This Week’s Good Reads: Summer Box Office Edition

Colin McCormack — Friday, August 29th, 2014

Personally, I thought (from a quality standpoint) this summer movie season was pretty excellent. The blockbusters were a little less dumb, the indies a little more thought-provoking. Not that it apparently mattered, since nobody went to the theaters. But don’t take my word for it. For your (holiday) weekend reads, it’s…

Battle of the Summer Movie Recaps!

Who’s ready for insight?! And contradictions?

4 Summer Movie Lessons Hollywood Must Learn (via Kyle Buchanan for Vulture)
Sample takeaway: “Make More Comedies” (no argument here).

What Went Wrong (And Right) At The Movies This Summer (via Adam B. Vary and Alison Willmore for BuzzFeed)
Sample takeaway: “There were a decent number of indie success stories this year.” (woo hoo!)

The Winners & Losers Of Summer Movies 2014 (via Oliver Lyttleton for Indiewire)
Sample takeaway: “It’s been a fairly disappointing year, box-office wise, for indie cinema…” (damn, okay then)

Good News/Bad News About 2014 Summer Movie Box Office (via Scott Mendelson for Forbes)
Sample takeaway: “…Perhaps we should be reevaluating what constitutes an indie break out.” (can’t we all just get along?)

Box Office Down 15% in Hollywood’s Worst Summer in Nearly a Decade (via Brent Lang for Variety)
Sample takeaway: “You can’t chalk it up to anything other than a weak slate of movies that didn’t resonate with consumers.” (nihilist)

What This Summer’s Blockbusters Got Wrong (And Right) (via Kate Erbland for ScreenCrush)
Sample takeaway: “…The box office offered plenty of new alternatives for moviegoers burnt out on been-there-done-that fare.” (hope!)

Five charts that explain why we didn’t go to the movies this summer (via Alex Abad-Santos for Vox)
Sample takeaway: Charts. Lots of charts.

How ’bout you? Read anything good this week?


If you’re an independent filmmaker or know of an independent film-related topic we should write about, email for consideration.

This Week’s Good Reads (week of August 18)

Colin McCormack — Friday, August 22nd, 2014

During the week we often get so preoccupied with our real lives that we sometimes neglect our internet browsing. With the weekend ahead of us, we’ve compiled some of our favorite film-related reads from this past week: See what some industry heavyweights including Ted Hope (Martha Marcy May Marlene), Jim Jarmusch (Only Lovers Left Alive), and Mark Duplass (The One I Love) have to say about the state of independent cinema. So snuggle up on the toilet couch and get to browsin’!


Good Reads for the week of August 18, 2014

Does indie film have a future? (via Ted Hope with Anthony Kaufman for Salon)
Producer and indie film champion Ted Hope writes about the future of the industry in this excerpt from his book Hope For Film.

How sex, lies, and videotape Changed Indie Filmmaking Forever (via Jason Bailey for Flavorwire)
A look back at Steven Soderbergh’s breakthrough film on its 25th anniversary.

The next edition of Leonard Maltin’s Movie Guide will be its last (via Matt Singer for The Dissolve)
Who knew an obituary for a book could be so moving?

Jim Jarmusch on Vampires, Music and the Future of Independent Film (via Chris Patmore for Indiewire)
The auteur speaks about his new movie, soundtrack music, and retaining control of your film.

Pulp Fiction brought guns, gimps, and glory to the Cannes Film Festival (via A.A. Dowd for The A.V. Club)
A look back to when a scrappy, violent American indie took a stuffy French film fest by storm. “It’s a scandal!”

Mark Duplass on How to Get a Movie Made in 2014 (via Mike Ryan for Screen Crush)
The actor/writer/director/producer spouts some crazy wisdom about filmmaking.

Updated to include: 5 Ways You Are Using Twitter Incorrectly to Promote Your Film’s Crowdfunding Campaign (via Richard “RB” Botto for Medium)
Some very sage advice on how to properly engage potential funders on Twitter.


In case you were ignoring us (aka blatant self-promotion)

Filmmaker Interview: Chris Lowell and Mo Narang of Beside Still Waters (via SAGindie)
The actor-turned-director and his writing partner discuss their debut film, how to cast for chemistry, and what to do when the power goes out mid-filming.

Movies You Probably Forgot Were Indies (via SAGindie)
From Terminator to TMNT, 7 mainstream movies with indie roots.

How ’bout you? Read anything good this week?


If you’re an independent filmmaker or know of an independent film-related topic we should write about, email for consideration.


Colin McCormack — Thursday, August 21st, 2014

mohit narang, chris lowell

CHRIS LOWELL is a successful actor known for his roles on the gone-too-soon television series Veronica Mars and Enlisted, as well as in the Oscar-nominated films Up in the Air and The Help (he also reprised his TV role for the recent Veronica Mars movie). But for his newest film BESIDE STILL WATERS, Lowell steps behind the camera and brings a more personal story to the screen.

