffering. It’s a trademark/logo issue.
When filmmakers are shooting their shorts, it’s easy to overlook this very important aspect. Principal photography can be fast and furious, not to mention minimally staffed. There usually aren't set dressers or prop managers on the set making sure that everything in your picture is okay to include, like that Apple laptop, that can of Coke, or that movie poster on the wall in the background. Just like actors or music, you need written permission to use recognizable products, labels or images in your film.
And even if you have permission from the source, they won’t like it if you abuse their trademark/logo. When you ask a trademark- or logo-holder for permission before you shoot, you’ll most likely be asked to submit a script so they can be sure you’re not degrading their image. The company may grant you permission to use their product, but they definitely won’t let you abuse it. For instance, you might be able to have a character drink from a can of Coke, but that person can’t crush the can after the last drop.
As an example, there was a major case some years ago in which a studio feature film showed a car breaking down. It was a primary plot point for the story. The car manufacturer sued the studio and won hundreds of thousands of dollars. The car company had spent millions promoting the image that their car was safe and reliable and basically did not break down. Granted, this was a feature film from a big studio. It’s unlikely a short film without a huge nationwide theatrical release would have the same costly result, but buyers are always looking for red flags in the films they’re considering to exhibit and they don’t want to risk any legal action because of a trademark infringement. A lot of companies don’t mind if you use their products in your story, so long as it’s all in keeping with the public image of their product. Still, you need their permission first. Of course, you do not need the okay from every car company for every car that’s parked on the street or driving by. Just for the ones that are more or less “characters” in your film.
Mini Movie Channel has had to pass on dozens of films they wanted to license for exhibition because all too often, there were elements that couldn’t be cleared. Recently, a film was submitted in which a character used a magazine and newspaper as hand props. The producers had not gotten permission to use items. In another film, a scene took place in a grocery store, and many products on the shelves in the background were recognizable. Again, the producers had not cleared those products for use in their film. So, if you can’t get permission for all the “stuff” in your film, make sure the identifiable logos are turned away from the camera or masked in some way, like with black masking tape.
Whenever companies which license films like Mini Movie Channel see “red flags” in a film regarding trademarks and logos, they will require paperwork that eliminates any risk of liability. Otherwise, without that paperwork, they will just “pass” on the film and move on to the thousands of other available shorts that are created every year.
When filmmakers are shooting their shorts, it’s easy to overlook this very important aspect. Principal photography can be fast and furious, not to mention minimally staffed. There usually aren't set dressers or prop managers on the set making sure that everything in your picture is okay to include, like that Apple laptop, that can of Coke, or that movie poster on the wall in the background. Just like actors or music, you need written permission to use recognizable products, labels or images in your film.
And even if you have permission from the source, they won’t like it if you abuse their trademark/logo. When you ask a trademark- or logo-holder for permission before you shoot, you’ll most likely be asked to submit a script so they can be sure you’re not degrading their image. The company may grant you permission to use their product, but they definitely won’t let you abuse it. For instance, you might be able to have a character drink from a can of Coke, but that person can’t crush the can after the last drop.
As an example, there was a major case some years ago in which a studio feature film showed a car breaking down. It was a primary plot point for the story. The car manufacturer sued the studio and won hundreds of thousands of dollars. The car company had spent millions promoting the image that their car was safe and reliable and basically did not break down. Granted, this was a feature film from a big studio. It’s unlikely a short film without a huge nationwide theatrical release would have the same costly result, but buyers are always looking for red flags in the films they’re considering to exhibit and they don’t want to risk any legal action because of a trademark infringement. A lot of companies don’t mind if you use their products in your story, so long as it’s all in keeping with the public image of their product. Still, you need their permission first. Of course, you do not need the okay from every car company for every car that’s parked on the street or driving by. Just for the ones that are more or less “characters” in your film.
Mini Movie Channel has had to pass on dozens of films they wanted to license for exhibition because all too often, there were elements that couldn’t be cleared. Recently, a film was submitted in which a character used a magazine and newspaper as hand props. The producers had not gotten permission to use items. In another film, a scene took place in a grocery store, and many products on the shelves in the background were recognizable. Again, the producers had not cleared those products for use in their film. So, if you can’t get permission for all the “stuff” in your film, make sure the identifiable logos are turned away from the camera or masked in some way, like with black masking tape.
Whenever companies which license films like Mini Movie Channel see “red flags” in a film regarding trademarks and logos, they will require paperwork that eliminates any risk of liability. Otherwise, without that paperwork, they will just “pass” on the film and move on to the thousands of other available shorts that are created every year.
September 29, 2008
Movies of the Week - Jews: The Chosen Movies
Just in time for the High Holy Days, here are five comedies about Jewish-American life. From dietary restrictions to interfaith marriage, what's a good Jew to do? The movie for Friday -- A Man And His Banana -- is not technically Jewish because of rules against working on the Sabbath—but it is something a young Woody Allen might have made.
The Hebrew Hammer
This movie turns the "nice Jewish boy" stereotype upside down and squashes it, along with Santa Claus. He's a bad dude, sick of being Jewish at Christmastime, and he's got a gun. Written and directed by Jonathan Kesselman, who later made the feature film version starring Adam Goldberg.
Gossip: The Evil Tongue
A little gossip at a Jewish wedding is to be expected, but this time it's a big deal—the bride may not be a Member Of The Tribe.
The Wedding Bout
Here's another look at marriage outside the faith, this time with the bride and groom in a boxing match symbolizing the clash of cultures, with lots of kibitzing onlookers. Can't we all just get along?
Bacon and the Gefilte
He knows he shalt not commit adultery against his Jewish wife, but what if it's food that he's actually lusting after? And what if, God forbid, it's pork?
A Man and His Banana
Food and sex together again, this time with a New Yorker so neurotic he has a banana for a pet, and it talks with him philosophically about love and life. No wonder his girlfriend leaves him. The story, characters, and light jazz music are all Woody Allen-esque. Instead of Love and Death, it could be called Love and Produce.
The Hebrew Hammer
This movie turns the "nice Jewish boy" stereotype upside down and squashes it, along with Santa Claus. He's a bad dude, sick of being Jewish at Christmastime, and he's got a gun. Written and directed by Jonathan Kesselman, who later made the feature film version starring Adam Goldberg.
Gossip: The Evil Tongue
A little gossip at a Jewish wedding is to be expected, but this time it's a big deal—the bride may not be a Member Of The Tribe.
The Wedding Bout
Here's another look at marriage outside the faith, this time with the bride and groom in a boxing match symbolizing the clash of cultures, with lots of kibitzing onlookers. Can't we all just get along?
Bacon and the Gefilte
He knows he shalt not commit adultery against his Jewish wife, but what if it's food that he's actually lusting after? And what if, God forbid, it's pork?
A Man and His Banana
Food and sex together again, this time with a New Yorker so neurotic he has a banana for a pet, and it talks with him philosophically about love and life. No wonder his girlfriend leaves him. The story, characters, and light jazz music are all Woody Allen-esque. Instead of Love and Death, it could be called Love and Produce.
Lost Screen Tests: Fake Interview with Samuel L. Jackson
He's "King of the Mother@#$%^ World," and he's got s--- to say about movies, women, language, and those lost screen tests recently posted on the Mini Movie Channel website.* (*Mini Movie Channel stresses that no actual celebrities participated in this interview or the screen tests posted on www.minimovie.com . The words here are not those of the actual Samuel L. Jackson. They're parodies, mother@#$%^!)
Mini Movie Channel: Mr. Jackson, why do you think you didn't get the role of Jack in Titanic?
Samuel L. Jackson: I guess they wanted someone different. That little mother@#$%^ Leo ain't nothin' like me.
MMC: Why were you so verbally abusive to Kate in the audition? Do you have a problem with women?
