Back from Amsterdam and off to Hot Springs!

On October 18, 2009 by Colin

A great trip to Amsterdam – a place where people live in shipping containers

Shipping Container Houses

trees are made of rebar…

rebar tree

rebar tree

and coffee shops sell way more than just coffee…

coffeeshop reefer

coffeeshop reefer

When we walked by one of them, Liam said, “Hey, how did they know we were bringing our movie? They’re making Amsterdam smell like Skatopia!”

We rode bikes everywhere…


hanging posters and handing out postcards everywhere we could… even found ourselves in good company poster-wise.

poster hangers

We went to Skatepark Amsterdam, which rocked- a good sized indoor park in this crazy huge container shipping warehouse. It cost a million euros just to build the elevated platform the park sits on!

park suspended

Amsterdam skatepark wide

Our apartment was a block from the Red Light District which made Liam say, “Hey, those ladies are trying to be statues!”


The film received an excellent response. De Uitkijk (you say “out-gike”, which means Look-out) Theater was very classy, served beer (even had little tables with drink order forms and a little buzzer to call a waitress) and the audience was great.

The theater where Skatopia played.

The theater where Skatopia played.

We followed up with a special screening at the Streetlab Gallery… special shoutout to them and Stan Postmus for making that screening an event!

There are more photos at our blog at Skatopia The Movie.

At the end of the week we’re meeting the Skatopia crew for a screening at the Hot Springs Doc Festival. Be sure and tell any Arkansans that you know!


Great write up in Amsterdam!

On October 7, 2009 by Colin

Check out this write upon our film in the Amsterdam Event GuideAmsterdam Event Guide:

The "Prenups" – filmmakers and funders trying to get along

On October 4, 2009 by Colin

The single most common question that independent producers ask me in my role at Mountain Lake PBS (after learning that we don’t have the resources to fund outside projects – even the most promising) is where they can raise their production funding. The answers is that they have to do it the same difficult way we do at PBS: apply for grants, approach sponsors (underwriters in PBS-speak), consider “crowd funding”, get a bank loan, look for tax credits, etc.

But in each of these cases, the filmmakers will have to consider what it is the funders are looking for. Many a relationship between funder and filmmaker has foundered on mis-understanding. A new project hopes to layout a lot of misconceptions for media makers before things go off the rails. Check out The Prenups. Excellent work that every filmmaker should read. You can download the 2 page summary Matchmaker Guide for the Cliff Notes version

free filmmaker stuff

On October 2, 2009 by Colin

Here is a great site I found when looking for graphics of those little leaves that you put around film fest announcements:

There are countdowns, contracts, templates, etc. Thanks Peter!

Here is the poster that I created with the leaves:

Poster for Skatopia documentary at Amsterdam Film Festival

Poster for Skatopia documentary at Amsterdam Film Festival

Documentary Film Maker's Handbook is OnLine!

On September 30, 2009 by Colin

The open source world is great. Check this out: The Documentary Film Makers Handbook There is tons of great stuff to be found here. Page 323, for instance has a list of all the major international doc markets.

I will not read your f…ing script…

On September 30, 2009 by Colin

Hilarious and perfectly on point column in the Village Voice:

We know you’ve been working very hard on your screenplay, but before you go looking for some professional feedback, you might keep in mind the following piece by A History of Violence screenwriter Josh Olson.

I will not read your fucking script.

That’s simple enough, isn’t it? “I will not read your fucking script.” What’s not clear about that? There’s nothing personal about it, nothing loaded, nothing complicated. I simply have no interest in reading your fucking screenplay. None whatsoever.

If that seems unfair, I’ll make you a deal. In return for you not asking me to read your fucking script, I will not ask you to wash my fucking car, or take my fucking picture, or represent me in fucking court, or take out my fucking gall bladder, or whatever the fuck it is that you do for a living.

You’re a lovely person. Whatever time we’ve spent together has, I’m sure, been pleasurable for both of us. I quite enjoyed that conversation we once had about structure and theme, and why Sergio Leone is the greatest director who ever lived. Yes, we bonded, and yes, I wish you luck in all your endeavors, and it would thrill me no end to hear that you had sold your screenplay, and that it had been made into the best movie since Godfather Part II.

But I will not read your fucking script.

At this point, you should walk away, firm in your conviction that I’m a dick. But if you’re interested in growing as a human being and recognizing that it is, in fact, you who are the dick in this situation, please read on.

Yes. That’s right. I called you a dick. Because you created this situation. You put me in this spot where my only option is to acquiesce to your demands or be the bad guy. That, my friend, is the very definition of a dick move.