Lowell and writing/producing partner MOHIT NARANG co-wrote this low-budget feature about Daniel (Ryan Eggold) who, following his parents’ death, invites his childhood friends to his family’s lake house for one last hurrah before the place is sold. While the old friends reunite and revert to the adolescent shenanigans they shared at the lake years before, Daniel is faced with his overwhelming nostalgia for their past and how it differs from their current existence in the world. (At the risk of sounding too serious, remember it’s a comedy! Sex and booze!)

Shot on location in Michigan, Beside Still Waters also stars Beck Bennett, Will Brill, Brett Dalton, Erin Darke, Jessy Hodges, Britt Lower, and Reid Scott. Last year it screened at the Austin Film Festival, where it won both the Jury Prize and Audience Award. The film marks Lowell’s directorial debut.

With the just-announced news of a November 14 release (via distributor Tribeca Film), writer/director/producer Chris Lowell and writer/producer Mo Narang were kind enough to answer some questions for us about the film, their creative process, and the adorableness of small-town 911 Operators.


COLIN McCORMACK: Chris, this story is inspired by the times you and your friends spent at your family’s lake house. What made you decide to turn it into a movie?

CHRIS LOWELL: It really began as an exercise for Mo and I to see how well we could write together. We wanted to write about something that we loved and understood implicitly. We wanted to write about the things that scared us: “How would it feel if we lost this house? These friendships? Our parents?”

CM: You two met in college. When did you start collaborating creatively? Had you worked together prior to writing Beside Still Waters?

CL: Well, you could say that our first creative collaboration was my attendance at Georgetown. I never actually attended the University, but I visited so often that people started assuming I was a student, and I just sort of went along with it. Mo and I had a lot of fun with this. We hosted several student and alumni events. I ended up walking in a cap & gown at the Convocation Ceremony. As far as writing goes, Beside Still Waters was our first collaboration. Since then, we’ve co-written a second screenplay, and are collaborating on a third.

CM: From what I hear, your co-writing process is pretty unique. Tell us a little about it, and why you think it works for you.

CL: Together, Mo and I write a detailed outline of the film. Then we split off and each write a full-length screenplay by ourselves. Then we meet up, read each other’s work, and create a collaborative draft, using the best parts of each screenplay. It’s great because you end up with two screenplays for the price of one. You get two options of how a character develops, how a scene unfolds. Also, it gives each of us the opportunity to explore our own ideas about the script without judgment. And ultimately, we have the outline to keep us on track, so the screenplays don’t stray too far from each other.

CM: You guys watched a lot of reunion movies (like The Big Chill and Return of the Secaucus 7) as research. What are some takeaways you found from studying the genre?

CL: We watched every reunion movie, every movie set in one location over a short period of time, every movie about friendship. We saw some great films and plenty of terrible films. The most common denominator for movies like these to succeed is cast chemistry. If you don’t have actors who mesh well on screen, then you’re screwed.

MO NARANG: It’s part of the reason Big Chill and Secaucus 7 work so well. You really believe that these people are friends, that they have history together. In both of the above cases, the actors at the time were relatively unknown, which also contributes to the success of their onscreen chemistry.

CM: Which brings me to your cast members, who are starting to break out in film and TV, but were largely unknown when you filmed. How did you assemble such a talented cast?

CL: The chemistry of our cast was the biggest priority for me. One of the things we noticed with reunion films that didn’t work, is that they’re often stuffed with “big name” talent.

MN: The problem is, when audiences see the film, they have difficulty believing the history of these characters. Instead, they’re saying to themselves “You’re the guy from this show,” and “You’re the girl from that movie.” It’s hard to buy them as old friends.

CL: We made it a rule that any actor who wanted to be in Beside Still Waters would have to audition and commit to chemistry reads and rehearsals. I cast the film with Kerry Barden, Paul Schnee, and Allison Estrin, all of whom pride themselves on knowing the greatest undiscovered talent out there. The result was this exceptionally talented cast. To me, they are the crowning achievement of the film.

CM: Since these characters are supposed to be longtime friends, how extensively did you test for chemistry between the actors? Is it something you can really plan for, or does the spark just happen?

CL: It was a little bit of both. Before filming began, I brought the actors to the house where we were shooting. We rehearsed scenes throughout the house, just the actors and I, taking our time with each scene, discovering things together, not feeling rushed by the schedule or pressured by the crew. In addition, they cooked meals together in the house, played drinking games in the house. I had them bring keepsakes from their own lives to decorate around the house. By the time filming began, each actor had a personal connection with the house and with each other.

Having said all that, there’s only so much you can do to create chemistry. We never could have imagined the chemistry that arose naturally between all these guys. To this day, we are still extremely close. I like to believe that this film was as special an experience for them as it was for Mo and I.

CM: Chris, you’re best known as an actor. Since the film is such a personal story, did you ever consider casting yourself in one of the roles?

CL: Not really. When I’m acting, my goal is to zone out everything around me except for the actor I’m working with, which is impossible to accomplish if I’m also having to simultaneously focus on the movement of the dolly, the positioning of the boom mic, etc., not to mention the other actor’s performance. I was much more interested in committing myself entirely to directing. Trust me, that job is hard enough on its own.

