Category Archives: Filmmakers

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Keep The Good Pieces

by Anne Goursaud

A film editor gets the opportunity of a lifetime with the world’s greatest director. 4,163 words. Illustration by Thomas Warming.


I liked Martin from the get-go. He was extremely polite, with an unexpected sense of humor, and eyes so 8547D799-C475-4659-B563-17A9A283F8B3intelligent and intense that most people feared him. Fortunately, I had grown up around a man with fierce eyes, my grandfather. Being his favorite, I was the only one of his grandchildren permitted to sit on his knee and – privilege of privilege – play with his beret.

This day of my interview to work at Kaleidoscope Studio, Martin was wearing a checkered brown and white shirt and brown corduroy pants, but no beret. Not that day.

“May I ask a question?” I say. He nods. “Why am I here?”

Martin breaks into laughter. “We have three films and three films in trouble,” he declares. His producers Forest and Gary nod in agreement.

Martin wants to take me on a tour of the studio. Once outside, something quite weird happens. He points to a black bicycle leaning against a wall.

“Come on the bike.”

“What?”

Martin repeats, “Come on the bike.”

“I haven’t done this since I was two years old,” I tell him. But I jump on the front of the bike and off we go.

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Monumental
Part Two

by Richard Natale

The Venice Film Festival goes from great to horrible for these moviemakers. 2,233 words. Part One. Illustration by John Donald Carlucci.


As they were packing, Philippe Renoir called to inform the filmmakers that they would finally be meeting their financier Errivo Monsour on the Red Carpet at the Venice Film Festival. After the screening, they would be swept off to his yacht for a lavish fête. Philippe dropped several A-list names before hanging up.

Cynthia spent the next three days in Beverly Hills trying to find the perfect dress. Harlan bought that Ralph Lauren tuxedo he’d promised himself.

Venice was not the picture postcard they’d envisioned. The late August weather was the equivalent of being locked inside a sauna that hadn’t been cleaned in months. The canals gave off the stench of rotting vegetables marinating in a dull brown broth. The streets were clogged with sweaty overbearing tourists. But at least the hotel didn’t disappoint. It was elegantly gaudy and the employees bowed and scraped every time the couple walked past. And room service was delightful.

The filmmakers had flown in a few days early to screen their passion project Monumental for distributors; several seemed genuinely interested afterwards but were loathe to commit until they saw the feature with an audience. The one firm offer they did receive, a direct to cable deal, they turned down flat. Monsour’s representative, Philippe, expressed his annoyance, he being of the bird-in-the-hand school. Harlan said he felt confident a distributor would bite after the premiere. But it was Cynthia who had to point out a contractual obligation he’d forgotte: in the agreements, both leading ladies had inserted a provision demanding a theatrical release. So no streaming services or pay channels were possible.

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Monumental
Part One

by Richard Natale

The Venice Film Festival was the culmination of their dreams. 1,719 words. Part Two tomorrow. Illustration by John Donald Carlucci.


The source material for their project, an obscure novella called “Fork In The Road,” was the story of two life-long female friends whose paths diverge. One pursues a career as a medical researcher, the other becomes a hardened criminal. But in the end, it’s the latter who has the more emotionally satisfying life. She becomes an angel of mercy in prison, redeeming herself through altruism. The story was tersely written, and because it was delivered without even a trace of sentimentality or bathos, earned the tears Cynthia shed when reading it.

She passed it on to Harlan, who also found the story compelling but pointed out “as a movie it screams ‘woman’s picture.’ The only male characters are incidental. And before you give me ‘the lecture,’ I’m only telling you what every producer in town is going to say, even the female producers. Just trying to prepare you.”

Married just two years, but together for six, they’d discussed several co-scripting projects for Harlan to direct but so far nothing had jelled. Cynthia was keeping them afloat with residuals from a long-running TV series in which she’d been a supporting cast member, and a combination of TV commercials, voice-over work and guest-starring assignments. She was regularly cast in pilots, none of which ever went to series. Harlan, meanwhile was directing local theater and temping as a teacher.

Like many of their aspiring friends, they were just getting by, stuck in gear, in desperate need of forward momentum.

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La Dolce Vita Virtuale

by Matthew Licht

He was a student of Italian film legends like Fellini and Mastroianni. Then he met their muse. Illustration by Thomas Warming.


Quite a few people here in Hollywood on the Tiber hear “writer,” and understand “translator.” This means you exist to help them get their ideas, novels and screenplays produced in the real Hollywood on the Pacific. Bugged me at first, but they’re fast-cash transactions, and the “translate” button on the digital typer works better and better.

