Monday, January 28, 2008
Next Raido show 1/28/08!
Tonight at 7:PM CST we have: Jen Tonon (writer/producer/actress; "Super Tromette Action Movie Go!") - Jen is a musician/visual artist/theatre geek who has recently unearthed a crazy urge to make retarded and sometimes pointless movies. STAMGo!, however *has* a point. What that is, we're still not sure, but it's there! An avid fan of all things cheesy, cartoony, and horrific, Jen hopes to bring together all three in this film with loads of help from director Steven A. Grainger. Look for it in 2008! www.stamgo.com"
Thursday, January 24, 2008
News News News!!!!!
Be part of this!
Ross Bigley
Director, Milwaukee Short Film Festival
414-807-4008
rbigley@hotmail.com
www.dirtyjobfilms.com
http://www.dirtyjobfilms.com/filmfest.asp
http://www.myspace.com/mkeshortsfest
FOR IMMEDIATE RELEASE
Ross Bigley
Director, Milwaukee Short Film Festival
414-807-4008
rbigley@hotmail.com
www.dirtyjobfilms.com
http://www.dirtyjobfilms.com/filmfest.asp
http://www.myspace.com/mkeshortsfest
FOR IMMEDIATE RELEASE
10th Annual Milwaukee Short Film Festival Announces Judges.
MILWAUKEE (Jan 16, 2008) – The 10th Annual Milwaukee Short Film Festival is now accepting film submissions for its May event, and is pleased to announce this year’s panel of judges. Coming back again is:
• Jerry Houser, an actor on such the films like Slap Shot, Summer of ’42 and Another You.
• Tim Lonsdale, the 1st First Assistant Director of ABC’s upcoming Eli Stone, TBS’s My Boys, Ghost Whisperer, and Charmed.
• New this year is Uwe Boll, Director on the films In the Name of the King: A Dungeon Siege Tale, Postal, BloodRayne and House of the Dead.
• Actor Zack Ward, who appeared in the films A Christmas Story, Freddy vs. Jason, Resident Evil: Apocalypse, Transformers and Postal.
• Lori Kahn, the former Vice President of original programming for the Showtime network. and
• John Van Slyke, Milwaukee playwright and actor in the films Disembodied, The Dirty Job and Slacktime.
The Milwaukee Short Film Festival continues showcasing the best in local, national and international short films. The longest running festival of its kind in Milwaukee, this coming year’s event will take place this coming May. This year's host will be local personality Rex Sikes whose film appearences include Backwoods Bloodbath, Massacre at Central High and the web series Naked Man.
For the first time, this year, the festival will expand with seminars and workshops. It will also include an even more extensive line up of films. The Deadlines for submitting films are January 311st for the Early deadline ($10), February 29th for the Regular deadline ($15), and March 26th for the Final deadline ($20).
Created by local and independent filmmakers, the Milwaukee Short Film Festival is proud to provide local talent with a venue for local filmmakers and getting their work seen. Through community support, the festival also is able to offer one of the largest first prizes in the area – a $1,000 grand prize. MSFF was named the 'Best Local Festival' in Moviemaker’s Winter 2006 issue.
For more information, call Ross Bigley at 414-807-4008 or e-mail rbigley@hotmail.com.
Tuesday, January 15, 2008
Damaged
Read below about a Film project shot in Green Bay, WI
Green Bay, Wisconsin is an unlikely place for a film community to pop up, but that’s pretty much what happened. The Independent Filmmaker’s Guild started up in December of 2004 and making it possible to network with other non-professional, wannabe movie makers. The possibility of getting something done tends to get easier when you find there are plenty of people ready to help- even something as crazy as making a movie.
When I tried to make my first feature in 1996, an ill-conceived, poorly written comedy that nobody understood, there were only a few thousand things that could go wrong. Most of them did and the movie sits in a back closet of my house, on ¾ inch tapes- a format I can’t easily upload to my mighty Mac and edit at a leisurely pace. What’s the diff anyway; the movie would still stink and instead of being a curiosity it would be confirmation that my skills, whatever they might be, hadn’t taken up residence yet.