SLJ: Abusive? I wasn't pickin' on her; I'm always like that. And no, I love women, especially their t@#$%^. Sorry, but if you can't stand the mother@#$%^ heat, get out the f@#$%^ kitchen! Maybe this is why they kept me off that boat.
MMC: Aren't you concerned about how your language affects people, and what they think of you? What about children who hear it?
SLJ: H#@& no, it's real; and if little kids hear me talkin' this way in a movie, it's something they shouldn't be watching anyway. And on TV all the good s#%& gets cut out or bleeped. I've been bleeped a lot. King of the bleepin' world!
MMC: Your Titanic screen tests have been a hit for Mini Movie Channel. Do you have any others we could post?
SLJ: S#%^ yeah, how about the one of me trying out for Gladiator: "Commodus?! What the f&%^ kinda name is that?" Or Hannibal Lecter, where I tell the b&#%^ what I'll do if I get outta jail. Or Ariel in The Little Mermaid. Man, those Disney mother@#$%^ still won't talk to me after that one. Maybe I should clean up my act a little….
(*Mini Movie Channel stresses that no actual celebrities participated in this interview or the screen tests posted on www.minimovie.com. The words here are not those of the actual Samuel L. Jackson. They're parodies, mother@#$%^!)
Mini Movie Channel: Mr. Jackson, why do you think you didn't get the role of Jack in Titanic?
Samuel L. Jackson: I guess they wanted someone different. That little mother@#$%^ Leo ain't nothin' like me.
MMC: Why were you so verbally abusive to Kate in the audition? Do you have a problem with women?
SLJ: Abusive? I wasn't pickin' on her; I'm always like that. And no, I love women, especially their t@#$%^. Sorry, but if you can't stand the mother@#$%^ heat, get out the f@#$%^ kitchen! Maybe this is why they kept me off that boat.
MMC: Aren't you concerned about how your language affects people, and what they think of you? What about children who hear it?
SLJ: H#@& no, it's real; and if little kids hear me talkin' this way in a movie, it's something they shouldn't be watching anyway. And on TV all the good s#%& gets cut out or bleeped. I've been bleeped a lot. King of the bleepin' world!
MMC: Your Titanic screen tests have been a hit for Mini Movie Channel. Do you have any others we could post?
SLJ: S#%^ yeah, how about the one of me trying out for Gladiator: "Commodus?! What the f&%^ kinda name is that?" Or Hannibal Lecter, where I tell the b&#%^ what I'll do if I get outta jail. Or Ariel in The Little Mermaid. Man, those Disney mother@#$%^ still won't talk to me after that one. Maybe I should clean up my act a little….
(*Mini Movie Channel stresses that no actual celebrities participated in this interview or the screen tests posted on www.minimovie.com. The words here are not those of the actual Samuel L. Jackson. They're parodies, mother@#$%^!)
How Not To Be A Stupid Filmmaker: Writers
WRITERS are where it all starts.
Word! It all begins with the word: The Script.
The writer of any script owns the script. And, of course, he or she has the right to sell his script to a filmmaker so it can be made into a movie. It’s essential to legally contract for the script from the writer. The contract should clearly spell out what rights the filmmaker is getting from the writer and for how long. It should also define how any compensation would work.
The filmmaker must get those rights in writing before starting any project based on that script. If it’s an original script from a friend or associate, or even a family member, it should be pretty straightforward. Where it gets sticky is if the filmmaker is buying a script that was based on some other source, such as a short story or any other published material. The filmmaker needs to follow the chain of creation and make sure he/she has permission from each entity involved in that creation. If it is material from another source, the filmmaker may need to get the writer’s and the publisher’s permission. Sometimes filmmakers get support or funding from outside sources like a foundation or a commercial sponsor. It should be clear in the agreements with those outside sources exactly what rights the filmmaker has and how those rights may be sold or licensed, as often they may have a say in what can be done with the finished product.
Buyers will want to see the whole chain of title regarding the rights to the script that's been filmed. Oftentimes, the filmmaker is the writer, too. So if you’re filming your own story/script, you need to make a contract with yourself giving you or the company you’re operating under the permission to turn your own words into a film.
It’s a good idea to register your script with the Copyright Office and get a copyright number from them. Some writers also think it’s necessary to register a script with the Writers Guild of America East or West. A writer friend of mine was doing that one day with one of his new-hot-off-the-press scripts and the representative taking his registration fee asked if he had any children and suggested that the money he was about to pay them would be better spent on new shoes for his kids. In reality, the inherent copyright protection is in place the minute you finish your script. Some even suggest just sending oneself a copy of the work and making sure the date stamp from the Post Office is clear. Just be sure that the seal on the envelope doesn't get broken!
Once the film is finished and in the can, then it’s time to send a DVD copy of it to the Copyright Office and get a copyright registration for the finished film, not just the script. Many buyers require a copy of the form once you get the registration number, which can take weeks or months. Doing this will protect the script and the film itself.
Not only does everything start with the Word, it also ends with the Word ... on paper ... signed, sealed and delivered.
Word! It all begins with the word: The Script.
The writer of any script owns the script. And, of course, he or she has the right to sell his script to a filmmaker so it can be made into a movie. It’s essential to legally contract for the script from the writer. The contract should clearly spell out what rights the filmmaker is getting from the writer and for how long. It should also define how any compensation would work.
The filmmaker must get those rights in writing before starting any project based on that script. If it’s an original script from a friend or associate, or even a family member, it should be pretty straightforward. Where it gets sticky is if the filmmaker is buying a script that was based on some other source, such as a short story or any other published material. The filmmaker needs to follow the chain of creation and make sure he/she has permission from each entity involved in that creation. If it is material from another source, the filmmaker may need to get the writer’s and the publisher’s permission. Sometimes filmmakers get support or funding from outside sources like a foundation or a commercial sponsor. It should be clear in the agreements with those outside sources exactly what rights the filmmaker has and how those rights may be sold or licensed, as often they may have a say in what can be done with the finished product.
Buyers will want to see the whole chain of title regarding the rights to the script that's been filmed. Oftentimes, the filmmaker is the writer, too. So if you’re filming your own story/script, you need to make a contract with yourself giving you or the company you’re operating under the permission to turn your own words into a film.
It’s a good idea to register your script with the Copyright Office and get a copyright number from them. Some writers also think it’s necessary to register a script with the Writers Guild of America East or West. A writer friend of mine was doing that one day with one of his new-hot-off-the-press scripts and the representative taking his registration fee asked if he had any children and suggested that the money he was about to pay them would be better spent on new shoes for his kids. In reality, the inherent copyright protection is in place the minute you finish your script. Some even suggest just sending oneself a copy of the work and making sure the date stamp from the Post Office is clear. Just be sure that the seal on the envelope doesn't get broken!
Once the film is finished and in the can, then it’s time to send a DVD copy of it to the Copyright Office and get a copyright registration for the finished film, not just the script. Many buyers require a copy of the form once you get the registration number, which can take weeks or months. Doing this will protect the script and the film itself.
Not only does everything start with the Word, it also ends with the Word ... on paper ... signed, sealed and delivered.
September 13, 2008
How Not To Be A Stupid Filmmaker: Actors
ACTORS: DO YOU REALLY NEED THEM?
Yes.
Yes you do.
Unless you happen to be making an animation with no dialogue, you will have actors in your film. For our purposes, "actor" refers to anyone appearing in your movie or being heard in your movie via voice-over. That also includes background extras, and even those real people appearing in your documentaries. You need their permission in writing. Keep in mind, it’s so much easier to get these signed releases on the set at the time the actors are performing. This is for your own protection as a producer and/or director.
Some buyers, like Mini Movie Channel, require that you deliver copies of your actors' signed releases when you do a deal for exhibition. Often the filmmakers use actor-friends and assume they’ll be able to get a signature from them whenever it’s actually needed. But actors tend to move on. And their signatures go right along with them.
