How Many Special People Change?

We were all Oasis fans back then. It's not because they were great -- at least not on a technical level. It's because 'Wonderwall' was on the radio, and Liam had attitude, and we needed a soundtrack to our endless summers.

Right now, it feels like 'Gangnam Style' is viral just because it's viral, like it happened in a vacuum. But one day we'll look back and we'll see how beautifully it fit in with the moment, the culture, the experiences we were collectively going through at the time -- we just can't see it yet.

And to be young and English in the 90's, Oasis were your band. And sure, maybe you were one of those who preferred Blur, or was adamant that Liam couldn't sing. But if you were like that, you missed the point, we didn't care that Liam couldn't sing. It was about more than that.

Go visit an English pub and throw 'Don't Look Back In Anger' on the jukebox, we'll sing along to every word. And we'll have a little tear in our eye; we'll feel alive again, because that song is who we were.

'Champagne Supernova' was gibberish. What were they singing about? Nobody knows, but we all related to it.

When you're a kid, you don't realise you're a kid. You don't realise the feelings will pass. You don't realise that the daily dramas are not the be all. You think that Jenny not returning your phone call is the end of the world, you think falling out with Bradley because he wouldn't lend you a fiver is the biggest disaster in history.

And then you grow up.

But years later, you hear the records again. And the fall-out with Bradley still cuts deep. And Jenny was the most beautiful girl who ever existed and would it have been so hard for her to give you the time of day?

When you're young and stupid, you think every moment matters, until someone straightens you out and tells you to focus on doing something with your life. 

So you do something with your life. 

But you feel a little dead inside, because so much is gone. One day you're at a restaurant or a pub or you're walking past and old record store, and you hear it---- you hear who you were, where you've come from. You hear the voices of the people you haven't heard from in fifteen years. It hits you that those days were everything. We were kids and we loved Oasis, not for any reason other than because we just did.

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10 Tips for 2013

1. When considering whether to collaborate with someone, ask yourself this question: Do they have talent?. If the answer is no, you have no business being on that project.

2. Work with problem solvers. People who are eager to cross the finishing line. If someone is always stressed and drowning in trouble, you have no business working with them.

3. Set a start date. Set a finish date. Stick to it. This applies to everything from the big things, like production dates and festival entries, to the little things, like updating your Résumé, and emailing potential employers.

4. Engage in social media. Don't be afraid of it. Be sure to actually communicate with people. If you like their statuses, reply to their tweets and comment on their YouTube videos, they'll do the same for you when you're releasing your project.
 
5. But also, find time to get away from the computers and phones. It's hard to have genuine insight and originality when you are constantly taking in tidbits of information. Step away.

6. The problem isn't that you can't find a job, it's that you haven't honed your talent enough. Get better at what you do.

7. Practice every day (apart from allocated days off).

8. Read.

9. Remember that it's creativity! Not everything will be perfect. Some of it will absolutely suck. It's a learning curve, and one you can't avoid, not if you want to succeed.

10. Enjoy yourself.

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Facebook Is NOT Democratic

1. I have spent years building up my Kid In The Front Row Facebook Fan Page. It has over a thousand followers.

The idea behind it: if you like my blog, you join the page. When I post an article on there, you see it.

Turns out that, on average, only 75 of the 1,135 fans see each update. And those tend to be people who have 'liked' and commented on recent posts. Everyone else is frozen out.

To reach them, I have to pay for 'sponsored posts'.

Facebook is free? Don't be ridiculous. 

You can pay for Facebook ads to bring in New 'fans'. But if you do that, you have to pay to promote posts for them to actually see them.

2. I just updated the Facebook app on my smartphone. Used to have it so I wouldn't get notifications on my phone every time I get a message. Since updating, I have them again. 

It's down to me to opt out. Again. 

You make your choices, decide on the options, but each step of the way they change your decisions to suit them.

3. The idea of the Facebook news feed is that you see your friend's updates in chronological order.

Turns out that's not true. Facebook's algorithms decide who you'll see.

And sure, Facebook claims it knows you and what you like, so it's trying to help you - that's how they see it.

You've collected your friends in one online community, and now this company, Facebook, is picking and choosing what you see, based on algorithms they don't share.

4. Hiding information. Being selective. This is what the old media did. 

With the internet, we were finally meant to be free. To share information as we please, with whomever we want.

But Facebook filters information. It makes decisions on our behalf. It's like law enforcement, or government. We feel we're free, but they take that freedom away from us. You can say it's not a big deal --- but if you're following me on Facebook, you're not even seeing my posts! Shouldn't YOU get to decide that? 

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OVEREXPOSED and DISINTERESTED: The Fight For Attention In The Modern Era

You used to go searching for that rare record. You'd line up for hours. You'd travel home desperate to hear the magic on Vinyl. Or CD. 

Even when mp3s first came about, do you remember? It took an hour to download one song. When it finally arrived, you were in heaven.

Now we stream movies. We watch box-sets hour after hour. We carry 10,000 books in our pockets. We read the newspaper while jogging.

Hearing your favourite song used to be a privilege. Now you're so bored 18 seconds in that you skip ahead, eager to find something better.

But how often do you find that magic?

Hardly ever. The magic is gone, we have too much access. 

We get false highs all the time. A quirky band comes along, and we're momentarily quenched. Or the marketing guys tell us the new Bond and Batman are the greatest films ever -- we believe them, momentarily, until we remember what a perfect movie really is.

A perfect movie is what we knew back when we were kids in the front row.

But that was long ago. Truth is, 'Casablanca' isn't as good as it once was, because our neurons are wired to think about tweets and emails while we're watching. And we have to glance at the phone, just in case there's a text.