I was recently cornered by a young man of my barest acquaintance.

I doubt we’ve exchanged a hundred words. But he’s dating someone I know, and he cornered me in the right place at the right time, and asked me to read a two-page synopsis for a script he’d been working on for the last year. He was submitting the synopsis to some contest or program, and wanted to get a professional opinion.

Now, I normally have a standard response to people who ask me to read their scripts, and it’s the simple truth: I have two piles next to my bed. One is scripts from good friends, and the other is manuscripts and books and scripts my agents have sent to me that I have to read for work. Every time I pick up a friend’s script, I feel guilty that I’m ignoring work. Every time I pick something up from the other pile, I feel guilty that I’m ignoring my friends. If I read yours before any of that, I’d be an awful person.

Most people get that. But sometimes you find yourself in a situation where the guilt factor is really high, or someone plays on a relationship or a perceived obligation, and it’s hard to escape without seeming rude. Then, I tell them I’ll read it, but if I can put it down after ten pages, I will. They always go for that, because nobody ever believes you can put their script down once you start.

But hell, this was a two page synopsis, and there was no time to go into either song or dance, and it was just easier to take it. How long can two pages take?

Weeks, is the answer.

And this is why I will not read your fucking script.

It rarely takes more than a page to recognize that you’re in the presence of someone who can write, but it only takes a sentence to know you’re dealing with someone who can’t.

(By the way, here’s a simple way to find out if you’re a writer. If you disagree with that statement, you’re not a writer. Because, you see, writers are also readers.)

You may want to allow for the fact that this fellow had never written a synopsis before, but that doesn’t excuse the inability to form a decent sentence, or an utter lack of facility with language and structure. The story described was clearly of great importance to him, but he had done nothing to convey its specifics to an impartial reader. What I was handed was, essentially, a barely coherent list of events, some connected, some not so much. Characters wander around aimlessly, do things for no reason, vanish, reappear, get arrested for unnamed crimes, and make wild, life-altering decisions for no reason. Half a paragraph is devoted to describing the smell and texture of a piece of food, but the climactic central event of the film is glossed over in a sentence. The death of the hero is not even mentioned. One sentence describes a scene he’s in, the next describes people showing up at his funeral. I could go on, but I won’t. This is the sort of thing that would earn you a D minus in any Freshman Comp class.

Which brings us to an ugly truth about many aspiring screenwriters: They think that screenwriting doesn’t actually require the ability to write, just the ability to come up with a cool story that would make a cool movie. Screenwriting is widely regarded as the easiest way to break into the movie business, because it doesn’t require any kind of training, skill or equipment. Everybody can write, right? And because they believe that, they don’t regard working screenwriters with any kind of real respect. They will hand you a piece of inept writing without a second thought, because you do not have to be a writer to be a screenwriter.

So. I read the thing. And it hurt, man. It really hurt. I was dying to find something positive to say, and there was nothing. And the truth is, saying something positive about this thing would be the nastiest, meanest and most dishonest thing I could do. Because here’s the thing: not only is it cruel to encourage the hopeless, but you cannot discourage a writer. If someone can talk you out of being a writer, you’re not a writer. If I can talk you out of being a writer, I’ve done you a favor, because now you’ll be free to pursue your real talent, whatever that may be. And, for the record, everybody has one. The lucky ones figure out what that is. The unlucky ones keep on writing shitty screenplays and asking me to read them.

To make matters worse, this guy (and his girlfriend) had begged me to be honest with him. He was frustrated by the responses he’d gotten from friends, because he felt they were going easy on him, and he wanted real criticism. They never do, of course. What they want is a few tough notes to give the illusion of honesty, and then some pats on the head. What they want–always–is encouragement, even when they shouldn’t get any.
Do you have any idea how hard it is to tell someone that they’ve spent a year wasting their time? Do you know how much blood and sweat goes into that criticism? Because you want to tell the truth, but you want to make absolutely certain that it comes across honestly and without cruelty. I did more rewrites on that fucking e-mail than I did on my last three studio projects.

My first draft was ridiculous. I started with specific notes, and after a while, found I’d written three pages on the first two paragraphs. That wasn’t the right approach. So I tossed it, and by the time I was done, I’d come up with something that was relatively brief, to the point, and considerate as hell. The main point I made was that he’d fallen prey to a fallacy that nails a lot of first timers. He was way more interested in telling his one story than in being a writer. It was like buying all the parts to a car and starting to build it before learning the basics of auto mechanics. You’ll learn a lot along the way, I said, but you’ll never have a car that runs.