"I know it won’t be a problem," said one filmmaker recently when he was asked by Mini Movie Channel to obtain a missing signature from one of his actors. "But I’ve lost track of him and don't have a new contact for him." The actor was never found and it killed the deal. It's a huge liability to show a film commercially without all the clearances in order. Most buyers will not risk it. Especially for documentaries. It is crucial that the producer/director get a signed release from every real person your camera catches. If you can’t get the release, don’t put them in your final cut. If you’re using a "voice," as in animation dialogue or just replacing a voice in a live action film, you also need the actor's permission in writing.
It doesn't matter whether you are a SAG (Screen Actors Guild) signatory producer or a non-union producer. The liability is the same. And, when it comes to your responsibility to actors and paying them, it's all up to you, including any residuals you might owe down the line. The buyers do not pay any third party on your behalf.
So do yourself a favor and get those signatures. It's not unheard of to have an actor hold a film hostage, depending on what kind of contract you have agreed to. Some contracts even require that you get written permission from the actor before you can actually sell your film.
Finally, a cautionary tale: A producer friend of mine made a film with several celebrities -- all good friends of his. Sure enough, he had an offer to sell his film but he needed signed permission releases from his actors based on the original agreement he'd made with them. He went to each who cheerfully signed off for him, except one (his best friend) who demanded a $1,000 signing bonus in addition to the salary owed him for the upgrade of their contract. Fortunately, my producer friend was able to afford the extortion. But do you think it's safe to say that most of you new filmmakers really wouldn’t be able to get yourselves out of that kind of fix? Thought so.
Yes.
Yes you do.
Unless you happen to be making an animation with no dialogue, you will have actors in your film. For our purposes, "actor" refers to anyone appearing in your movie or being heard in your movie via voice-over. That also includes background extras, and even those real people appearing in your documentaries. You need their permission in writing. Keep in mind, it’s so much easier to get these signed releases on the set at the time the actors are performing. This is for your own protection as a producer and/or director.
Some buyers, like Mini Movie Channel, require that you deliver copies of your actors' signed releases when you do a deal for exhibition. Often the filmmakers use actor-friends and assume they’ll be able to get a signature from them whenever it’s actually needed. But actors tend to move on. And their signatures go right along with them.
"I know it won’t be a problem," said one filmmaker recently when he was asked by Mini Movie Channel to obtain a missing signature from one of his actors. "But I’ve lost track of him and don't have a new contact for him." The actor was never found and it killed the deal. It's a huge liability to show a film commercially without all the clearances in order. Most buyers will not risk it. Especially for documentaries. It is crucial that the producer/director get a signed release from every real person your camera catches. If you can’t get the release, don’t put them in your final cut. If you’re using a "voice," as in animation dialogue or just replacing a voice in a live action film, you also need the actor's permission in writing.
It doesn't matter whether you are a SAG (Screen Actors Guild) signatory producer or a non-union producer. The liability is the same. And, when it comes to your responsibility to actors and paying them, it's all up to you, including any residuals you might owe down the line. The buyers do not pay any third party on your behalf.
So do yourself a favor and get those signatures. It's not unheard of to have an actor hold a film hostage, depending on what kind of contract you have agreed to. Some contracts even require that you get written permission from the actor before you can actually sell your film.
Finally, a cautionary tale: A producer friend of mine made a film with several celebrities -- all good friends of his. Sure enough, he had an offer to sell his film but he needed signed permission releases from his actors based on the original agreement he'd made with them. He went to each who cheerfully signed off for him, except one (his best friend) who demanded a $1,000 signing bonus in addition to the salary owed him for the upgrade of their contract. Fortunately, my producer friend was able to afford the extortion. But do you think it's safe to say that most of you new filmmakers really wouldn’t be able to get yourselves out of that kind of fix? Thought so.
Next: Writers
September 11, 2008
In the news - Palm Springs Film Festival
From The Desert Sun of Palm Springs, California -- All Eyes On The Screen, Please
"If you're trying to guess which ShortFest films are most likely to create an online buzz, you may have to secure an industry pass.
Film scouts say the shorts on screen aren't necessarily the ones best suited for the Internet.
More than 100 industry people are now viewing almost 2,400 films that didn't get accepted for screenings in the ShortFest marketplace, a quiet room at the Palm Springs Hilton Hotel, looking for that Internet gold.
“That's an interesting phenomenon,” said festival executive director Darryl Macdonald. “I was told by one short film company that they bought a whole lot of films that never made it into the festival last year.”
That film company is the Mini Movie Channel, which became a sponsor of this year's festival to obtain the right to view ShortFest films before it started"... (click here for the rest of the article)
"If you're trying to guess which ShortFest films are most likely to create an online buzz, you may have to secure an industry pass.
Film scouts say the shorts on screen aren't necessarily the ones best suited for the Internet.
More than 100 industry people are now viewing almost 2,400 films that didn't get accepted for screenings in the ShortFest marketplace, a quiet room at the Palm Springs Hilton Hotel, looking for that Internet gold.
“That's an interesting phenomenon,” said festival executive director Darryl Macdonald. “I was told by one short film company that they bought a whole lot of films that never made it into the festival last year.”
That film company is the Mini Movie Channel, which became a sponsor of this year's festival to obtain the right to view ShortFest films before it started"... (click here for the rest of the article)
September 8, 2008
April and Christina: Notes from life on the road
April Macie and Christina Pazsitzky are on the road and in the mood, appearing at comedy clubs as the team “Naughty and Sorta Nice.” Their nationwide tour, dubbed “Sex in Every City,” is sort of a traveling standup comedy version of the Spice Girls meeting the Sarah Jessica Parker posse.
The team’s bawdy humor blends sex with race relations, boozing, the workplace, and even what’s hot about fat guys. April is the “naughtier” one, with her sultry redhead looks and penis jokes galore. Christina is the somewhat “nicer” blonde, dressed in white and joking about her Catholic youth while also dishing plenty of her own raunchiness. If you think today’s women comics are less provocative than their male counterparts, check out these chicks.
April and Christina’s humor draws from their colorful lives before and since they began doing standup comedy six years ago. Their dysfunctional families and friends provide inspiration, as does their life on the road. Like when they did a show in Boca Raton that was a Spinal Tap moment. By mistake, their audience was a roomful of senior citizens—who somehow actually enjoyed the dick jokes. Another time, an Olympic gold medalist’s drunken heckling prompted April to respond with a threat to come down from the stage and beat her with ice skates. Who says women don’t have balls?!
After a recent gig in Irvine, CA, the sexcapades continue on to New York, Miami, and Toledo. Catch ‘em live if you can, or check out their videos here on Mini Movie Channel.
The team’s bawdy humor blends sex with race relations, boozing, the workplace, and even what’s hot about fat guys. April is the “naughtier” one, with her sultry redhead looks and penis jokes galore. Christina is the somewhat “nicer” blonde, dressed in white and joking about her Catholic youth while also dishing plenty of her own raunchiness. If you think today’s women comics are less provocative than their male counterparts, check out these chicks.
April and Christina’s humor draws from their colorful lives before and since they began doing standup comedy six years ago. Their dysfunctional families and friends provide inspiration, as does their life on the road. Like when they did a show in Boca Raton that was a Spinal Tap moment. By mistake, their audience was a roomful of senior citizens—who somehow actually enjoyed the dick jokes. Another time, an Olympic gold medalist’s drunken heckling prompted April to respond with a threat to come down from the stage and beat her with ice skates. Who says women don’t have balls?!
After a recent gig in Irvine, CA, the sexcapades continue on to New York, Miami, and Toledo. Catch ‘em live if you can, or check out their videos here on Mini Movie Channel.