It also cost me a butt-load of money that I couldn’t afford to throw away- and that was before I had a wife and two kids.
Paul Rinehard was responsible for that debacle, but only in a roundabout way. I’d worked with him on one of his films, "All You Can Eat," the year before and realized that it wasn’t impossible to make a movie in Titletown. Paul even managed to find a distributor for "All You Can Eat," driving the idea that there might be a payday at some point too. I don’t blame Paul for those ideas getting into my head- he didn’t put them there- but it sure did irritate me for a long time that he was able to finish with a coherent picture and I was left with a whole bunch of… well, poop.
What was I to say when Paul asked me to produce a movie for him? I can’t say I jumped at the opportunity. Not that I doubted him in the least, it’s just that I had a project of my own I’d hoped to get started with in the next few months. Either that or move to Florida. I couldn’t decide which would be a better use of my funds.
Eventually I gave Paul a straight answer: "Maybe." I just needed to read the script. I did and thought it showed lots of promise. Paul and I spent months getting it ready to shoot, with Paul doing all of the hard work. I made suggestions and even helped steer a thing or two, but all the writing was done by Paul- even the bad jokes that sound like something I would have said.
Casting is the area that I take the most pride in on this film, mostly because I got exactly the cast I wanted. I either coerced or convinced Paul that I knew the perfect actors for his movie.
Tiffaney Dantinne was someone I knew from IFG. I knew she was talented and knowledgeable about filmmaking. When I knew she could do better than her first audition (early morning after a weekend bender I’m guessing) I suggested she audition for Paul with another actor. She did much better and earned the part.
I went to college with Shad Bever and always wanted to work with him on something. He’d ignored my advances for over a decade and probably only accepted this role because he found out I wasn’t directing the movie myself.
Sadie Rinehard didn’t get her role because she was Paul’s daughter, she got it because she did a great audition.
Barb Alloy and Kathy Hardtke were two ladies that Paul and I had both worked with before and were hoping to bring into this dysfunctional family. Fortunately they were both willing and able.
There was a lot of discussion about the overall look and feel of the film. Paul and I both believed that for DAMAGED to work it had to be unsettling from beginning to end. I’m a big fan of "N.Y.P.D. Blue" and the style of camera work that Greg Hobblit brought to it that first season. I’d also enjoyed Paul Greengrass’ hand held camera work in "The Bourne Supremacy," and believed that the style would work for our movie as well. The rapid fire editing would make Peter Hunt hold on for dear life, but it was exactly what we needed for this movie to work. It certainly didn’t make it easier.
Most of the feedback has been positive, though you’ll always be able to find dullards who lock everything down on a tripod. Me? I love the Bogen, but not for this movie. DAMAGED is meant to be a disturbing experience. We never want you to be a fly on the wall- we want you to be in the room with the psycho killer, looking for a shadow to hide behind.
Shooting started in October of 2006 and lasted for five weeks. We did have one minor hiccup- one of the people who was raising money for us wasn’t delivering. The money that he assured us would be available was going to make the whole shoot easier… if it actually was available.
A week before we were going to start Paul asked me if I thought we should wait for the money. I decided to not wait, mainly because we had a schedule and the actors and crew were fired up to get started. I didn’t want to throw out a speed bump, even if it meant I’d be paying for the shoot from my own pocket. It’s a good thing we started without the money since we’d still be waiting.
The shoot went remarkably well, possibly the smoothest shoot I’ve ever been involved with. The weather cooperated with us and Paul’s house remained standing while we shot there. My stepmother left town for a weekend and we "spilled blood" in her bath tub- a grizzly shot that appears in the movie for about three seconds.
Our cast and crew came through in spades; top notch work from every single person. Craig Knitt and I split the shooting (with his new Canon XLH), Scott Willems recorded the sound for us and Paul’s sons were our P.A.s.