Everyone knows the old Cinecittà lot is being gradually turned into a theme park. They still shoot some TV ads and -series there. Hopeful extras line up at the gate. Eager beaver aspiring directors bring their reels, which are usually on their cellphones. No more paparazzi. No limousines, certainly no helicopters. No men in long black coats and Borsalino cowboy hats atop slicked-back hair who hide their authoritarian gaze behind Persol sunglasses, the lenses a shade or two darker than are commercially available.

One guy I met at a boring party heard “writer,” and understood “tour guide.” Not exactly refreshing, but different. “Tell me,” I said, “what’s the job?”

“All you gotta do is act like you’re the actor who played Porcello in Fellini’s Casanova. Tell the customers you and Donny Sutherland grew up together in Canada, played hockey, ate maple syrup, shit like that. You lead groups through the new fake sets, which are gonna look all dusty and sacred. Make ‘em feel like they’re getting the real deal, that they’re seeing something secret for insiders only, so they’ll go away thinking some of that magic might’ve rubbed off on them.”

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The Hunt

by Thomas Roberdeau

A TV cameraman in the early 1970s finds and films two civil war stories. 1,675 words. Illustration by John Donald Carlucci.


Paul was very young, only 20, and this was to be his first film. He had saved enough money to fund it by working as a TV cameraman at former President Lyndon B. Johnson’s TV station in Austin, Texas. He wanted to produce a short anti-war fable and he was excited. The Vietnam war was raging, and many of his friends were fighting, and some had been killed. Paul had been graced with a high lottery number, so he wouldn’t be getting drafted. But the war was constantly on his mind, and he thought his allegory using the Civil War as a foundation might speak to viewers. It would be done in stark black and white, merging his influences of Ingmar Bergman and Sergei Eisenstein. He had projected a lot of their films in university classes serving as a teaching assistant in the Radio/TV/Film Department.

The story Paul outlined was simple. A wounded Confederate soldier is chased by a troop of Yankees and stumbles onto an isolated cabin in the woods where he is taken in by the kindly Old Man who lives there. Far away from battle, the soldier thinks he is safe. The Old Man shelters him, hiding him from his pursuers, binding his wounds and, when he is healed, watching him return to the war. The story was about paternal care and kindness found even in the heart of battle. It was also about the bleak cycle of violence in combat. There would be no dialogue: just simple action and emotion communicated through faces. And Paul knew that all his skills as a photographer and filmmaker would be required to pull this off.

He needed to find the perfect cast. His younger brother had a friend who was in the drama school at the university and would play the wounded Confederate soldier. The young actor was studying Shakespeare and Chekhov, all the great classic plays. Paul was lucky to have him.

He needed one more actor to play the Old Man, a Good Samaritan type. He searched for him everywhere. He wanted someone with gravitas and a special face. One day Paul drove up to a mini-mart to buy some beer, and an old man came out with white hair and a beard and eyes that almost twinkled. Paul asked him if he had ever thought about doing some acting because he had such a great face. The old man said he had done some community theatre many years ago. His name was Max and he was a beekeeper. Paul knew immediately Max would be perfect as the Good Samaritan.

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Escapade
Part Four

by Steven Axelrod

The female filmmakers finally, finally, shoot their indieprod. 2,893 words. Part One. Part Two. Part Three. Illustration by John Donald Carlucci.


For Rachel and Stacey, the making of Escapade was a kind of blissful dream. Part of that feeling came from the European landscapes, which had a sort of abstract beauty since the filmmakers never stayed anywhere long enough or took enough time away from the work to absorb their reality. So they were carrying away memories like photographs. Not that there was anything wrong with that. They enjoyed floating. They were living in their own world for those eight weeks and everything else was just backdrop.

It was so easy, that was the astonishing part. It had begun with everyone’s small investments and then Peter Sandrian’s hundred thousand dollars and just continued, like a heartbeat, with the casting, their arrival in Paris, Hector Passy just walking up to them in a cafe and solving a dozen problems at once.

It seemed that every circumstance conspired at perfection: weather and bureaucracies, mood and coincidence and the currency exchange rate. Every location worked out easily. And Rachel’s unnerving cry of "Let’s put it in the movie!" soon became a standing joke. That was how it went. The movie was as much accident as design. Many of the things people wound up liking best were devised on the spur of the moment. For Rachel it was just common sense to take good stuff wherever she found it and use everything. She hated waste.

She was equally pragmatic about giving direction to her actors. She never couched her comments in Actor’s Studio jargon or Hollywood catchphrases. Instead she’d say specific things like "Give it an extra beat before you talk," or "Fall down when you say that line." Any time acting was in evidence, it was overacting to Rachel. "Don’t show us how hard you’re working," she said once. "Leave that to Meryl Streep."