Movies of the Week: Back to School
From the boardroom to the bedroom and the playground, life’s little battlefields can be the biggest. The social scene in school can be tougher than any textbook. So to help usher in the new school year, this week’s movies are about the social challenges that students face, whether involving bullies, body image, raging hormones—or all three at once!
Career Day!
Grownups are pretty boring, all wrapped up in their work and stressed out. Wouldn’t it be better to stay young? Shy little Ella gives her third-grade peers and their parents a lesson on what really matters in life.
Confessions of a Late Bloomer
Donny’s a scrawny teen who wants to beat the bully and get the hot chick. He wants to be a man, but his body isn’t there yet. Nothing works, until he fakes it.
Even More Confused
An awkward teen with frizzy hair and braces, Suzy is also hot for her math teacher. She fantasizes about him and finally acts on it—cluelessly—only to learn a few lessons, like when not to chew gum.
My Father's an Actor
Leanne’s dad thinks he knows all about WWII because he once played a soldier in a war movie. Here’s a funny look at a shallow dad trying to help with a school research project, and at how silly actors can be, and how movies shape our sense of reality.
Archer House
Fraternities have the reputation, but sororities can be just as gross, even the fancy ones. See a journalism student go undercover and pledge a sorority where quaint tea parties quickly lead to nasty hazing rituals.
Career Day!
Grownups are pretty boring, all wrapped up in their work and stressed out. Wouldn’t it be better to stay young? Shy little Ella gives her third-grade peers and their parents a lesson on what really matters in life.
Confessions of a Late Bloomer
Donny’s a scrawny teen who wants to beat the bully and get the hot chick. He wants to be a man, but his body isn’t there yet. Nothing works, until he fakes it.
Even More Confused
An awkward teen with frizzy hair and braces, Suzy is also hot for her math teacher. She fantasizes about him and finally acts on it—cluelessly—only to learn a few lessons, like when not to chew gum.
My Father's an Actor
Leanne’s dad thinks he knows all about WWII because he once played a soldier in a war movie. Here’s a funny look at a shallow dad trying to help with a school research project, and at how silly actors can be, and how movies shape our sense of reality.
Archer House
Fraternities have the reputation, but sororities can be just as gross, even the fancy ones. See a journalism student go undercover and pledge a sorority where quaint tea parties quickly lead to nasty hazing rituals.
September 5, 2008
How Not To Be A Stupid Filmmaker - Introduction
Most new filmmakers make short films. There aren’t very many venues yet that will buy short films and exhibit them commercially. So, most short filmmakers make films to “express” themselves and don’t worry too much, evidently, about whose material they’ve, ahem, stolen borrowed without permission (albeit unintentionally). Until recently, selling films was a remote outcome for these “expressions.” Consequently, it was important for the filmmakers to just get something done. Maybe they could get their work into a couple of festivals, show it to some agents, maybe. Then, onward to that feature!
But now there are more and more places to get short films out to a general audience, mostly via the Internet. And, as already noted in a previous post, Mini Movie Channel is paying upfront license fees. Even if fees aren’t being offered, the venues worldwide that show shorts do require that even a little short movie has to be free and clear (legal) to exhibit to their audiences. Otherwise they risk being sued. And nobody wants that.
Then why are a lot of new filmmakers stupid? Of course, we all know filmmakers aren’t stupid, but they’re coming off that way to a lot of folks in the industry because they’re doing stupid, lazy things that make it impossible to buy their films.
Hence, I’m beginning a series of posts that will address many facets of production that need to be dealt with in order to make a film you can actually sell. These are things you’ll have to pay attention to for the rest of your career, and they apply to anything you’ll make for any market whether it’s a feature film or webisodes. Once you exhibit anything, unless it’s in the privacy of your own home, you have to own it. “Own it” means you have all the clearances, releases, permissions, and contracts that prove you control the rights to sell/show your film.
Even though the new technologies have made it easier to actually get a film done, why not make one that can be seen by other people? And, heck, you might even make some money with it. The short film markets are growing.
NEXT: MUSIC DO'S AND DON'TS
But now there are more and more places to get short films out to a general audience, mostly via the Internet. And, as already noted in a previous post, Mini Movie Channel is paying upfront license fees. Even if fees aren’t being offered, the venues worldwide that show shorts do require that even a little short movie has to be free and clear (legal) to exhibit to their audiences. Otherwise they risk being sued. And nobody wants that.
Then why are a lot of new filmmakers stupid? Of course, we all know filmmakers aren’t stupid, but they’re coming off that way to a lot of folks in the industry because they’re doing stupid, lazy things that make it impossible to buy their films.
Hence, I’m beginning a series of posts that will address many facets of production that need to be dealt with in order to make a film you can actually sell. These are things you’ll have to pay attention to for the rest of your career, and they apply to anything you’ll make for any market whether it’s a feature film or webisodes. Once you exhibit anything, unless it’s in the privacy of your own home, you have to own it. “Own it” means you have all the clearances, releases, permissions, and contracts that prove you control the rights to sell/show your film.
Even though the new technologies have made it easier to actually get a film done, why not make one that can be seen by other people? And, heck, you might even make some money with it. The short film markets are growing.
NEXT: MUSIC DO'S AND DON'TS
August 27, 2008
Is It Hot Enough For You?
The Palm Springs International Short Fest lived up to its reputation as the biggest and best short film festival and market in the United States. The film were hot. The filmmakers were hot. Oh, and so were the temperatures -- 107 degrees, give or take. And Mini Movie Channel was right in the middle of it all. The MMC booth in the Marketplace was the centerpiece, attracting the more than 600 registered filmmakers who attended this year’s fest. There were over 60 national and international press in attendance, and over 100 delegates from the entertainment industry, as well as festival programmers from around the world who came to check it out. People from all levels of the industry, from Paramount Pictures to Panavision came to see what all the short film buzz was about…
Actor Bill Pullman was one of the stellar jury members and Jessica Biel appeared to check out her new film on the big screen. In addition, Kate Hudson, Mathew Modine, Tony Shaloub, David Arquette, Kirsten Dunst, Winona Ryder and Jason Clarke all participated in short films screened at this year’s fest.
Elena Muravina, president of Mini Movie Channel, hosted a party at the Hotel Zoso (excellent food, btw) where invitees heard about the filmmakers who have signed deals for exhibition on the channel. So far, MMC has made offers to over 100 of the filmmakers who participated in the competition and market. And Peter Hanson, acquisition manager, helped inform an eager workshop audience about how to market their short films. If that wasn't enough, MMC also awarded the "Mini Movie Channel Best Live Action Short under 15 minutes" prize at the awards ceremony on Tuesday evening. The first place winner of $2000 was Bogdan Mustata from Romania for “A Good Day For A Swim” and the second place winner of $500 was Jean-Julien Collete and Olivier Tollet from Belgium for “E Finita La Commedia.”
It was a great week of top-of-the-line shorts. You don’t have to buy or pack a lot of clothes for next year’s trip to the PS Short Fest (just your shorts ... to go along with your shorts), but don’t miss it.
Actor Bill Pullman was one of the stellar jury members and Jessica Biel appeared to check out her new film on the big screen. In addition, Kate Hudson, Mathew Modine, Tony Shaloub, David Arquette, Kirsten Dunst, Winona Ryder and Jason Clarke all participated in short films screened at this year’s fest.
Elena Muravina, president of Mini Movie Channel, hosted a party at the Hotel Zoso (excellent food, btw) where invitees heard about the filmmakers who have signed deals for exhibition on the channel. So far, MMC has made offers to over 100 of the filmmakers who participated in the competition and market. And Peter Hanson, acquisition manager, helped inform an eager workshop audience about how to market their short films. If that wasn't enough, MMC also awarded the "Mini Movie Channel Best Live Action Short under 15 minutes" prize at the awards ceremony on Tuesday evening. The first place winner of $2000 was Bogdan Mustata from Romania for “A Good Day For A Swim” and the second place winner of $500 was Jean-Julien Collete and Olivier Tollet from Belgium for “E Finita La Commedia.”