Post production lasted five months longer than we wanted. Chris Opper and I edited 95% of the movie, then Craig came in and polished it up, added the bells, whistles and special effects. Robert Graf added a few digital effects that I defy you to find- they blend so seamlessly into the practical video. The result is a movie we’re very proud of.
The premiere was held on August 26, 2007 at the Meyer Theater in GreenBay. The first twenty-five people that showed up were at least sixty years old- hardly the audience we imagined. By showtime we had 240 people, half a dozen of which didn’t remain until the end credits. We took it as a sign that we’d done something right.
So now it’s a year later, we have a great movie and I’m broke. I’m sure fame, fortune and gainful employment are not too far away but so far a commercial sale has eluded us. But then it’s only been four months since we premiered. I’m sure Kevin Smith sat on "Clerks" for years… right?
No… Oh well. I think we have a better movie.
Green Bay, Wisconsin is an unlikely place for a film community to pop up, but that’s pretty much what happened. The Independent Filmmaker’s Guild started up in December of 2004 and making it possible to network with other non-professional, wannabe movie makers. The possibility of getting something done tends to get easier when you find there are plenty of people ready to help- even something as crazy as making a movie.
When I tried to make my first feature in 1996, an ill-conceived, poorly written comedy that nobody understood, there were only a few thousand things that could go wrong. Most of them did and the movie sits in a back closet of my house, on ¾ inch tapes- a format I can’t easily upload to my mighty Mac and edit at a leisurely pace. What’s the diff anyway; the movie would still stink and instead of being a curiosity it would be confirmation that my skills, whatever they might be, hadn’t taken up residence yet.
It also cost me a butt-load of money that I couldn’t afford to throw away- and that was before I had a wife and two kids.
Paul Rinehard was responsible for that debacle, but only in a roundabout way. I’d worked with him on one of his films, "All You Can Eat," the year before and realized that it wasn’t impossible to make a movie in Titletown. Paul even managed to find a distributor for "All You Can Eat," driving the idea that there might be a payday at some point too. I don’t blame Paul for those ideas getting into my head- he didn’t put them there- but it sure did irritate me for a long time that he was able to finish with a coherent picture and I was left with a whole bunch of… well, poop.
What was I to say when Paul asked me to produce a movie for him? I can’t say I jumped at the opportunity. Not that I doubted him in the least, it’s just that I had a project of my own I’d hoped to get started with in the next few months. Either that or move to Florida. I couldn’t decide which would be a better use of my funds.
Eventually I gave Paul a straight answer: "Maybe." I just needed to read the script. I did and thought it showed lots of promise. Paul and I spent months getting it ready to shoot, with Paul doing all of the hard work. I made suggestions and even helped steer a thing or two, but all the writing was done by Paul- even the bad jokes that sound like something I would have said.
Casting is the area that I take the most pride in on this film, mostly because I got exactly the cast I wanted. I either coerced or convinced Paul that I knew the perfect actors for his movie.
Tiffaney Dantinne was someone I knew from IFG. I knew she was talented and knowledgeable about filmmaking. When I knew she could do better than her first audition (early morning after a weekend bender I’m guessing) I suggested she audition for Paul with another actor. She did much better and earned the part.
I went to college with Shad Bever and always wanted to work with him on something. He’d ignored my advances for over a decade and probably only accepted this role because he found out I wasn’t directing the movie myself.
Sadie Rinehard didn’t get her role because she was Paul’s daughter, she got it because she did a great audition.
Barb Alloy and Kathy Hardtke were two ladies that Paul and I had both worked with before and were hoping to bring into this dysfunctional family. Fortunately they were both willing and able.
There was a lot of discussion about the overall look and feel of the film. Paul and I both believed that for DAMAGED to work it had to be unsettling from beginning to end. I’m a big fan of "N.Y.P.D. Blue" and the style of camera work that Greg Hobblit brought to it that first season. I’d also enjoyed Paul Greengrass’ hand held camera work in "The Bourne Supremacy," and believed that the style would work for our movie as well. The rapid fire editing would make Peter Hunt hold on for dear life, but it was exactly what we needed for this movie to work. It certainly didn’t make it easier.