CM: It sounds like the filming process was a bit like the story itself: a group of young people – many who became your good friends – on vacation together at a lake house. It sounds like a lot of fun, but you’re all there for a job. Was it ever difficult to remember that you’re “the boss” in that situation?

MN: Both of us view leadership more as an opportunity to communicate and facilitate rather than boss people around. We were lucky enough to have an extremely talented and dedicated cast and crew, and our deepest moments of camaraderie sprang from our greatest challenges.

Our last night in the house, under a very tight shooting schedule, with no room for error, our entire neighborhood lost power. Rather than panic, our team took a collective deep breath, figured out what we could shoot using only a gas generator, and got back to work. Meanwhile, one of our producers called 911 to explain what had happened, and (this is one of the amazing things about working in small-town America) the 911 Operator hung up, called the power company, got a truck on its way, and called us back to ask what the movie was about!

CM: How did you go about raising funds for the film? When did your producers Jason Potash and Paul Finkel come on board?

MN: Jason and Paul came into the process very early on. Chris was acting in a film they were producing, and we sent them the script for their notes. They came back and said, “Let’s make a movie.” We wouldn’t be where we are today without their expertise.

The fundraising was done the old-fashioned way: the two of us flew around the country sitting in living rooms and pitching the film. Chris’s industry experience and my background in equities lent us credence, and we were very emphatic about how every dollar spent would end up on screen. That resonated well with our investors.

CM: Film festival submissions can be a full-time job. How did you two go about tackling that process? Any advice for filmmakers looking to make the festival rounds?

MN: The biggest tip we can offer is to abandon any adversarial mindset toward programmers and festivals. Early on, when all we were receiving were polite rejections, it was hard not to blame industry politics or something analogous. Once we started meeting programmers and realizing how much they love film, and how much they struggle with the unenviable task of choosing the select few, we understood that filmmakers and programmers are on the same team.

CL: Just submit your film. Submit it often (credit here to Jason, who handled all our early submissions). Finding a programming team that understands and loves your film is amazingly gratifying and it can be a critical stepstone to success. Often times, especially starting out, it’s better to be at a smaller festival where the programmers really love your film, than to be at a bigger festival where no one cares about you.

CM: You launched a wildly successful Kickstarter campaign for the film (raising over $200,000 on a $63,021 goal). How daunting was the crowdfunding process? Did you take any tips from the Veronica Mars team?

MN: It was extremely daunting. Terrifying. We’re two very analog people. Crowdfunding was a last resort. We learned a lot from a crowdfunding panel we attended at last year’s International Film Festival Summit, which helped demystify the whole process and break things down into very practical steps to success. And of course, we learned a ton from the Veronica Mars Kickstarter campaign. Rob Thomas and Ivan Askwith were extraordinarily generous with their advice and support. The other big factor was our friend Kenny Laubbacher, who ran the campaign alongside us, and pushed us to make the backer experience as personal and high-touch as possible, which was instrumental to our success.

CM: You also got a distributor to sign on following your festival run. What was that negotiation process like? Anything you wish you had known going into negotiations?

CL: There are so many factors that go into solidifying a distribution deal. We’ll have to credit Paul here, since he was responsible for our negotiations. Having said that, it’s important to remember that there really is no set method, especially in today’s independent cinema world. Part of what helped us get distribution was the film itself and how it resonated with the acquisitions team. Part of it was the awards we won on the festival circuit. Part of it was the success of our Kickstarter campaign. Part of it was me sitting down with the distributor in person and talking about the movie. Part of it was the strong and unrelenting negotiations of our producers. None of these things on their own would have gotten us distribution. It was all of them together that got us over the finish line.


What’s the first movie you remember seeing in theaters?
Chris: Ninja Turtles: Secret of the Ooze
Mo: Ninja Turtles: Secret of the Ooze

What’s your go-to drink order at a bar?
Chris: Mint julep
Mo: Rye Manhattan

Recommend a movie you love that most people haven’t heard of.
Chris: Jules et Jim
Mo: Eagles Are Turning People Into Horses

What’s an interview question you never want to hear again?
Chris: When can we see you shirtless on TV again?
Mo: Who is your favorite character?

Finally, where and when can people see Beside Still Waters?
Chris/Mo: (screamed simultaneously with doves flying out from behind them into the perfect sunset with 1,000 children laughing) NOVEMBER 14TH!!!

For more information on BESIDE STILL WATERS, visit the film’s official website or on Facebook or Twitter.

If you’re an independent filmmaker or know of an independent film-related topic we should write about, email for consideration.

In Cased You Missed Them: This Week’s Good Reads

Colin McCormack — Friday, August 15th, 2014

During the week we often get bogged down with so much “work” and “socializing” that we sometimes miss out on good content spewing from the internet. If you’re looking for some interesting news, articles, interviews or essays about the world of film, fear not! You can catch up on some of the week’s best reads here:


Good Reads for the week of August 11, 2014

David Lowery Talks Jonathan Liebesman’s Teenage Mutant Ninja Turtles (via David Lowery for The Talkhouse)
The director of Ain’t Them Bodies Saints writes about why it’s okay for kids to like dumb movies.