It was a great week of top-of-the-line shorts. You don’t have to buy or pack a lot of clothes for next year’s trip to the PS Short Fest (just your shorts ... to go along with your shorts), but don’t miss it.
Movies of the Week: Politics
After the intense primary season defined the first half of this year, now the Washington hype machine springs into overdrive with conventions, a new Cold War, and of course, questions on how many houses one needs to become president. In honor of the machinations that govern our lives at every turn, we’ve chosen politics as our theme for this week’s films…
Campaign Manager: Joe McKenna wants to spur change in the status-oriented politics of his high school. More comfortable with pulling the strings behind a pretty face, Joe motivates a charismatic peer to run for office against the Powers That Be. But when his puppet turns out to be a reckless womanizer, Joe must learn to believe in himself.
Welcome Back, Clinton: The White House staff puts on a show to receive the Clintons once again in this political parody.
Tainted Sequins: An ambitious young dancer navigates the most difficult political environment around … her elitist high school dance team. She soon discovers a cutthroat world of jealousy and backbiting (like we said, high school) where she learns that winning means beating her rivals at their own game.
George Finally Gets the Message: Our President withdraws to a quiet room to escape the clattering press, only to find his problems compounded when someone slips him a brief -- and pointed -- note.
Business As Usual: Jerry is a struggling businessman whose car breaks down in the middle of nowhere. Instead of reaching a tow truck, he is recruited by the CIA for a one-off spy gig. Will Jerry have what it takes to defend his country’s ideals?
Campaign Manager: Joe McKenna wants to spur change in the status-oriented politics of his high school. More comfortable with pulling the strings behind a pretty face, Joe motivates a charismatic peer to run for office against the Powers That Be. But when his puppet turns out to be a reckless womanizer, Joe must learn to believe in himself.
Welcome Back, Clinton: The White House staff puts on a show to receive the Clintons once again in this political parody.
Tainted Sequins: An ambitious young dancer navigates the most difficult political environment around … her elitist high school dance team. She soon discovers a cutthroat world of jealousy and backbiting (like we said, high school) where she learns that winning means beating her rivals at their own game.
George Finally Gets the Message: Our President withdraws to a quiet room to escape the clattering press, only to find his problems compounded when someone slips him a brief -- and pointed -- note.
Business As Usual: Jerry is a struggling businessman whose car breaks down in the middle of nowhere. Instead of reaching a tow truck, he is recruited by the CIA for a one-off spy gig. Will Jerry have what it takes to defend his country’s ideals?
Hillary’s Humps
Just in time to turn a few heads at the Democratic Convention, we’ve come across a special video from Hillary Clinton’s campaign. In what appears to be a last ditch promotional effort, the senator shows off a more, let’s call it, progressive side in her very own version of the Black Eyed Peas’ smash hit “My Humps.” Be forewarned: it’s disturbing, and all kinds of racy.
Clearly Obama, the “new Lincoln”, was not spared by the desperate campaign managers. Neither was John Edwards, who makes an appearance “missing” on a milk carton. We’re expecting a phone call from every corner of Washington for leaking this video, but as Hilary said herself, “Turn up the Heat!”
Clearly Obama, the “new Lincoln”, was not spared by the desperate campaign managers. Neither was John Edwards, who makes an appearance “missing” on a milk carton. We’re expecting a phone call from every corner of Washington for leaking this video, but as Hilary said herself, “Turn up the Heat!”
August 18, 2008
Mini Movie Channel is HOT!!!
Mini Movie Channel will be at the Palm Springs International Short Fest (PSIFF) in a big way for the week of August 21 thru August 27. And it is hot out there. PSIFF is a festival that Mini Movie Channel endorses and highly recommends to anyone who likes mini movies. The Festival is showing 320 short films in competition, and another 2,000+ will be in the marketplace. This festival is one of the prime sources of content for Mini Movie Channel. This year, MMC is showing its support as a Platinum Sponsor, awarding the juried prize for the Mini Movie Best Live Action short under 15 minutes.
In spite of the heat, or maybe because of it, the Short Fest is in its 14th year and has become the major short film festival and market in the U.S. Hundreds of filmmakers arrive from around the world to see their films screened at the Camelot Theatres where they play to a very loyal and constantly growing audience of thousands of film lovers. The programming is superb and very diverse, ranging from popular comedies and dramas to astonishing animation to enlightening documentaries and all the niches in between.
Mini Movie Channel will have a booth in the Marketplace, so all you film folk can go meet people from MMC. In addition, Peter Hanson, manager of acquisitions, will participate in a workshop entitled "Taking Your Short To Market," which is devoted to the practical realities of dealing with the short film marketplace. That’s on Saturday, August 23 at 11:00am at the Hilton Hotel.
So pack your shorts, go see some incredible films and meet some big people in the short film world.
In spite of the heat, or maybe because of it, the Short Fest is in its 14th year and has become the major short film festival and market in the U.S. Hundreds of filmmakers arrive from around the world to see their films screened at the Camelot Theatres where they play to a very loyal and constantly growing audience of thousands of film lovers. The programming is superb and very diverse, ranging from popular comedies and dramas to astonishing animation to enlightening documentaries and all the niches in between.
Mini Movie Channel will have a booth in the Marketplace, so all you film folk can go meet people from MMC. In addition, Peter Hanson, manager of acquisitions, will participate in a workshop entitled "Taking Your Short To Market," which is devoted to the practical realities of dealing with the short film marketplace. That’s on Saturday, August 23 at 11:00am at the Hilton Hotel.
So pack your shorts, go see some incredible films and meet some big people in the short film world.
August 6, 2008
MMC Sponsors Festivals
Mini Movie Channel is a contributing sponsor to several festivals that are coming up this month. MMC is proud to be associated with them and recommends that you check them out. And if you have a film ready for festival exhibition by this time next year you should consider adding these to your festival submission schedule.
RHODE ISLAND INTERNATIONAL FILM FESTIVAL - August 5 - 10, 2008 in Providence, Rhode Island. This festival programs about 300 films, features and a lot of shorts. Certain short film winners qualify for a possible Oscar nomination.
LA SHORTS FEST - August 15- 21, 2008 - Los Angeles, CA. In their 12th year, LASF is in a new location this year in Hollywood. This fest programs hundreds of shorts and, again, certain festival winners also qualify for Oscar noms.
PALM SPRINGS INTERNATIONAL SHORTFEST AND MARKET - August 21 - 27, 2008 - Palm Springs, CA. This is the premiere festival and market for short films. They have great programming plus seminars and workshops. It's also an Oscar qualifying festival. MMC will have a booth at the festival's marketplace and are also giving a named cash prize to one of the juried winners.
CENTRAL FLORIDA FILM FESTIVAL - August 28 - 31, 2008 - Kissimmee, FL This is not a huge festival, but a nice one. They show both features and shorts.
In the big sea of festivals it's hard to sort and find the ones worthy of your attention, both as an audience and as a filmmaker. MMC is putting a spotlight on 4 for this month that are worthy of your attention. More to come….
RHODE ISLAND INTERNATIONAL FILM FESTIVAL - August 5 - 10, 2008 in Providence, Rhode Island. This festival programs about 300 films, features and a lot of shorts. Certain short film winners qualify for a possible Oscar nomination.
LA SHORTS FEST - August 15- 21, 2008 - Los Angeles, CA. In their 12th year, LASF is in a new location this year in Hollywood. This fest programs hundreds of shorts and, again, certain festival winners also qualify for Oscar noms.