Most of the feedback has been positive, though you’ll always be able to find dullards who lock everything down on a tripod. Me? I love the Bogen, but not for this movie. DAMAGED is meant to be a disturbing experience. We never want you to be a fly on the wall- we want you to be in the room with the psycho killer, looking for a shadow to hide behind.
Shooting started in October of 2006 and lasted for five weeks. We did have one minor hiccup- one of the people who was raising money for us wasn’t delivering. The money that he assured us would be available was going to make the whole shoot easier… if it actually was available.
A week before we were going to start Paul asked me if I thought we should wait for the money. I decided to not wait, mainly because we had a schedule and the actors and crew were fired up to get started. I didn’t want to throw out a speed bump, even if it meant I’d be paying for the shoot from my own pocket. It’s a good thing we started without the money since we’d still be waiting.
The shoot went remarkably well, possibly the smoothest shoot I’ve ever been involved with. The weather cooperated with us and Paul’s house remained standing while we shot there. My stepmother left town for a weekend and we "spilled blood" in her bath tub- a grizzly shot that appears in the movie for about three seconds.
Our cast and crew came through in spades; top notch work from every single person. Craig Knitt and I split the shooting (with his new Canon XLH), Scott Willems recorded the sound for us and Paul’s sons were our P.A.s.
Post production lasted five months longer than we wanted. Chris Opper and I edited 95% of the movie, then Craig came in and polished it up, added the bells, whistles and special effects. Robert Graf added a few digital effects that I defy you to find- they blend so seamlessly into the practical video. The result is a movie we’re very proud of.
The premiere was held on August 26, 2007 at the Meyer Theater in GreenBay. The first twenty-five people that showed up were at least sixty years old- hardly the audience we imagined. By showtime we had 240 people, half a dozen of which didn’t remain until the end credits. We took it as a sign that we’d done something right.
So now it’s a year later, we have a great movie and I’m broke. I’m sure fame, fortune and gainful employment are not too far away but so far a commercial sale has eluded us. But then it’s only been four months since we premiered. I’m sure Kevin Smith sat on "Clerks" for years… right?
No… Oh well. I think we have a better movie.
Green Bay, Wisconsin is an unlikely place for a film community to pop up, but that’s pretty much what happened. The Independent Filmmaker’s Guild started up in December of 2004 and making it possible to network with other non-professional, wannabe movie makers. The possibility of getting something done tends to get easier when you find there are plenty of people ready to help- even something as crazy as making a movie.
When I tried to make my first feature in 1996, an ill-conceived, poorly written comedy that nobody understood, there were only a few thousand things that could go wrong. Most of them did and the movie sits in a back closet of my house, on ¾ inch tapes- a format I can’t easily upload to my mighty Mac and edit at a leisurely pace. What’s the diff anyway; the movie would still stink and instead of being a curiosity it would be confirmation that my skills, whatever they might be, hadn’t taken up residence yet.
It also cost me a butt-load of money that I couldn’t afford to throw away- and that was before I had a wife and two kids.
Paul Rinehard was responsible for that debacle, but only in a roundabout way. I’d worked with him on one of his films, "All You Can Eat," the year before and realized that it wasn’t impossible to make a movie in Titletown. Paul even managed to find a distributor for "All You Can Eat," driving the idea that there might be a payday at some point too. I don’t blame Paul for those ideas getting into my head- he didn’t put them there- but it sure did irritate me for a long time that he was able to finish with a coherent picture and I was left with a whole bunch of… well, poop.
What was I to say when Paul asked me to produce a movie for him? I can’t say I jumped at the opportunity. Not that I doubted him in the least, it’s just that I had a project of my own I’d hoped to get started with in the next few months. Either that or move to Florida. I couldn’t decide which would be a better use of my funds.
Eventually I gave Paul a straight answer: "Maybe." I just needed to read the script. I did and thought it showed lots of promise. Paul and I spent months getting it ready to shoot, with Paul doing all of the hard work. I made suggestions and even helped steer a thing or two, but all the writing was done by Paul- even the bad jokes that sound like something I would have said.
Casting is the area that I take the most pride in on this film, mostly because I got exactly the cast I wanted. I either coerced or convinced Paul that I knew the perfect actors for his movie.
Tiffaney Dantinne was someone I knew from IFG. I knew she was talented and knowledgeable about filmmaking. When I knew she could do better than her first audition (early morning after a weekend bender I’m guessing) I suggested she audition for Paul with another actor. She did much better and earned the part.
I went to college with Shad Bever and always wanted to work with him on something. He’d ignored my advances for over a decade and probably only accepted this role because he found out I wasn’t directing the movie myself.
Sadie Rinehard didn’t get her role because she was Paul’s daughter, she got it because she did a great audition.
Barb Alloy and Kathy Hardtke were two ladies that Paul and I had both worked with before and were hoping to bring into this dysfunctional family. Fortunately they were both willing and able.
There was a lot of discussion about the overall look and feel of the film. Paul and I both believed that for DAMAGED to work it had to be unsettling from beginning to end. I’m a big fan of "N.Y.P.D. Blue" and the style of camera work that Greg Hobblit brought to it that first season. I’d also enjoyed Paul Greengrass’ hand held camera work in "The Bourne Supremacy," and believed that the style would work for our movie as well. The rapid fire editing would make Peter Hunt hold on for dear life, but it was exactly what we needed for this movie to work. It certainly didn’t make it easier.
Most of the feedback has been positive, though you’ll always be able to find dullards who lock everything down on a tripod. Me? I love the Bogen, but not for this movie. DAMAGED is meant to be a disturbing experience. We never want you to be a fly on the wall- we want you to be in the room with the psycho killer, looking for a shadow to hide behind.
Shooting started in October of 2006 and lasted for five weeks. We did have one minor hiccup- one of the people who was raising money for us wasn’t delivering. The money that he assured us would be available was going to make the whole shoot easier… if it actually was available.
A week before we were going to start Paul asked me if I thought we should wait for the money. I decided to not wait, mainly because we had a schedule and the actors and crew were fired up to get started. I didn’t want to throw out a speed bump, even if it meant I’d be paying for the shoot from my own pocket. It’s a good thing we started without the money since we’d still be waiting.
The shoot went remarkably well, possibly the smoothest shoot I’ve ever been involved with. The weather cooperated with us and Paul’s house remained standing while we shot there. My stepmother left town for a weekend and we "spilled blood" in her bath tub- a grizzly shot that appears in the movie for about three seconds.
Our cast and crew came through in spades; top notch work from every single person. Craig Knitt and I split the shooting (with his new Canon XLH), Scott Willems recorded the sound for us and Paul’s sons were our P.A.s.
Post production lasted five months longer than we wanted. Chris Opper and I edited 95% of the movie, then Craig came in and polished it up, added the bells, whistles and special effects. Robert Graf added a few digital effects that I defy you to find- they blend so seamlessly into the practical video. The result is a movie we’re very proud of.
The premiere was held on August 26, 2007 at the Meyer Theater in GreenBay. The first twenty-five people that showed up were at least sixty years old- hardly the audience we imagined. By showtime we had 240 people, half a dozen of which didn’t remain until the end credits. We took it as a sign that we’d done something right.
So now it’s a year later, we have a great movie and I’m broke. I’m sure fame, fortune and gainful employment are not too far away but so far a commercial sale has eluded us. But then it’s only been four months since we premiered. I’m sure Kevin Smith sat on "Clerks" for years… right?
No… Oh well. I think we have a better movie.
When I tried to make my first feature in 1996, an ill-conceived, poorly written comedy that nobody understood, there were only a few thousand things that could go wrong. Most of them did and the movie sits in a back closet of my house, on ¾ inch tapes- a format I can’t easily upload to my mighty Mac and edit at a leisurely pace. What’s the diff anyway; the movie would still stink and instead of being a curiosity it would be confirmation that my skills, whatever they might be, hadn’t taken up residence yet.
It also cost me a butt-load of money that I couldn’t afford to throw away- and that was before I had a wife and two kids.
Paul Rinehard was responsible for that debacle, but only in a roundabout way. I’d worked with him on one of his films, "All You Can Eat," the year before and realized that it wasn’t impossible to make a movie in Titletown. Paul even managed to find a distributor for "All You Can Eat," driving the idea that there might be a payday at some point too. I don’t blame Paul for those ideas getting into my head- he didn’t put them there- but it sure did irritate me for a long time that he was able to finish with a coherent picture and I was left with a whole bunch of… well, poop.
What was I to say when Paul asked me to produce a movie for him? I can’t say I jumped at the opportunity. Not that I doubted him in the least, it’s just that I had a project of my own I’d hoped to get started with in the next few months. Either that or move to Florida. I couldn’t decide which would be a better use of my funds.
Eventually I gave Paul a straight answer: "Maybe." I just needed to read the script. I did and thought it showed lots of promise. Paul and I spent months getting it ready to shoot, with Paul doing all of the hard work. I made suggestions and even helped steer a thing or two, but all the writing was done by Paul- even the bad jokes that sound like something I would have said.
Casting is the area that I take the most pride in on this film, mostly because I got exactly the cast I wanted. I either coerced or convinced Paul that I knew the perfect actors for his movie.
Tiffaney Dantinne was someone I knew from IFG. I knew she was talented and knowledgeable about filmmaking. When I knew she could do better than her first audition (early morning after a weekend bender I’m guessing) I suggested she audition for Paul with another actor. She did much better and earned the part.
I went to college with Shad Bever and always wanted to work with him on something. He’d ignored my advances for over a decade and probably only accepted this role because he found out I wasn’t directing the movie myself.
Sadie Rinehard didn’t get her role because she was Paul’s daughter, she got it because she did a great audition.
Barb Alloy and Kathy Hardtke were two ladies that Paul and I had both worked with before and were hoping to bring into this dysfunctional family. Fortunately they were both willing and able.
There was a lot of discussion about the overall look and feel of the film. Paul and I both believed that for DAMAGED to work it had to be unsettling from beginning to end. I’m a big fan of "N.Y.P.D. Blue" and the style of camera work that Greg Hobblit brought to it that first season. I’d also enjoyed Paul Greengrass’ hand held camera work in "The Bourne Supremacy," and believed that the style would work for our movie as well. The rapid fire editing would make Peter Hunt hold on for dear life, but it was exactly what we needed for this movie to work. It certainly didn’t make it easier.
Most of the feedback has been positive, though you’ll always be able to find dullards who lock everything down on a tripod. Me? I love the Bogen, but not for this movie. DAMAGED is meant to be a disturbing experience. We never want you to be a fly on the wall- we want you to be in the room with the psycho killer, looking for a shadow to hide behind.
Shooting started in October of 2006 and lasted for five weeks. We did have one minor hiccup- one of the people who was raising money for us wasn’t delivering. The money that he assured us would be available was going to make the whole shoot easier… if it actually was available.
A week before we were going to start Paul asked me if I thought we should wait for the money. I decided to not wait, mainly because we had a schedule and the actors and crew were fired up to get started. I didn’t want to throw out a speed bump, even if it meant I’d be paying for the shoot from my own pocket. It’s a good thing we started without the money since we’d still be waiting.
The shoot went remarkably well, possibly the smoothest shoot I’ve ever been involved with. The weather cooperated with us and Paul’s house remained standing while we shot there. My stepmother left town for a weekend and we "spilled blood" in her bath tub- a grizzly shot that appears in the movie for about three seconds.