If you can sit down and truly sink into a book, I applaud you -- you're one of an extremely rare group of people.

We have too much. So much that, nearly all of it bores us.

We pretend we're paying attention, but it's just not possible for the modern digestive system. We're stuffed. Over-fed.

We think this is evolution, but it's not. The devices, programs and apps are things that were invented and marketed at us, regardless of whether they're good for us. The human brain cannot multi-task in an efficient way. This has been proved time and time again by neuroscience. 

So we find a battle going on; there's a montage happening in the movie? Maybe I'll check my email. The song's boring? Maybe the next one suits my energy. The YouTube video lasts another 30 seconds? Maybe I'll read that article about Israel at the same time. 

We're kidding ourselves, and we're losing the battle. We're losing our passions. We can pretend we're paying attention, or we can say we're different and that all this technology helps us --- but we're rewiring our brains to suit the app-sellers and device marketers. In the process, we're losing our love of the things we hold dearest. 

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Interview with Film Producer LISA RUDIN

It's not that making a film for $25,000 is impossible, many have done it. But how many of them are good? LISA RUDIN managed the small miracle of producing a feature film on a tiny budget that was actually GREAT. You can read my review here, or you can talk to the many hundreds of people at film festivals who have been lucky enough to get to see it. 

When a great indie film is made for virtually no money, we have a tendency to to shine a light on the director. How did they do it with so few resources? The truth is, it's an impossible task. That's unless you have a great producer, which is precisely why I wanted to interview Lisa Rudin.

You made 'Missed Connections' for around $25,000, is that right? What was your budget after marketing, festival entries, and all that kind of thing?

'Missed Connections' was made for $25,000.  We raised nearly all the money through two Kickstarter campaigns. The first one supported our initial production costs and insurance.  The second one helped us finish with production and left money for post expenses.  Our marketing budget was less than 1K.  We had a company print posters and postcards which we designed with the help of a couple talented friends and developed a website on our own. 

The festival entries can get very expensive on the other hand.  We needed a few thousand dollars for entry fees, although some were waived.  Another hefty expense was the cost to travel to fests.  Not all of them cover travel costs and those that did were usually willing to cover travel for one person.  We are a four person filmmaking team (Eric Kissack - the director, Kenny Stevenson - the writer and lead, and Dorien Davies - the female lead) so we're all broke now, but it was worth it!

On a script level - what makes a good independent film? What makes you want to produce something?

Great question. Dorien and I were friends and she mentioned to me that her husband had written a script.  I read it and met with them.  I loved this script because it was so clever and funny.  I asked Kenny if his goal was to get managers or agents to read it and if he wanted my help in doing that.  He said no.  He wanted to make it himself.  I was just crazy enough to be convinced.  He explained that he wrote it with his friends in mind and from there we did a table read with all of them.  They were all so talented.  It was perfectly cast.  I introduced them to Eric and he felt the same.  I knew we had something special.  The actors were perfect for their parts and it really flowed.  Because of the nature of independent film, you need to have extra passion to make up for the lack of money.  This project had it and I could see it in this group.  It was an easy sell to get me on board.  

When producing - do you tend to be on set every day?

I do.  With indie films there seems to be a lot more room for little fires.  We had lots of days where unexpected issues popped up. This is the nature of shooting without permits and with no money.  You have to get very creative!  We had a day where the grip truck didn't show up.  We had a day where we were stopped by the police.  We lost power for a few hours one day.  You never know what can come up, and unfortunately you don't have money to throw at the problem.  Because of all this, I find it helpful for me to be on set.  Eric was directing and needed to focus on that aspect.  We are a good team and he trusts me.  I might not always alert him to a problem, but he can be sure that if there is one, its being handled.  

You've worked as an assistant to Larry Charles on some amazing projects -- what did you learn about comedy from him --- and from Larry David, Sacha Baron Cohen, and Bill Maher..?

I have been very lucky to work with such talented people.  A lot of the projects these guy do are improv heavy.  Over the years, I've been able to watch that process and have really enjoyed seeing actors work on projects that allow for flexibility with the script and characters.  I tend to be more interested in projects I come across that incorporate that element.  In production this can sometimes translate to scenarios that you didn't expect.  On some of the projects I've worked on with these guys, we had limited resources and a lot of changes to our schedule, location or set needs.  You have to think fast and be resourceful in these situations and I learned a lot from those experiences.  I drew on all these lessons while making this movie.  

The film is doing really well at the film festivals -- what has it been like travelling around with the film? It's like being on tour in a band, right?

Oh yes, just as wild and crazy...but probably not in the sex, drugs and rock n roll aspect.  It's been a great way to see the country (and London!) and to catch up with friends and family.  That has been a really special experience.  Nothing better than travelling with your film to new audiences and watching people laugh and enjoy it. 

Kenny Stevenson, Dorien Davies, Lisa Rudin

How do you find material you want to produce -- how does it get into your hands? 

Many ways.  Sometimes my friends ask me about a project.  Sometimes I meet people at festivals.  Sometimes it's through word of mouth.  Or, sometimes it's through past work contacts.  All ways are good.  I'm always looking for new projects.  

What's next for you? 

I am currently working on a couple shorts and the four of us are working on selling 'Missed Connections'.  We are also discussing a new project...  We shall see. 

The internet is playing a huge part in every stage of production. In what ways has the internet been important to you?

Without the internet, we couldn't have told Neal's story, we couldn't have raised money through Kickstarter and we wouldn't be able to bring the movie to YOU.  It's crucial.  I could go on about the internet for days.  I'm sort of a geek.  

What can you tell us about distribution? Is anything lined up? 

Yes!  We have deal in place with Film Festival Flix and will also be in places like itunes, Netflix and other VOD and cable platforms in early 2013.  

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