PALM SPRINGS INTERNATIONAL SHORTFEST AND MARKET - August 21 - 27, 2008 - Palm Springs, CA. This is the premiere festival and market for short films. They have great programming plus seminars and workshops. It's also an Oscar qualifying festival. MMC will have a booth at the festival's marketplace and are also giving a named cash prize to one of the juried winners.
CENTRAL FLORIDA FILM FESTIVAL - August 28 - 31, 2008 - Kissimmee, FL This is not a huge festival, but a nice one. They show both features and shorts.
In the big sea of festivals it's hard to sort and find the ones worthy of your attention, both as an audience and as a filmmaker. MMC is putting a spotlight on 4 for this month that are worthy of your attention. More to come….
MMC pays $$$
There are certainly a lot of websites out there that offer a share of something, like download fees or advertising revenue, but Mini Movie Channel pays filmmakers cash which, as Yogi Berra put so eloquently, is just as good as money. That alone sets MMC apart from every other site out there. (We'd sure like to hear if the rev-share models are working for any filmmakers.) And Mini Movie Channel pays promptly, as soon as all deliverables for the film that's been licensed have been received. If there are other websites out there that are paying up-front license fees, let us know by emailing submissions[at]minimoviela.com
Be sure to put MMC on the top of your list for places to submit your short film.
Be sure to put MMC on the top of your list for places to submit your short film.
July 29, 2008
Movies of the Week - "Death"
At Mini Movie we’re not afraid to be deep – about six-feet-underground deep. That’s why we’ve selected DEATH as our theme this week. Its not that we’re morbid … we’ve just found a bunch of filmmakers who are. Come join us to laugh in the face of death.
Monday: Te Absolvo - A comical tale of murder and love that takes on religion with a blend of slapstick and wit. A woman kills her deadbeat husband and plots with a young priest to get rid of the body. When an old woman starts snooping around, can the problem be the solution?
Tuesday: Dead Rich - The story of a man who tries to collect insurance by faking his own death. Unfortunately his devious wife has other plans. Watch the scheme collapse in this wicked British comedy as old secrets emerge and betrayal takes center stage.
Wednesday: Dearly Beloved - A man can’t stop imagining the death of his parents. Paralyzed with fear, he alienates his loved ones and obsesses to a feverish point -- until finally he discovers the ultimate cure to his disease.
Thursday: Death – A story about a grim reaper who hates his job. When he finally takes matters into his own hands, will The Boss reward him for breaking the rules?
Friday: Unearthed – Garrett is an undertaker who only wants to live a simple life in the Caribbean, but he’s married to a workaholic who shares none of his dreams. When happenstance involves him in a rich man’s scheme, will he have the courage to take control of his life?
Monday: Te Absolvo - A comical tale of murder and love that takes on religion with a blend of slapstick and wit. A woman kills her deadbeat husband and plots with a young priest to get rid of the body. When an old woman starts snooping around, can the problem be the solution?
Tuesday: Dead Rich - The story of a man who tries to collect insurance by faking his own death. Unfortunately his devious wife has other plans. Watch the scheme collapse in this wicked British comedy as old secrets emerge and betrayal takes center stage.
Wednesday: Dearly Beloved - A man can’t stop imagining the death of his parents. Paralyzed with fear, he alienates his loved ones and obsesses to a feverish point -- until finally he discovers the ultimate cure to his disease.
Thursday: Death – A story about a grim reaper who hates his job. When he finally takes matters into his own hands, will The Boss reward him for breaking the rules?
Friday: Unearthed – Garrett is an undertaker who only wants to live a simple life in the Caribbean, but he’s married to a workaholic who shares none of his dreams. When happenstance involves him in a rich man’s scheme, will he have the courage to take control of his life?
Meet MMC's distribution guru...
... David Russell, Mini Movie Channel's resident expert on short films.
MMC: What made you want to work in short film distribution?
David Russell: I worked in the feature film business until about 1996. That year I happened to check out the Palm Springs Short Film Festival and I was amazed at the amount of people who were paying to see films that they had never even heard of. It occurred to me that I could try to market them and increase their exposure. Then the dot com boom hit and short films were big for a while, so I kept waiting for other markets to open. Of course the industry eventually slowed down and it’s been quite a challenge since then.
MMC: With media companies doing more business on the Internet, do you foresee that short films will gain a significant online following?
David Russell: Definitely. The Internet has already done a lot to give short films exposure over the past few years. Unfortunately, companies have struggled to turn a profit for these films because of limited ad revenue.
MMC: Do directors have to worry about copyright infringements when they include music or brands in their films?
David Russell: Yes. That’s one of the major challenges of making a short film. Even if a film is fabulous you can’t show it if you don’t own the rights to all the material. Directors have to own their films. Young filmmakers have to learn to make films fully legal by having written consent for everything they use. This means that they have to be creative and often use lesser-known music and avoid using brand names.
MMC: Short films seem to be stepping stones for younger directors on their way to making features. Are there any directors who specialize in shorts?
David Russell: There are a few directors who prefer to make them for various reasons. Bill Plympton comes to mind – he’s an animator who has made short films his entire career. The problem, once again, is that feature films and TV attract most of the industry’s talent because they are the most lucrative.
MMC: What about playing short films before features at the theater like they did in the past?
David Russell: I’ve been trying for years to convince theaters to do that. It’s not that they don’t like the idea; they just don’t know how to make it profitable. People won’t pay to see short films at the theater. The dilemma for the industry is to find an audience that’s willing to support the films, and it’s been quite a challenge. As distributors we have to think outside the box and expand to different markets. For example, we’ve been trying to arrange deals with airlines to show films on flights.
MMC: Doesn’t the ITunes store sell short films?
David Russell: Yes they do, and they have plans to expand their offerings. Unfortunately they just don’t have the time to focus on that part of their business at the moment. The other problem is that Apple wants the films to be over ten minutes but filmmakers are trying their best to make films under ten minutes! In any case the ITunes store is an interesting model, although so far people have primarily downloaded Oscar-nominated material. Furthermore, Apple wants only exclusive material and filmmakers are generally not prepared to grant them that privilege.
MMC: How is Mini Movie Channel helping the short film industry?
David Russell: Mini Movie is an exciting platform, and if the company grows like projected it should bring in enough revenue to maintain a consistent home for these films.
MMC: What made you want to work in short film distribution?
David Russell: I worked in the feature film business until about 1996. That year I happened to check out the Palm Springs Short Film Festival and I was amazed at the amount of people who were paying to see films that they had never even heard of. It occurred to me that I could try to market them and increase their exposure. Then the dot com boom hit and short films were big for a while, so I kept waiting for other markets to open. Of course the industry eventually slowed down and it’s been quite a challenge since then.
MMC: With media companies doing more business on the Internet, do you foresee that short films will gain a significant online following?
David Russell: Definitely. The Internet has already done a lot to give short films exposure over the past few years. Unfortunately, companies have struggled to turn a profit for these films because of limited ad revenue.
MMC: Do directors have to worry about copyright infringements when they include music or brands in their films?
David Russell: Yes. That’s one of the major challenges of making a short film. Even if a film is fabulous you can’t show it if you don’t own the rights to all the material. Directors have to own their films. Young filmmakers have to learn to make films fully legal by having written consent for everything they use. This means that they have to be creative and often use lesser-known music and avoid using brand names.
MMC: Short films seem to be stepping stones for younger directors on their way to making features. Are there any directors who specialize in shorts?
David Russell: There are a few directors who prefer to make them for various reasons. Bill Plympton comes to mind – he’s an animator who has made short films his entire career. The problem, once again, is that feature films and TV attract most of the industry’s talent because they are the most lucrative.
MMC: What about playing short films before features at the theater like they did in the past?
David Russell: I’ve been trying for years to convince theaters to do that. It’s not that they don’t like the idea; they just don’t know how to make it profitable. People won’t pay to see short films at the theater. The dilemma for the industry is to find an audience that’s willing to support the films, and it’s been quite a challenge. As distributors we have to think outside the box and expand to different markets. For example, we’ve been trying to arrange deals with airlines to show films on flights.
MMC: Doesn’t the ITunes store sell short films?
David Russell: Yes they do, and they have plans to expand their offerings. Unfortunately they just don’t have the time to focus on that part of their business at the moment. The other problem is that Apple wants the films to be over ten minutes but filmmakers are trying their best to make films under ten minutes! In any case the ITunes store is an interesting model, although so far people have primarily downloaded Oscar-nominated material. Furthermore, Apple wants only exclusive material and filmmakers are generally not prepared to grant them that privilege.
MMC: How is Mini Movie Channel helping the short film industry?
David Russell: Mini Movie is an exciting platform, and if the company grows like projected it should bring in enough revenue to maintain a consistent home for these films.
July 14, 2008
Movies of the Week : Parodies!
Here are our titles of the week, parodies that poke fun at everything from film history to cultural stereotypes:
Joey Patrone: TV Cop— Joey Patrone used to be the best cop walking the TV beat. Now he’s a washed-up actor looking for his way. But when he gets a chance at the role of a lifetime will Joey trade-in his good guy image to play the toughest mobster on the tube?
Live Tomorrow Today—Kids, are you an unhappy? Does your life suck? Then join the self-help craze sweeping the nation! “Live Tomorrow Today” features Ted Lange of The Love Boat playing a caricature of himself in this sharp (and slightly sick) parody of talk shows and infomercials.
El Twisto –A trio of tough hombres square off in this irreverent spoof on spaghetti westerns that brings modern humor to the Old West.
Shaolin Delivery Boy – Winston Lo is tired of being type-cast, until one day he learns how to beat the entertainment industry at its own game. The result is a parody of kung-fu flicks and a comic commentary on Chinese stereotypes.
The Wedding Bout—Donny is a good Italian guy and Sharon is a nice Jewish girl, but there’s bad blood between the families. This hilarious short lampoons the classic culture clash as the lovebirds resolve their differences in the ring.
Joey Patrone: TV Cop— Joey Patrone used to be the best cop walking the TV beat. Now he’s a washed-up actor looking for his way. But when he gets a chance at the role of a lifetime will Joey trade-in his good guy image to play the toughest mobster on the tube?
Live Tomorrow Today—Kids, are you an unhappy? Does your life suck? Then join the self-help craze sweeping the nation! “Live Tomorrow Today” features Ted Lange of The Love Boat playing a caricature of himself in this sharp (and slightly sick) parody of talk shows and infomercials.
El Twisto –A trio of tough hombres square off in this irreverent spoof on spaghetti westerns that brings modern humor to the Old West.
Shaolin Delivery Boy – Winston Lo is tired of being type-cast, until one day he learns how to beat the entertainment industry at its own game. The result is a parody of kung-fu flicks and a comic commentary on Chinese stereotypes.
The Wedding Bout—Donny is a good Italian guy and Sharon is a nice Jewish girl, but there’s bad blood between the families. This hilarious short lampoons the classic culture clash as the lovebirds resolve their differences in the ring.
Interview with the Filmmaker: Greg Bergan and Barry C. Miller
Greg and Barry are the writer/director/producers of "Being in Sync," a comic short that pokes a little fun at the boy band craze of the 90's.
Minimovie Channel: What made you want to make this film?
Barry and Greg: Well, Greg is a musician and we thought it would be fun to combine our passions of screen writing and music so we decided to make a film together. We knew we wanted to make a comedy and the boy band thing was really hot at the time. We thought the concept of the aging boy band was a funny concept. Our dream would be to turn this into a full-length feature.
MMC: Which bands were you thinking of when you wrote the film?
B & G: We named the movie “Being in Sync” because we liked the play on words, but the Backstreet Boys were the real inspiration. We had a Backstreet Boys tape playing at the audition and had all of the actors dance.
MMC: Who were the players involved in putting this project together?
B & G: It was just the two of us. We had collaborated for the writing of a full length feature and so decided to do this project. We produced the film from A to Z and directed it ourselves. To find actors we got a casting director and held a three day casting call. There were a lot of respondents, over 200 people for one the roles.
MMC: Who did the choreography?
B & G: We actually found a choreographer on craigslist. Her name is Eli Shaylor—she’s great, she came up with the dance in the final scene in one day.
MMC: Did you face any particular difficulties in making the movie?
B & G: Filming went relatively smoothly. We had a couple of funny mishaps—accidentally burned the carpet with lighting, and ripped a hole in the wall of a friend’s office. We also had a few bad sunburns. The first two days of filming were for the music video—it was on the beach and people got burned pretty badly.
MMC: What projects do you guys have going on right now?
B & G: Greg is releasing an album with his band Flea Circus, you can check them out on myspace. Barry is working on a superhero comic called Billy Banes.
Minimovie Channel: What made you want to make this film?
Barry and Greg: Well, Greg is a musician and we thought it would be fun to combine our passions of screen writing and music so we decided to make a film together. We knew we wanted to make a comedy and the boy band thing was really hot at the time. We thought the concept of the aging boy band was a funny concept. Our dream would be to turn this into a full-length feature.
MMC: Which bands were you thinking of when you wrote the film?
B & G: We named the movie “Being in Sync” because we liked the play on words, but the Backstreet Boys were the real inspiration. We had a Backstreet Boys tape playing at the audition and had all of the actors dance.
MMC: Who were the players involved in putting this project together?
B & G: It was just the two of us. We had collaborated for the writing of a full length feature and so decided to do this project. We produced the film from A to Z and directed it ourselves. To find actors we got a casting director and held a three day casting call. There were a lot of respondents, over 200 people for one the roles.
MMC: Who did the choreography?
B & G: We actually found a choreographer on craigslist. Her name is Eli Shaylor—she’s great, she came up with the dance in the final scene in one day.
MMC: Did you face any particular difficulties in making the movie?
B & G: Filming went relatively smoothly. We had a couple of funny mishaps—accidentally burned the carpet with lighting, and ripped a hole in the wall of a friend’s office. We also had a few bad sunburns. The first two days of filming were for the music video—it was on the beach and people got burned pretty badly.
MMC: What projects do you guys have going on right now?
B & G: Greg is releasing an album with his band Flea Circus, you can check them out on myspace. Barry is working on a superhero comic called Billy Banes.
July 11, 2008
Coming on 7/14 - Parodies On Earth
Next week, it's all about Parodies on Mini Movie Channel. We parody classic Westerns, martial arts chop-sockys, and TV cop shows.
Check back on Monday, 7/14 for our Parody week lineup.
Check back on Monday, 7/14 for our Parody week lineup.
July 9, 2008
"The MMC Difference"
Just in case you were wondering what it's all about at Mini Movie Channel, and how we are different from myriad online video sites, I've boiled down the basics:
Mini Movie Channel (“MiniMovie”) brings a gourmet short film experience to comedy fans online. MiniMovie is a subsidiary of Mini Movie International Channel (“MMIC”) which is headquartered in Luxembourg, with offices in Paris, Munich, Moscow and Beverly Hills. In June of 2008, MMIC acquired Das Vierte, (Channel 4 over-the-air in Germany) from NBC/Universal, and is in the process of launching European VOD, and IPTV channels and websites in France and Russia during 2008-9.
At MMC we will be adding comedy short films every day, and bringing you rare American and International film selections by tapping into our parent company's vault of thousands of shorts. So keep checking back every week for exciting new content including our original productions and Movies of the Week with Lexy and coming soon: comedy bits by April and Christina.
MiniMovie supports independent and professional filmmakers, with production values and storytelling of a higher caliber than is found on high-volume websites. So for the high quality experience and connection to storytellers around the world and just a taste of something different keep your browser on MiniMovie.com
Mini Movie Channel (“MiniMovie”) brings a gourmet short film experience to comedy fans online. MiniMovie is a subsidiary of Mini Movie International Channel (“MMIC”) which is headquartered in Luxembourg, with offices in Paris, Munich, Moscow and Beverly Hills. In June of 2008, MMIC acquired Das Vierte, (Channel 4 over-the-air in Germany) from NBC/Universal, and is in the process of launching European VOD, and IPTV channels and websites in France and Russia during 2008-9.
At MMC we will be adding comedy short films every day, and bringing you rare American and International film selections by tapping into our parent company's vault of thousands of shorts. So keep checking back every week for exciting new content including our original productions and Movies of the Week with Lexy and coming soon: comedy bits by April and Christina.
MiniMovie supports independent and professional filmmakers, with production values and storytelling of a higher caliber than is found on high-volume websites. So for the high quality experience and connection to storytellers around the world and just a taste of something different keep your browser on MiniMovie.com
June 29, 2008
Lost Screen Tests: Paris Hilton
This week, Mini Movie Channel introduces the first episode of "Lost Screen Tests". This series of celebrity outtakes finds famous and infamous personalities auditioning for roles that you would never, ever expect them to play.
Our first screen test stars America's favorite celebutart, Paris Hilton, trying out for the title role in "The Queen." Though Helen Mirren won an Oscar for her portrayal of Britain's grand dame, Paris's performance deserves recognition all of its own.
Our first screen test stars America's favorite celebutart, Paris Hilton, trying out for the title role in "The Queen." Though Helen Mirren won an Oscar for her portrayal of Britain's grand dame, Paris's performance deserves recognition all of its own.
June 25, 2008
Interview with the Filmmaker : Scott Patch
Scott Patch is the director of "LAST NIGHT," one of our Movies of the Week. We talked to Scott to learn a little more about his work:
1) What made you want to make “LAST NIGHT?”
Kathleen Rose Perkins' script- she showed me this great monologue she had written. It was very different from the previous work I had done. Previously I had made a slasher movie and a children’s comedy, but “Last Night” is a woman’s story and a dramadey. Also the script lent itself to creative editing and it was an opportunity to direct someone else’s work for the first time.
2) What were the creative and technical challenges to make this film?
The biggest challenge was finding the best moment within each scene. The structure of the film, with the same monologue being repeated in each of the scenes and then stitched together, made it interesting work to choose the tone of the narrative. We ended up actually having to reshoot the ending a year later because it no longer fit with the collection of scenes.
3) Who were the players involved in putting this project together?
It was a group project. Kathleen [Rose Perkins] is a good friend, she wrote the script and acted in the film. She was dating my friend Chris [Moynihan] who acted as our producer.
4) Can you talk a little about your festival experience?
I had done the festival tour once before so I was familiar with the route but this experience has been a step forward. Our first presentation of “Last Night” was at the FirstGlance Festival here in LA in 2006. We won the festival award for Best Short. That award was really great exposure. After that I starting getting calls—we went to the Baltimore Women’s Festival where we won Best Comedy, we went to Fort Lauderdale. We won an award of excellence in short film and an honorable mention for editing in the Accolade Competition. We also got Best Micro Short at the International Fest for Cinema and Technology.
5) What are the unique rewards of making a short film?
As a young filmmaker, the best thing is to gain experience is by going through the filmmaking process many times. Short films, especially low-budget, independent projects, are an opportunity to experiment--you can make a bunch of shorts for the same money as one big production. In bigger projects, where lots of people are involved, the voice of the filmmaker might be diluted. So short films are the best way to develop your voice.
6) Why license with Mini Movie Channel?
Well, firstly I was excited about being part of a start-up company, and appreciated the interest Mini Movie was showing in my work. But more importantly, I felt that my film deserves a home on the internet. This channel is a destination and a way for “Last Night” to reach audience that wouldn’t ordinarily have found it.
Check out his film here: LAST NIGHT
1) What made you want to make “LAST NIGHT?”
Kathleen Rose Perkins' script- she showed me this great monologue she had written. It was very different from the previous work I had done. Previously I had made a slasher movie and a children’s comedy, but “Last Night” is a woman’s story and a dramadey. Also the script lent itself to creative editing and it was an opportunity to direct someone else’s work for the first time.
2) What were the creative and technical challenges to make this film?
The biggest challenge was finding the best moment within each scene. The structure of the film, with the same monologue being repeated in each of the scenes and then stitched together, made it interesting work to choose the tone of the narrative. We ended up actually having to reshoot the ending a year later because it no longer fit with the collection of scenes.
3) Who were the players involved in putting this project together?
It was a group project. Kathleen [Rose Perkins] is a good friend, she wrote the script and acted in the film. She was dating my friend Chris [Moynihan] who acted as our producer.
4) Can you talk a little about your festival experience?
I had done the festival tour once before so I was familiar with the route but this experience has been a step forward. Our first presentation of “Last Night” was at the FirstGlance Festival here in LA in 2006. We won the festival award for Best Short. That award was really great exposure. After that I starting getting calls—we went to the Baltimore Women’s Festival where we won Best Comedy, we went to Fort Lauderdale. We won an award of excellence in short film and an honorable mention for editing in the Accolade Competition. We also got Best Micro Short at the International Fest for Cinema and Technology.
5) What are the unique rewards of making a short film?
As a young filmmaker, the best thing is to gain experience is by going through the filmmaking process many times. Short films, especially low-budget, independent projects, are an opportunity to experiment--you can make a bunch of shorts for the same money as one big production. In bigger projects, where lots of people are involved, the voice of the filmmaker might be diluted. So short films are the best way to develop your voice.
6) Why license with Mini Movie Channel?
Well, firstly I was excited about being part of a start-up company, and appreciated the interest Mini Movie was showing in my work. But more importantly, I felt that my film deserves a home on the internet. This channel is a destination and a way for “Last Night” to reach audience that wouldn’t ordinarily have found it.
Check out his film here: LAST NIGHT
June 3, 2008
Welcome Back, Clinton
Hilarity will ensue as Hillary does the inevitable - She goes home!
Join us for fun and surprises next week on MiniMovie, as the promise of a rose garden fades out for the former first lady.
Join us for fun and surprises next week on MiniMovie, as the promise of a rose garden fades out for the former first lady.
May 29, 2008
MiniMovie 2.0 -- MySpace
As if YouTube and Facebook were not enough, we now have a fancy page on MySpace
So when you browsing the big video mart, make sure to check out our aisle.
MiniMovie 2.0 -- In Your Facebook
We also got ourselves up and running on Facebook.
Please be our friend, tell your friends. Get Mini with it.
MiniMovie 2.0 - YouTube
You can also visit us on the You Tube.
So when you're done looking at the Tila Tequila, you'll come to us, yes?
May 20, 2008
This is Mini Movie Channel
Click here to see Mini Movie Channel's introductory video. It'll tell you a little bit about what we're all about.
Mini Movie Channel Launches!
Mini Movie Channel ™, A Multi Platform Brand, Launches Its New Service That Allows Viewers To Watch Globally Acquired High Production Value Short Films And Original Comedy Programming.(Click here to download press release.)
May 19, 2008
Mini Movie Channel hosts the Mini Movie Channel contest at the 2008 Festival de Cannes Short Film Corner
The Mini Movie Channel 10,000 € award will be granted to the director of a film registered to the Short Film Corner and participating to the Mini Movie Channel contest. The winning film will be selected by the Mini Movie Channel team and the award will be given on Thursday, May 22nd, at the Short Film Corner.
Subscribe to:
Posts (Atom)