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Escapade
Part Three

by Steven Axelrod

The two women indie filmmakers now must find a cinematographer. 3,224 words. Part One. Part Two. Part Four tomorrow. Illustration by John Donald Carlucci.


Rachel and Stacey rehearsed Escapade for weeks, a luxury that no studio production could afford. At the same time they were making travel plans and renewing their passports. They wanted to organize the whole film in advance, but there wasn’t much they could accomplish until they actually arrived in Paris. They were set to leave April 1, and booked the others two weeks later. Outside the travel agency, with all the tickets clutched in one hand, Rachel threw her arms around her friend. "We’re really going, now. It’s official.”

The week before they left, Rachel threw a dinner party for the cast and crew. She wanted everyone comfortable with everyone else before they started shooting a low-budget film at close quarters in a foreign country. It was an enjoyable afternoon – volleyball on the beach, an early cook-out, people having fun. The only disturbing moment happened with Emily. Again.

They were outside in the deepening evening. A cool wind was blowing in off the ocean and Rachel was getting hamburgers onto buns before they burned. Emily slipped beside Rachel as she worked.

“So what am I feeling now?” Rachel asked her.

“Suspicious. Uncomfortable. Annoyed. It’s just something I can do. I wish you trusted me more. I could help you. I want to talk about… ” Emily looked around and lowered her voice, “Rafe DeMarco. He isn’t what he seems. You should get away from him.”

“I’m leaving for Europe with him in less than a week.”

“He’s trouble. I just think you should get as far away from him as possible.”

Rachel stared at her. “Where am I supposed to find a new DP who’ll fly his whole crew to Europe on four days’ notice?”

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Escapade
Part Two

by Steven Axelrod

Will the two female indie filmmakers find an angel investor? 3,532 words. Part One. Part Three tomorrow. Illustrations by  John Donald Carlucci.


A few weeks before Christmas, Rachel was awakened at six in the morning by a long distance call. "This better be important."

The deep voice on the other end of the line sounded amused. "I think you could say that."

"Who is this?"

"Peter Sandrian. When we were in eighth grade, I took you to Wollman ice-skating rink in Central Park. You had to hold me up the whole time. The insides of my ankles were practically touching the ice. I fell in love with you that day, Rachel. But I never got up the courage to tell you."

Rachel laughed, fully awake now. "Oh no! I had a crush on you for years. Why didn’t you ever call me?"

"Why didn’t you call me?"

"Girls weren’t supposed to."

"We blew it, didn’t we? We were idiots.”

There was a moment of silence while the reverberations of gratuitous adolescent heartbreak subsided.

"What are you doing now?" Rachel asked. "Where are you calling from?

"Cleveland. I’m married; we have four kids. I’m the new Chief Executive Officer of Sandrian Pharmaceuticals. Dad wanted to take early retirement, and I knew the business inside out, so now I get to work the sixteen-hour days with occasional trips to Des Moines or Omaha. It’s not quite as glamorous as the movie business."

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Escapade
Part One

by Steven Axelrod

Two women start the disspiriting process of making an indie film. 3,231 words. Part Two tomorrow. Illustration by John Donald Carlucci.


On a warm evening in July, Rachel Scanlon and Stacey Clark were sitting at a tiny table overlooking the Chateau Marmont hotel bar.

"Andy Dickson," Stacey said. "Tommy Bell. Marty Cohen. Mark DeSalvo. Peter Steinkamp. Susan Drexel."

Rachel looked up. "What made you think of all these people?"

"They’re on my list. Don’t you ever read those alumnae reports that Dalton sends out?"

"I never open my mail from Dalton or Hampshire. They always want money and I never have any."

"They also have a section with information on your classmates. Annie Sobel is a painter. She just bought a loft in Tribeca and had two one-woman shows at the Holly Solomon gallery. Mark DeSalvo inherited four million dollars from his grandfather. He supports the arts and collects Rookwood pottery. Peter Steinkamp has a seat on the New York Stock Exchange and is renovating an old firehouse in Brooklyn."

"Does he support the arts, too?”

"I bet he does. And I have two artists in mind. They’re planning to make a low budget movie."

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No Budget-2

No Budget
Part Two

by Jon Jack Raymond

The indie filmmaker begs and borrows to finish her shoot – and feed her dog. 2,006 words. Part One. Illustration by John Donald Carlucci.