(I should mention that while I was composing my response, he pulled the ultimate amateur move, and sent me an e-mail saying, “If you haven’t read it yet, don’t! I have a new draft. Read this!” In other words, “The draft I told you was ready for professional input, wasn’t actually.”)

There’s a great story about Pablo Picasso. Some guy told Picasso he’d pay him to draw a picture on a napkin. Picasso whipped out a pen and banged out a sketch, handed it to the guy, and said, “One million dollars, please.”

“A million dollars?” the guy exclaimed. “That only took you thirty seconds!”

“Yes,” said Picasso. “But it took me fifty years to learn how to draw that in thirty seconds.”

Like the cad who asks the professional for a free read, the guy simply didn’t have enough respect for the artist to think about what he was asking for. If you think it’s only about the time, then ask one of your non-writer friends to read it. Hell, they might even enjoy your script. They might look upon you with a newfound respect. It could even come to pass that they call up a friend in the movie business and help you sell it, and soon, all your dreams will come true. But me?

I will not read your fucking script.

Josh Olson’s screenplay for the film A History of Violence was nominated for the Academy Award, the BAFTA, the WGA award and the Edgar. He is also the writer and director of the horror/comedy cult movie Infested, which Empire Magazine named one of the 20 Best Straight to Video Movies ever made. Recently, he has written with the legendary Harlan Ellison, and worked on Halo with Peter Jackson and Neill Blomkamp. He adapted Dennis Lehane’s story “Until Gwen,” which he will also be directing. He is currently adapting One Shot, one of the best-selling Jack Reacher books for Paramount.

©2009 Josh Olson. All rights reserved.

Forgotten War going national

On September 29, 2009 by Colin
Robert Rogers in jail for counterfeiting before the start of the F&I War.

Robert Rogers in jail for counterfeiting before the start of the F&I War.

The one hour doc on the French & Indian War we just finished at Mountain Lake PBS has been offered to the PBS system by American Public Television one of the three major distributors to the PBS system (who, by the way, have the best guide to the tech side of producing for PBS that I’ve found anywhere.)

We’ve nearly finished the huge website that is full of essays, lesson plans and images from the amazing re-enactments that we were privileged enough to shoot. We’ve still got to post all the video extras and shorts to finish the site before the broadcast premiere. We wont know till next week how many stations want to carry the program… a lot of anxious waiting to hear the number. Finally, today we learned that our super-talented illustrator Ryan Graber has launched a new site with a bunch of images from the film. Check him out here.

The state of Indy film distribution today…

On September 27, 2009 by Colin

At the IFP Conference last week people were already referring to the “post-Toronto” landscape referring to the miserable number of acquisitions at this A-list fest. This wrap-up describes Toronto as a “bloodbath”, but my take on it is that we are just seeing the natural result of a) the economic downturn and the loss of many Indy film distribution houses, b) the glut of quality indy films, and c) the confusion amongst studios and networks about where the money is.

Ultimately, I came away more inspired than dejected. Our business plan for Skatopia has always held out the possibility or likelihood that we’d be pursuing what Peter Broderick has called “hybrid distribution.” Here is Indie Wire’s summary of the panel I enjoyed the most at the Conference. Our film seems excellently poised to move in the new direction.

Independent Filmmakers Conference in NYC

On September 25, 2009 by Colin

I just returned from the annual Independent Filmmaker Conference in NYC run by IFP. I could only go for Sunday’s panel discussions, but came away with some real insight into the mess that is today’s state of indy film distribution. Over the next several days I’ll post some of my notes on the various panels. The real standout discussions that I heard were from Lance Weiler (see the Workbook Project and Culture Hacker links to the right), Ted Hope (see Truly Free Film link), Josh Green from Emerging Pictures and Mark Rosenberg from Rooftop Films (see links). These guys are really trying to carve out new paths for strong films to find their audiences without using “traditional” distributors. Very inspiring!

Skatopia: 88 Acres of Anarchy is headed for Amsterdam & Arkansas

On September 23, 2009 by Colin

Skatopia: 88 Acres of Anarchy was just accepted at both the Amsterdam Internationl Film Festival AND the Hot Springs Documentary Festival for October.

Our first trip outside the US with the film – with support from RELOAD magazine and hopefully some other sponsors as well. We’re trying to get our main character Brewce a passport in time…

The Hot Springs Festival is one of the oldest and most respected doc fests around. We’re thrilled to be invited. We’ll put together a serious event around this screening only 12 hours from Skatopia.

Here’s one of Richie Wireman’s photos from Skatopia: