Sunday, March 16, 2003
University of Washington, Henry Art Gallery
When it comes to moviemaking, Seattle straddles the same longitude as its Hollywood counterparts. It’s the Northwest latitude, and attitude, that needs alignment with the show business industry model to put the Puget Sound’s brand of digital wizardry in synch with Beverly Hills’ style of high-stakes dealmaking.
Bridging the digital divide between Hollywood business mogul and Northwest production guru takes more than digital know-how or even Tinseltown know-who. The film industry is legendary for being equal parts science, art, sport and business. A popular seminar returning to the 
Northwest, starring Michael Wiese whose company, MWP, is the preeminent publisher in film production guidebooks, will once again attempt to demystify Hollywood’s shamanism while helping aspiring film auteurs gain real insight into the process that can lead from Northwest greenbelt to Hollywood green light.
Seminar leader Michael Wiese has produced or marketed hundreds of media products including films, videos, television programs, and books and has conducted seminars on independent filmmaking throughout the world for Kodak (including three at the Cannes Film Festival), The American Film Institute, Independent Feature Project, and many others. MWP (www.mwp.com) publishes a best-selling line of the professional film and video books which are used in over 500 film schools around the world.
The one-day, informal workshop, entitled the Filmmakers Networking and Pitch Workshop is about producing films, but “movies” may be the more operative term since digital technology doesn’t actually employ film, per say. As a participant, your job is to present your project, discover new ideas, and be motivated to take the next step. Our conversation with Michael Wiese is your personal pre-screening.
Seattle24x7: Michael, the digital “tools of the filmmaking trade” have increasingly become more accessible and more affordable. What is the order of magnitude of using the new technology in terms of dollars saved on equipment, time saved in production, and ultimate cost of delivery?
Wiese: I’ve waited for decades for the tools of production to become affordable to independent filmmakers. The good news is that the time has arrived, the bad news is that, on the low end, digital video still has ways to go before delivering a quality picture. (Nevertheless any low end gear should be used just as an artist uses dozens of canvases to learn his/her craft.) That makes digital video an extremely valuable tool.
I just finished shooting a trailer for my upcoming feature, BALI BROTHERS, on mini-DV. Dealing with the limitations of anamorphic lenses and a reduction of video’s tonal range was frustrating. That said, in terms of economy, we were able to light quickly, shoot a large ratio each day (it was a drama), and most important, the equipment was non-obtrusive and so we got authentic performances. The ‘film circus’ of crew and equipment was, for once, not what it was all about.
Seattle24x7: Has digital technology rendered any of the traditional film production roles obsolete?
Wiese: There has been a convergence of jobs when working in digital video. Scott Billups, in his book which we published “Digital Moviemaking” takes you through this compression of roles. The thing is, there is a reason there are so many people on a Hollywood feature. They are each brilliant experts in highly specialized areas. While the proponents of digital video argue that you, the filmmaker, can ‘do it all’, yes you can. But I only know one or two people who can really ‘do it all’ from write, to shoot, to direct, to edit, and they are only mediocre. There’s too much to learn in a lifetime. The programs are too deep and no one really has the sensibilities to wear all the hats. The promise is exciting and is fine for shorts and documentaries, but not large scale projects.
Seattle24x7: What “packaging” should the filmmaker have in place before pitching a project? Financing? Director? Stars? Is having a package put together a way to retain more control, drive up value, and/or command a better deal? Is it realistic to expect that an “indy prod” can have a package in place before a pitch meeting?
Wiese: The star is the brand for movies. Genre is also important. That said, without a very strong script, a producer will get neither stars nor financing. Next in line would be the director. Big money risks are not taken without the package of great script, stars and known director. That said, a no-budget, indie project can certainly be pitched, but it’s prospects for a financial return are rare. 80% of the features in Sundance cost $150,000 and were not industry financed, they were self-financed (friends, family).
Seattle24x7: The digital realm has ushered in many “screens” in addition to motion picture. (eg.) TV screen, PC screen (streaming media), PC screen (interactive DVD). Should the auteur have considered these other channels when pitching the project? How so?
Wiese: All viable channels for revenues from a media production should certainly be pitched. Theatrical, home video/dvd, television(free and pay), and foreign are the traditional markets. Video streaming has not come of age yet, although the Internet can certainly be successfully used to market some movies.
Seattle24x7: Do you foresee the day when independent movies will be streamed from Websites in the same way digital artwork is displayed today. Will every Website become its owners personal movie showcase?
Wiese: Absolutely. It’s around the corner. We’ll have a book called “Web Streaming” out next year that is not only for filmmakers but anyone (tour guides, doctors, real estate agents, performance artists, non-profit organizations, social causes, you name it.)
Seattle24x7: Why do you suppose your seminar participants rank your presentations so highly? What do you think is the most important thing seminar attendees will get out of the sessions?
Wiese: I didn’t plan or even want to pitch my own projects. When a business associate of mine (who was suppose to raise the money while I shot) failed, it was fell upon me to pay the debts. I had to go out and find investors which I did. I found that every 5th person I talked to invested something and that gave me hope and ultimately I got all the financing. Being prepared is the most important thing. Don’t got out before your package is together. (See my business plan as an example in my book, “The Independent Film and Videomaker Guide.”) Sincerity and integrity are vital. Of course it helps if your project is attractive and the business aspects are well thought out and there is upside for a return!
The seminar gets high ranks, not because of me, but because the participants very quickly learn how to pitch by doing. They become empowered and see that, no matter who they are, they have a unique style and ability to pitch. Pitching is really a crude word for ‘communicating’. Participants spend the entire day pitching and listening to pitches and finding collaborators and resources for their projects. If they are enthusiastic and join in, they will produce amazing results for themselves in one day! That’s why we get the high marks. We only provide the environment and give them permission for this to happen. [24×7]
Filmmakers Networking and Pitch Workshop
Seminar Information
Website:
http://www.mwp.com
TO REGISTER:
Early Bird Registration (until March 10): $95
Late Registration (March 11 – March 16): $115
UW Students: $85 (Course #66152)
Fee includes AM Coffee, juice, and breakfast breads. Lunch is not included.
By Mail: Send a check for $ per person made payable to:
University of Washington
Educational Outreach
4311 11th Avenue
Seattle, WA 98105
By Phone: call 1-800-543-2320 and have your
Mention Seattle Networking Workshop, then e-mail Michael Wiese ([email protected]) a one – page description of whatever you would like to pitch a project, yourself, or your services and come prepared to pitch. (Attendees who have submitted their one-page in advance will have priority in the group pitching sessions.) The one- page description should include your name, project title, length, genre, intended audience, budget, and what resources you still need. Or, the one-page may be about what you wish to offer (e.g., video editing services, acting, camerawork, etc.)
Visit the NETWORKING CENTER at www.mwp.com and discover even more resources from around the world. Register and you may win free professional film and video books.