Indie filmmaker Annie Grayson wasn’t young. But she had more energy than any obnoxious 22-year-old snot-nosed kid out of film school. Both crew members Nigel and Ted admired her for that. So they were onboard as much as they could be without too much self-sacrifice for a very likely doomed project.

Nigel hated to think of it like that. But Annie would not listen to reason. Yes, collaboration could make it work. But not if she refused their help and knowledge.

“First-time filmmakers don’t jump into features or even thirty minute shorts. They do ten minute shorts, or five minute shorts,” Nigel said to Ted, the sound man.

“George Lucas will tell you he started out with a thirty second short and a lot of storywriting experience,” said Ted, lighting up a joint. “Want a toke?”

“Thanks.” Nigel, the cinematographer, said and inhaled. “Then she complains that Tricia is always late. No shit. Actors are always late. They’re prima donnas, even the unknowns.” He let out the breath.

“Especially the unknowns.”

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No Budget
Part One

by Jon Jack Raymond

An indie filmmaker likes to play the underdog. With her dog. 2,210 words. Part Two. Illustration by John Donald Carlucci.


It was a hot Los Angeles summer day. Annie Grayson, the alleged author and self-proclaimed indie film authority, brought a dog to her set, which was the street in front of the Century Plaza Towers. The mangy dirty mutt with matted hair was very unhappy to be there in the heat. But Annie dragged him around everywhere. “Louie, come here!” she yelled as she pulled his thick rope leash.

Nigel, with his DSLR camera and lugging a Flycam rig, spotted her from across the street and thought, Is that her? With the dog? She looks younger in her picture. Ok, here we go. I can’t believe she brought a dog.

He walked up. “Annie?” The dog starting barking at him.

“Louie!” she yelled. The dog got quiet. “You’re Nigel? Tricia is late. She’s always late. I’m calling her now.”

“That’s typical,” Nigel said, shaking her hand as the dog barked again.

“Louie! Shut up!” Annie said. “She can’t find parking. Here, talk to her.” Annie handed Nigel the phone.

“There are free spaces right off Olympic,” Nigel shrugged. Whatever. Actors are always late. He looked at Annie and the dog and thought, She brought a crazed wild animal to a film set and she’s worried that the actor is late? Looking back, Nigel didn’t think Annie deserved to call the dog hers. But at the time he was hired to film her project.

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The Incalculable Hours
Part Two

by James Kaelan

The fustrated filmmaker goes on a TV talk show to save his movie. 2,295 words. Part One. Illustration by Thomas Warming.


Hollywood – 1969

It was nearly four o’clock when Tall parked in a loading zone at the CBS lot, and ran into Stage 17. From the lobby, Tall could hear The Dean Keller Show orchestra welcoming a guest, and the audience applauding. Above a set of double doors, a red “Live Show Recording” sign blinked.

“Mr. McCollum!” a woman said in a low, excited voice.

Tall turned to see Tandy Dale, the associate producer who’d handled him the day before, walking toward him with a clipboard against her chest. “When I heard the door open,” Tandy continued, “I thought a civilian was trying to sneak in.”

“Would it be possible to get backstage?” Tall asked. “My wife Diana lost a little enamel compact that belonged to her mother when we were here last night for my appearance, and it’s the only place we haven’t looked.”

“They cleaned this morning, and didn’t turn anything in. But I suppose it could’ve fallen in the couch cushion?”

Tall followed Tandy around the perimeter of the stage. As she unlocked a door marked “PRIVATE,” she looked back at Tall. “Would you like to know your audience scores from last night?”

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The Incalculable Hours
Part One

by James Kaelan

A rebel filmmaker struggles to deter professional and personal disaster. 2,334 words. Part Two. Illustration by Thomas Warming.


Hollywood – 1969

“You’re a fucking kamikaze pilot, Tall,” said Jack Benton from behind his teak desk. “And you just crashed into your own fucking ship!” He wore a chambray blouse and a necklace of mahogany beads, but on his wrist dangled a gold Rolex. And only two days earlier, Jay Sebring had flown back from Las Vegas just to give him a haircut.

“And you didn’t just kill yourself,” Benton continued, pounding the heel of his palm onto a year-old issue of a Black Panther newspaper he’d never read. “You killed me, you killed your wife, and you killed that little band of outlaws you have marooned out there in the desert with you. I’m sure they’ll pretend like it’s a blessing — since they think they’ve transcended the fucking material world like an order of fucking Tibetan monks. But let me tell you a little secret. If anyone had gotten famous from this stillborn movie of yours, they’d be buying Jaguars and houses in fucking Malibu.”

“I just earned you lines around the block!” yelled Tall, standing in the middle of the office, rocking from his toes to his heels with the violent energy of a wrestler on his starting line. He was short, but broad across the shoulders, so that with his arms crossed, his buckskin jacket stretched taut across his upper back. His old tan boots chirred as he pitched onto his toes, and his wavy blonde hair curled down his neck.

“How the hell do you figure that, Tall? From my experience, people go to movies to be entertained — not to feel like they’ve fallen off a roof.”

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Celebreality

by Mark Jonathan Harris

A down-on-his-luck social message documentary filmmaker is asked to work on a Reality TV show. 2,323 words. Illustration by Mark Fearing.


The phone jarred Michael awake at 6:18 am. It was Eva, his sister and self-appointed agent, calling from her Audi on her way to the gym.

“You couldn’t wait until you finished your workout?” he said groggily.

“Today at 11,” she reminded him. “I sent them over your teen hooker piece and they love it. They’re eager to meet you. Now don’t screw it up.”

“I’ll be on my best behavior,” he mumbled.

“Don’t you dare embarrass me.”

“I didn’t know that was possible.”

“You’re such an asshole,” she said and hung up.

Michael got out of bed and brewed some coffee. He knew he should be grateful for Eva’s attempts to get him work, but reality TV? He had become a documentary filmmaker to make the world a better place, not to contribute to its degradation like his sister, who represented many of the worst offenders of the genre. “Reality TV,” she once told him, “is the 21st Century equivalent of the gladiatorial arena. The Romans loved it and so do we. It’s human nature. We glorify the strong and want to kick the weak.”

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Lost Coast
Part One

by Morgan Hobbs

Out-of-work Hollywood types travel to the middle of nowhere to make an adventure show. 2,332 words. Part Two. Illustration by John Mann.


We were desperate. Art. Bruce. Lance. Tony. Scott. The whole lot of us. Desperate for another break. Desperate to make another month’s rent, another phone bill, another car payment. Desperate to make something happen. Tired of waiting tables, waiting in open houses, waiting to get slaughtered at the next cattle call. We’d all had a break or two already – a national commercial, a recurring role on HBO or FX or AMC, a juicy part in a fourquel splatter-fest. Just enough to keep our hopes up, keep us out of real jobs and real money. Only the breaks hadn’t led to bigger breaks. We needed that big roller to take us over the top. And this was our wave machine.

“Can you believe this shit?” said Art, an aspiring film editor scraping by on local commercials and backyard bare-knuckle brawl videos. Believe it or not, they pay people to edit those things. He got four hundred bucks and an eight ball for the last gig, which launched the career of a 380 pound overalls-clad cyclops named Opie Mohammed.

I couldn’t believe the tab as I looked at it, dollar signs burning my eyes. Even out in the middle of nowhere like we were, in some Northern California town where the redwoods met the Pacific, it was possible to run up a four figure bar tab. Before I could react, another round had arrived — bottles of Budweiser and whiskey backs, although you could have them in any order you liked. I could already feel the hangover and I knew a couple of the others were half blind. Somebody had to pay for this. The credit cards were maxed. We didn’t have the budget for this bill. I hailed the waitress and ordered another round of whiskey.

As soon as I said it I got hit in the eye with the flash. “How come every time I order a whiskey, you take my picture?” I asked.

Scott slipped the phone back in his pocket. “Because in Argentina they say ‘whiskey’ instead of ‘cheese’. Picked it up on a shoot in Patagonia.”

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Prison
Part Two

by Zak Shaikh

A writer has to get out of a movie job contract and off an exotic island. 1,918 words. Part One. Illustration by John Donald Carlucci.


The next morning, Jenny Logan came to escort me to Jack’s place. She didn’t say a word about the job offer she’d made me to come from L.A. to this isolated island off Cambodia and write and possibly direct a film. But, as we stopped outside the steps of the beachside mansion belonging to the movie studio owner, a Luxembourg billionaire, I noticed cut marks on both Jenny’s wrists. They were obviously recent.

Jenny saw me looking at them. “I’m sorry if I’ve been weird, James. I think, when I get back to L.A., I’ll be my normal self again.”

She gave me a kiss on the lips, and then pulled back before I could turn it into something intimate.

Just then, a tropical rainstorm snapped into life and I rushed inside the palatial home. Jack was short, stocky and tanned but not even plentiful spa treatments could hide his fifty-something age. He smiled like a villain from a Bond movie and welcomed me inside. Of course, Jack’s bodyguard stood expressionless five feet behind us at all times.

“Thank you for this amazing opportunity, Mr. Hauser,” I said politely. I noted he didn’t offer me a drink, not even tap water. At least in Hollywood they offer you a bottle of Voss before they drain you of life.

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