The Essential Black Independents (via Brandon Harris for Fandor)
A list of 25 standouts in the history black cinema.

How to Make a Sundance Indie Film (via Briana Rodriguez for Backstage)
Director Charlie McDowell, actor Mark Duplass, writer Justin Lader, and producer Mel Eslyn on the making of The One I Love.

Attention, Filmmakers: Here’s 6 Traits You Need to Look for in a Sales Agent (via Bill Straus for Indiewire)
Bill Straus of BGP Film on how to get the best sales rep for your film.

How They Did It: Jesse Zwick Dives Straight Into About Alex (via Jesse Zwick for MovieMaker)
The first-time director gives a play-by-play on how he got his ensemble dramedy made.

Alamo Drafthouse is Coming to LA! (via Casey Warnick at Drafthouse)
Rejoice, Angeleno cinephiles!

Steadicam Inventor Reveals the ‘Impossible Shots’ That Changed Filmmaking Forever (via Ariston Anderson for The Hollywood Reporter)
How the man behind the iconic camerawork of Rocky and The Shining started his endeavor.

New Mexico’s Artisans Take Advantage of Incentives and Experienced Crews (via Iain Blair for Variety)
Why indie filmmakers and big studios alike are flocking to New Mexico to make their projects.

How ’bout you? Read anything good this week?


If you’re an independent filmmaker or know of an independent filmmaker or film-related topic we should write about, email for consideration.

Robin Williams: An Indie Film Appreciation

Colin McCormack — Tuesday, August 12th, 2014

teenage mutant ninja turtles

You could never put Robin Williams‘ career into one box. He was a hyperactive standup; a wacky comedic leading man; a stable presence in family fare; and a moving character actor. He could play everything from Peter Pan to a PTSD-addled homeless man (in the same year, no less!). Though he’s still generally thought of as a comedian, the man had range.

In 1998, Williams won a Best Supporting Actor Academy Award for his portrayal as a tough-love psychologist in Good Will Hunting. He brought gravitas to a small indie film written by two unknown actors (Matt Damon and Ben Affleck) and helmed by Gus Van Sant, then largely considered an “art-house filmmaker.”

But following that film’s astounding success (over $200 million in worldwide grosses) and with an Oscar under his belt, Robin Williams didn’t turn his back on smaller, independent films. Williams proved he was the type of actor willing to take a risk on an unknown filmmaker or an outside-the-box premise; and the odds of these indies getting attention, funding, or distribution were no doubt increased thanks to support from an actor like Robin Williams.

While Good Will Hunting may continue to be (deservedly) one of Robin Williams’ most famous roles, a number of the actor’s lesser-known indie projects are also worth exploring. In light of his untimely passing, we take a look at some of these films.


One Hour Photo (2002)

One of Williams’ darkest roles, he portrays a photo technician who becomes dangerously obsessed with a customer’s family. For anyone who still wrote Williams off as a goofball, this performance definitely proved them wrong.


The Big White (2005)

In this Canadian black comedy, Williams plays a small-town travel agent who finds a dead body in a dumpster and decides to use the corpse to his financial advantage. A more indie-minded Weekend at Bernie’s, with a great ensemble cast including Holly Hunter, Giovanni Ribisi, and Woody Harrelson.


The Night Listener (2006)

Before Catfish-ing was a thing, Williams delved into that territory in this psychological thriller based on a true story. He plays a radio host who starts investigating the existence of a teenage memoirist, but soon learns he might be digging a bit too deep.


World’s Greatest Dad (2009)

This terrific satire from Bobcat Goldthwait may be uncomfortably close to the recent events surrounding Williams’ death, but it’s one of his best performances of the last few years. Delving too much into the plot (about Williams’ relationship with his asshole teenage son) might give away some of the surprises, but World’s Greatest Dad is definitely worth seeking out.


Still To Come…



This independent drama premiered at this year’s Tribeca Film Festival and features Williams as a married man whose encounter with a street hustler makes him confront his secret life. An official release date has yet to be announced.

Merry Friggin’ Christmas

A dysfunctional family holiday movie starring Williams as the family patriarch with a brood consisting of Joel McHale, Lauren Graham, and Candice Bergen. No word on the release date yet, but judging from the title it will likely arrive later in the year (Update: Merry Friggin’ Christmas hits theaters and VOD on November 7, 2014. BuzzFeed has a clip).
What are some of your favorite Robin Williams performances?


If you’re an independent filmmaker or know of an independent filmmaker or film-related topic we should write about, email for consideration.

Movies You Probably Forgot Were Indies

Colin McCormack — Thursday, August 7th, 2014

teenage mutant ninja turtles

The phrase “independent film” usually conjures up certain touchstone images: Early pioneers like Corman or Cassavetes; no-budget phenoms like Clerks and The Blair Witch Project; quirky film fest hits like Little Miss Sunshine and Juno. Often when an independent film becomes a breakout financial success, it’s treated almost like an anomaly. But there are plenty of hits from various genres that are so ingrained in our culture, it’s easy to forget that they too wear the “indie film” badge.

Without the aid of a big studio bankroll, these movies reached great heights (and are still delivering in various forms of reboots, sequels, and spinoffs), and offer a stark contrast to most peoples’ stereotype of an “indie film.”


Teenage Mutant Ninja Turtles (1990)


With a successful comic book series, toy line, video game, and animated TV show, surely a major studio would swoop in to make a movie about these crime-fighting reptiles, no? Nope. Long before they started associating with Michael Bay, the heroes in a half-shell were working outside the studio system for their big-screen debut back in 1990. With a little help from Jim Henson’s Creature Shop, and a lot of help from kids loaded up on Jolt Cola and allowance money, the film made over $200 million worldwide, and for nearly a decade held the title of the highest-grossing independent film of all time. In the wise words of Vanilla Ice, “Go ninja, go ninja, go!”


House Party (1990)

house party

Though House Party may not seem like your quintessential Sundance film, this starring vehicle for high-top fades rappers Kid ‘N Play (co-starring a then-unknown comic named Martin Lawrence) showed that Sundance movies could be fun. Based on a student film from writer/director Reginald Hudlin’s Harvard days, House Party was a critical and financial success, helping to bring hip-hop to the masses and spawning three sequels (as well as its own signature dance move).


Dirty Dancing (1987)

dirty dancing

Speaking of dancing, yes, the movie that serenaded a million slumber parties started as an indie film with little to no expectations for success. Given a theatrical release by a straight-to-video company, Dirty Dancing became a phenomenon during that time in the ’80s when a movie’s soundtrack was just as important as its script. A long-rumored remake has yet to come to fruition, possibly because the original is likely airing on TBS as we speak.


The Brave Little Toaster (1987)

brave little toaster

Most children of the ’90s remember this animated flick about household appliances that come to life. The film was originally being developed by Disney, but was soon abandoned by the studio. A group of ex-Disney employees branched out on their own to make the film independently, getting Disney to pick up the theatrical rights (which Disney also later bailed on). The Brave Little Toaster was the first animated film shown at Sundance, but it didn’t reach classic status until it became a popular fixture years later on (you guessed it) The Disney Channel.


Teen Wolf (1985)

teen wolf

Turtles weren’t the only adolescent animals getting in on the indie game in the ’80s. But not even the director of Teen Wolf thought the film would be a hit, let alone still be in the cultural lexicon nearly 30 years later (in the form of a hit MTV drama series). With a $1.4 million budget, the original Michael J. Fox film became the highest-grossing independent film of 1985. The highest-grossing studio film that year? Michael J. Fox’s other movie, Back to the Future. ’85 was most definitely the Year of the Fox (see what I did there?).


The Terminator (1984)


James Cameron certainly has a big checkbook to work with these days, having helmed the two highest-grossing movies of all time. But for his breakthrough film, Cameron proved he didn’t need studio support to put together a hit sci-fi thriller, selling his script to producer Gale Anne Hurd for only $1. The movie launched a billion dollar franchise that is still chugging along, and it solidified Arnold Schwarzenegger as the biggest superstar of the decade (Cameron didn’t do too bad for himself, either).


Halloween (1978)


For a movie that spawned a hundred or so sequels, Halloween had meager beginnings. Director John Carpenter – working with a budget of only $325,000 – ushered in the dawn of the slasher pic by bringing together an unknown Jamie Lee Curtis, a William Shatner mask painted white, and a creepy-as-hell piano ditty to terrify legions of moviegoers for decades to come. To this day, it seems like low-budget horror films are often a filmmaker’s best bet at profitability.


As you can see, indie films come in all shapes, sizes, genres, and budgets. And today there are even more avenues where you can find them. When lightning strikes, risky cinematic endeavors (like a time-traveling robot assassin) can blossom into full-blown blockbusters or cultural touchstones that would make any studio head jealous.


If you’re an independent filmmaker or know of an independent filmmaker or filmmaking-related business we should interview, email for consideration.

And Now a Word from the Newbies

Colin McCormack — Tuesday, July 29th, 2014

A word of welcome from SAGindie’s two newest employees, Amanda LaFranco and Colin McCormack


The shoes I’ve gotta fill…

Ellen left a pretty big legacy here at SAGindie, and I’m only just realizing how much of a challenge living up to her reputation is going to be; to put in comparison, it’s like when Russell took over for Auerbach. However, I love what SAGindie offers to filmmakers and I am effused to be able to help connect producers with actors, and to get those on-screen gems we call “indie films” made. Whether your style is Fruitvale Station, Napoleon Dynamite, or even Eraserhead, I’m here to help! Though I may be stuck in an office all day, I’m metaphorically on the front lines with you – so I will be slogging through those thick contracts to find the answers you need.

I’m a Jersey girl born and raised (yes I love Bruce Springsteen), who has finally settled in Los Angeles after a series of grand adventures in Boston. I’m obsessed with the films and themes explored in 1970s cinema from Jaws to Two-Lane Blacktop. However, any time a theater is showing the venerable classics Star Wars, The Princess Bride, or When Harry Met Sally… trust me, I’m there. After seeing my own film come to life on screen I realized I never want to stop creating, so I make a conscious effort to capture my wildest imagination on a page every day.

Personal bragging rights include: running with the bulls in San Fermin (thankfully still in one piece), racing Astons with the Queen from Geneva to Brussels (she was on holiday), and sipping whiskey at the base of Kilimanjaro with Hemingway (that’s a story for another time).

But enough about me, let’s talk about your project and how SAG-AFTRA’s low-budget contracts can help it become a reality.



Hey there, how’s it going? You alright? My name is Colin and I’m the new guy – or “the new Will” – taking over the proverbial internet reigns for SAGindie. Don’t worry, I’ll grow on you like fine wine (is that a saying?). I’m here to help get the word out about SAG-AFTRA’s low-budget agreements on the interweb and via (when absolutely necessary) personal interaction.

But don’t fret if you happen to be a pale, hunchbacked writerly type like me. You can keep up to date on SAGindie news, events, interviews, and other fun stuff through our blog, newsletter, Twitter, or Facebook – all from the comfort of that corner in your living room you call your “home office.” I urge you to stay tuned for some exciting developments, as we will be giving the website a facelift in the coming months (though this being Hollywood, we’ll likely attribute the new look to “resting” and “drinking lots of water”).

Originally hailing from the Detroit area, I moved to LA just before Michigan started its filmmaker tax incentives. Since those tax credits did not alleviate five months worth of snow, I decided to stay on the West Coast. I’m fascinated by the creative development process, and get excited/jealous when I read about great “why didn’t I think of that?” movie ideas. I’ve written a few movies, which are all still toiling in good ol’ development. If forced to pick some favorite films, I’d have to include a double-feature of The Graduate and Harold and Maude, though I also have a particular affinity for 1980s comedies (Tootsie, Ghostbusters, Back to the Future, and Heathers among the obvious greats).

I’m thrilled to be a part of SAGindie and look forward to lending my support to those courageous souls known as independent filmmakers.



Will Prescott — Friday, April 25th, 2014

jared drake and ryan mccann

Director JARED DRAKE is no stranger to bringing unique characters to life, and he will be the first to tell you casting the right actor is the key to pulling it off. One look at his indie hit VISIONEERS, and it’s easy to see how casting was vital to making it all work. The dream ensemble included Zach Galifianakis (long before HANGOVER fame), Judy Greer, Missi Pyle, James LeGros, and D.W. Moffett who each had their own spin on characters that were, arguably, a major contribution to the critical-acclaim of the project.

That said, it does take a talented team (typically the director, casting director, and producers) to be confident enough to pull the trigger on what they hope will be a homerun performance.

Jared is hard at work on his next feature, MACK LUSTER (a VISIONEERS spinoff of sorts with RYAN McCANN reprising his iconic role of Mack), which has recently launched an ambitious Kickstarter campaign (see the pitch video below). With the casting process currently underway, he was more than willing to share some advice for actors looking to nail that audition.


I love auditions. An endless stream of actors, all shapes and sizes, filing in and out, bringing to life characters I’ve spent years with in my head with fresh ideas, angles, and perspectives that I never could’ve dreamed of. And most actors are polite, longing for a chance to invest their heart and soul into a project. This makes every audition a huge honor from the second the door opens.

But then the door closes.

And from that moment on there is no telling what direction the audition will take. To help define what makes one audition more rewarding than others, I’ve compiled a list of helpful Dos and Don’ts for actors when they audition.

DO: Own it.
When an actor walks into the room with an attitude that says “I have an idea for this character I can’t wait to show you,” I get the chills. I want an actor that makes choices, and comes with all they have. That knows who they are and will take what is written, apply it, and bring it. To show me “this is what I can and will do for this role and if it’s not a fit, it wasn’t meant to be.” And chances are, if you make a strong enough choice, I’ll remember you for future projects. I have cast actors based on choices they made in auditions for past projects. Make a strong, clear decision about what YOU can bring to the role. It leaves an impression. And impressions are good.

DON’T: Tell us the character needs more lines.
Then come with suggestions. Seriously, this happens a lot. And I’m always shocked when it does. If you’re already angling to get more lines, it tells me your interests are not to service the movie, but to service yourself.

DO: Get off book.
I know it is impossible to do with multiple auditions a day, but for those important roles, come in off book. It doesn’t look needy. It looks prepared. I absolutely love this and give huge bonus points for anyone taking the time to get organized. It tells me you’ll be ready to shoot when it comes time to roll camera.

DON’T: Tell us that you can do anything, it just depends on what we want.
This isn’t a one size fits all sort of business. And, maybe, we don’t know what we want for this one liner bit part and are hoping to be inspired through casting. I know this sounds sucky, but sometimes it is the truth. Show us what you got and what you can bring to the role, and we’ll decide if it’s something we can shape the character into.

DO: Say you love the material.
I know it’s dorky, but kissing up does leave a mark no matter how badly we want to admit it doesn’t. Think about it, at this stage in process, we’re probably caught up in rewrites with a million people telling us what they think should change in the script, struggling to digest the vague comments and wrangle them into something coherent…so it’s nice to hear from someone, anyone, that the material is great! Then, before you leave, thank us and tell us it was the one of the coolest auditions you’ve been on all week.

DON’T: Be a broken record.
We give you a massive adjustment that completely changes the direction of the audition, and you do the exact same thing you did before. This happens more times than not. When a director gives you an adjustment, they’re either testing you to see how well you take direction or they genuinely want to see it played a different way. In either case, failing to try something new is goodbye because it tells us you’re blocked and won’t be able to react to the environment once the camera is rolling. So do something… anything… except for what you just did. Flip that switch, and flip it HARD.

DO: Calm our nerves.
Yup, we get nervous just like you do! If the director is in the room, comfort them by thanking them for an adjustment they give you or telling them their approach to the character is solid. Again, dorky. But the more comfortable we are with you in the casting room, the more comfortable we think we will all be on set together and better your chances of being hired when it is down to you and some self-centered jerk.

DON’T: Don’t tell us you’re nervous.
We know you are. Everyone is. Those who don’t make an issue out of it now likely won’t make an issue out of it when they’re in front of the crew and on camera. Keep your nerves to yourself. We’re all freaked out! Oh…and don’t tell us you would be more prepared if things weren’t so screwy at home or you didn’t have to run ten errands that morning. If we’re casting, the rest of my day is probably composed of putting out small fires with producers, financiers, clients, or department heads over logistics. The last thing I need is to hear about your baggage.

DO: Start yourself over in the middle of an off reading.
I love this. I know some argue against it. But all the best actors I’ve ever worked with have some sort of governor on their acting engine that tells them when they’re off and how to fix it. It tells me there is a tangible set of tools there to work with, and you won’t need hand-holding through every line. Just don’t let it happen more than once…and when you do start over, it better rock!

DON’T: Don’t be a talker.
Engage with us, but if you’re droning on after your audition and we start checking emails, it’s probably time to leave. There is a fine line between communicating who you are and making us fear that you’re going to be a nuisance on set. There is nothing that bugs me more than a crew or cast member that can’t see when I have a million things running through my head and, for whatever reason, think it’s a great time to tell me a ten minute story about their cat.

DO: Believe in yourself.
The last thing I want to reiterate to every actor out there is that we are all rooting for you. Every single time an actor walks through the door, there is promise. And I always catch myself holding my breath hoping they’re going to blow it out of the water. We are your friend. All we want is for you to succeed.


If you found this article helpful, make sure you check out Jared Drake’s latest project MACK LUSTER or learn more about Jared at If you’re an independent filmmaker or know of an independent filmmaker or filmmaking related business we should interview, email for consideration.


Will Prescott — Thursday, April 17th, 2014


If you haven’t already heard of, or run into, filmmaker PAUL OSBORNE somewhere along the way, don’t sweat it because the odds are you will. A champion of indie film and a staple along the festival circuit, Paul has been making a successful go of it in the industry for a while now.

In addition to contributing articles for Moviemaker Magazine, Film Threat, and Ted Hope’s blog Hope for Film, he’s the driving force behind indie gems TEN ‘TIL NOON, OFFICIAL REJECTION, and most recently the critically-acclaimed thriller FAVOR (killer trailer below), which will be hitting iTunes and Cable VOD on April 22nd from Gravitas Ventures.

No stranger to making things happen on a shoestring budget, we asked Paul for some advice on directing micro budget productions that don’t suffer from a lack of quality. Lucky for us (and you), he was kind enough to share some of his secrets.


1. Shoot Quickly and Efficiently. Shooting a movie is the most expensive part of any production, and if you’re making a micro-budget flick (defined as anything with a cost of $50,000 or below), it’s critical to get the most out of the time the cameras are rolling as possible. The best way to accomplish this is to shoot as fast as you can without significantly impacting quality. When we made my movie FAVOR, our mantra was “write it like art, prep it like art, cast it like art, rehearse it like art, cut it like art… but shoot it like exploitation.”

The trick is to be prepared, know what you want, have your priorities in order… and follow the rest of this list.

2. Rehearse Your Actors During Pre-Production. When you make a small film, it’s vital to get good performances – after all, there are no giant CGI robots or superheroes to distract the audience if the actors suck. But sussing out the nature of a scene or the layers of a character takes time, and when you’re shooting you don’t have a lot to play with. So, I suggest doing extensive rehearsals (with the actors who are willing to participate) in the weeks leading up to your start date. Not only will your performers be fully primed when they finally step in front of the camera, you’ll have likely already developed an all-important shorthand with them as well.

3. Schedule Each Day Yourself. You may have an assistant director, production manager or producer willing to do it for you, but I suggest taking on this task personally. Having rehearsed your actors, only you know which ones are slow to warm to a scene, which are good to go right when they arrive and which burn out quickly. Only you can decide which pages should be given more attention than others, and if they’re calling lunch in ten minutes, whether it’s worth squeezing in one more take or breaking early. Additionally, if things have to be shifted around, you’ll be so familiar with the plan you won’t have to call a meeting to figure it out – you’ll simply know what to do.

4. Be the Hardest Working Person on Set. Directing a movie, even a micro-budget one, is a privilege. Yes, it means you have all the responsibility on your shoulders, but in a director-driven medium it also means you have the most to gain. It’s a given you should treat every member of your cast and crew with kindness, dignity and respect, but it’s also important to demonstrate this by working harder than any of them. You should be the first one there, the last one getting food, the first one back from lunch and the last one to leave after wrap. The crew will not only feel appreciated, they’ll also work harder just to try and keep up with you.

5. Make Decisions Fast. Your cast and crew are looking to you to steer the ship, and the confidence they have in you is directly proportional to the mood on set. Making decisions quickly will give the illusion you know what the hell you’re doing, even if you don’t. As strange as this is to say, it’s often better to make a quick decision rather than the best decision as long as it keeps the shoot moving forward.

6. Feed Your Crew Well. It doesn’t matter what your budget range is or how much you pay the crew – if you don’t feed people well, they will revolt. This doesn’t mean the food has to be expensive – on FAVOR, our producer often cooked for everyone, and craft service consisted of whatever was on sale at Costco. On a day-to-day basis, quality meals are more important than good wages. I’ve seen volunteer crews toil endlessly on full bellies and well-paid ones walk because they were served leftover curry for the sixth straight day.

7. No Task is Beneath You. Yes, a director is generally the highest authority on set, but you’re not above the crew – you’re a member of it. If you’re sitting on your ass and everyone else is working, you’re doing it wrong. Get up, move a light, clean up the paper plates from lunch, steam the shirts in wardrobe…You owe it to your movie, and it sends a positive message to everyone else.

8. Protect Your Actors When They Fail. Sometimes actors come to set not knowing all their lines, or aren’t in the right headspace, or are just tired. Even the most professional performers can have an off-day, and calling them out on it is only going to make it worse. If a performer just isn’t hitting it, your best bet is to invent some “technical adjustment” so they can step aside and collect themselves without any attention placed on the fact that they need to. Remember that actors have to expose a part of themselves in order to do their job, so it’s your job to make them feel safe enough to do it.

9. Limit the Toys. Lighting a scene can often take a long time. Want it to go faster? Have fewer lights. Would you like to streamline the time it takes for your cinematographer to set up a shot? Limit the number of lenses available. If there are a lot of toys on set, your technical people will want to play with them, so if you’re shooting on a tight schedule and an even tighter budget, it’s wise to limit the gear to the essentials. Just make sure the gear you do have can do the job.

10. Enjoy Your Difficulties. After a particularly grueling day during the production of my first feature, TEN ‘TIL NOON, I vented to my wife about some of the issues we were having on set – our first A.D. was wildly disorganized, our cinematographer was lazy and sneaking off to watch Pay-Per-View movies between set-ups, one of our actors kept trying to rewrite his dialogue. When I finished my rant, she smiled and said, “You’re lucky you get to have these problems. Enjoy them.”

BONUS PARTING THOUGHT. We don’t get to do this everyday. Movies aren’t made, they’re forced into existence, so when you finally get one going and are facing the difficulties that invariably present themselves, take a moment to savor the fact that you have them. It doesn’t make these problems go away, of course, but at least for me, it makes tackling them a whole lot easier.


You can pre-order Paul Osborne’s film FAVOR on iTunes now and keep tabs on his projects by following him on twitter at @PaulMakesMovies. If you’re an independent filmmaker or know of an independent filmmaker or filmmaking related business we should interview, email for consideration.

Everything You Ever Wanted To Know About Nudity Clauses, But Were Too Shy To Ask

SAGIndie — Thursday, April 3rd, 2014

Our friends over at Film Independent asked us about nudity in film and we had much to tell them. Check out a few of the tips:

Can the nudity section (section 43) of the SAG-AFTRA Basic Agreement serve as a sufficient contract agreement if both the producer and actor agree?

Section 43 does not serve as a sufficient contract between the performer and producer. Prior written consent of the performer is required in the form of a letter or rider that outlines the actions of the nudity or sex scene that will take place.

Can a producer draft the nudity rider or does the producer need to hire an entertainment lawyer to properly draft this additional contract agreement?
It’s always advisable to have a lawyer at least look over a rider or any other contract. When hiring a lawyer isn’t possible, the producer can draft it on his or her own. Ultimately the performer and the performer’s representation will need sign off on it.

Are there boilerplate contract forms or a standard way of drafting this additional contract clause? If so, is it available through SAG-AFTRA?
There’s a standard nudity clause provided by SAG-AFTRA that outlines everything. That said there really isn’t a sample nudity rider that exists on SAG-AFTRA’s end. The best idea is to draft up exactly what’s going to take place and present it to your SAG-AFTRA Business Representative for review.

Are the descriptions of nudity and sex in a script sufficient detail to be transcribed into a rider or should the producer work out more specific details?
The producer should always, always explain more detail. All of the action that’s going to occur, how it’s going to be shot, who’s going to be present—these details aren’t in a script. It’s also worth mentioning that when a nudity or sex scene is being shot, it must be done so on a closed set.  And always have a designated robe person for in-between takes.

Continuing reading the rest of the article HERE.