Our cast and crew came through in spades; top notch work from every single person. Craig Knitt and I split the shooting (with his new Canon XLH), Scott Willems recorded the sound for us and Paul’s sons were our P.A.s.
Post production lasted five months longer than we wanted. Chris Opper and I edited 95% of the movie, then Craig came in and polished it up, added the bells, whistles and special effects. Robert Graf added a few digital effects that I defy you to find- they blend so seamlessly into the practical video. The result is a movie we’re very proud of.
The premiere was held on August 26, 2007 at the Meyer Theater in GreenBay. The first twenty-five people that showed up were at least sixty years old- hardly the audience we imagined. By showtime we had 240 people, half a dozen of which didn’t remain until the end credits. We took it as a sign that we’d done something right.
So now it’s a year later, we have a great movie and I’m broke. I’m sure fame, fortune and gainful employment are not too far away but so far a commercial sale has eluded us. But then it’s only been four months since we premiered. I’m sure Kevin Smith sat on "Clerks" for years… right?
No… Oh well. I think we have a better movie.
The new Blog talk raido show and numbrer 2 for the week I am happy to have the great Joseph C Mistretta of the Four Finger Effects-Cutting Crew talk about Backwoods Bloodbath and other projects. Later I will be joined by Maureen Cashin Bolg of Actor's Craft on her acting classes and workshops.
Who else brings you all the film news in Wisconsin?
Who else brings you all the film news in Wisconsin?
Sunday, January 13, 2008
From Dorkgasm NEWS!!
The guys of Dorkgasm have an interesting story that Film makers should read.
You can find it here:http://www.dorkgasm.com/ Villein of the year.
Please check it and them out, you be glad you did.
You can find it here:http://www.dorkgasm.com/ Villein of the year.
Please check it and them out, you be glad you did.
Workshops
Thanks for everyone who showed up to The Film Workshop sat the Astor in Milwaukee yesterday! Bonus points to Ross Bigley and the great Maureen Cashin Bolg of Actor's Craft for teaching. Bounis points to Mr. Hall for great news abot his project. Please check out the Milwaukee Short Film Fest I will be a rocking good time.
I will be going to a longer format on the Blog Talk Raido Show and I will be looking to raise the bar on guests.
In fact I got an Email on Friday accusing me of coping the format of another Podcast, funny since until now I have only talked to film folks around Wisconsin not only film makers but authors as well.
Sign of the times I guess.
Back to workshops if you want a class just let me know and I will see what I can do.
Wayne
I will be going to a longer format on the Blog Talk Raido Show and I will be looking to raise the bar on guests.
In fact I got an Email on Friday accusing me of coping the format of another Podcast, funny since until now I have only talked to film folks around Wisconsin not only film makers but authors as well.
Sign of the times I guess.
Back to workshops if you want a class just let me know and I will see what I can do.
Wayne
Friday, January 11, 2008
Great news
Theatrical Runs Offered for Wisconsin Productions Marcus Theatres, one of the largest chains in the country, to provide screensMILWAUKEE - Jan. 11, 2008 - Wisconsin's new 25 percent tax credits for the film, television and video gaming industry just took effect Jan. 1 making it one of the most attractive packages in the nation. In what may be a first in the country, a Wisconsin-based movie theatre chain has significantly upped the stakes by offering feature film productions shot in Wisconsin guaranteed theatrical runs on some of its screens. This innovative arrangement was made between Milwaukee-based Marcus Theatres and Film Wisconsin, the state's film office, as a way to support building a film economy for the state and encouraging filmmakers, especially independent producers, who most stand to benefit by bringing their projects to Wisconsin under this arrangement. "This innovative agreement demonstrates the very kind of creative thinking that makes Wisconsin the ideal place for the film industry and, for that matter, any other creative sector business," said Lt. Governor Lawton, who chairs the Wisconsin State Arts Board. "It will allow us to display the beauty of our great state and the talent of our people on the big screen - 600 big screens in six states, in fact - and it will lift Wisconsin into view regionally and nationally as the new 'Third Coast.'" "The value of our incentives combined with the pledge of theatrical runs by Marcus theatres significantly increases the desirability of shooting in Wisconsin, said Scott Robbe, executive director of Film Wisconsin, the state's film office. "It's becoming an increasingly difficult and arduous task to bring a project to the screen. By offering filmmakers a guaranteed commercial theatrical run for their work, coupled with our incentives and our untapped potential as a film location, we anticipate a significant influx of creative projects coming to the state. Theatrical screenings give a project enhanced credibility and visibility and provides greater marketing legs for auxiliary markets." In a letter to Film Wisconsin, Bruce J. Olson, president of Marcus Theatres, wrote in part: "Marcus Theatres will provide the foundation bookings that may lead to multiple playdates from other theatre circuits in major markets across the Midwest and U.S. . . .the number and play dates will be determined by the final quality and appeal of the production."While retaining the right to refuse screening a film, Marcus Theatres "will make all reasonable efforts to accommodate the filmmakers request for bookings" on film receiving a G, PG, PG-13 or R rating. Marcus Theatres is based in Milwaukee and is the 7th largest theatre circuit in the country, operating 600 screens in six Midwestern states, including Wisconsin, Illinois, Minnesota, Iowa, North Dakota and Ohio.FILM WISCONSIN (www.filmwisconsin.net) is non-profit, public-private partnership organization based in Milwaukee and dedicated to nurturing and sustaining Wisconsin's film and media industry. Film Wisconsin advocates for the statewide industry in the global marketplace, provides information and resources on the industry, and is a technical assistance organization for individuals and organizations engaged in film, television, advertising, documentary, corporate video, video gaming and still photography production interested in doing business in the state.
Wednesday, January 9, 2008
A fundraiser for It Came From Lake Michigan Film Fest!
Wisconsin's Independent Genre Film Fest!Saturday, Jan. 12th at Art Bar (722 E. Burleigh, Milwaukee)Show starts at 8pm. **5$ suggested donation**Featuring: As Above So Below (Madison) www.myspace.com/asabovesobelowwi Vera (Chi) www.myspace.com/veratunes Noise Temple (Madison) http://thenoisetemple.com Auction & Film short, 5-7 mins.Bid on a short with YOU as the Lead! To be written and directed by Darby Kern (Jacobi Stone, Damaged), which will be filmed and screened in the Milwaukee area!
Wisconsin's Independent Genre Film Fest!Saturday, Jan. 12th at Art Bar (722 E. Burleigh, Milwaukee)Show starts at 8pm. **5$ suggested donation**Featuring: As Above So Below (Madison) www.myspace.com/asabovesobelowwi Vera (Chi) www.myspace.com/veratunes Noise Temple (Madison) http://thenoisetemple.com Auction & Film short, 5-7 mins.Bid on a short with YOU as the Lead! To be written and directed by Darby Kern (Jacobi Stone, Damaged), which will be filmed and screened in the Milwaukee area!
Monday, January 7, 2008
Podcast
So I hope you have checked out my Podcast on Blog Talk Radio. If you have not please do.
Also let me know who you would like me to have on next.
In the next few days I will post interesting news
Also let me know who you would like me to have on next.
In the next few days I will post interesting news
Tuesday, January 1, 2008
Film Wisconsin is a go!
Today is the start of the Film Wisconsin Tax Incentives!
Read this: http://www.jsonline.com/story/index.aspx?id=702482
To think I was a part of this is fantasic!! I thought Wisconsin would see 100 million this year total. Looks like 100 Million with the first few films coming in.
FYI I was born in Baraboo WI. (A film that "will" be shot around Baraboo will be 50-100 million)
Going to be a great year!!
So what have you done to get ready for this?
Read this: http://www.jsonline.com/story/index.aspx?id=702482
To think I was a part of this is fantasic!! I thought Wisconsin would see 100 million this year total. Looks like 100 Million with the first few films coming in.
FYI I was born in Baraboo WI. (A film that "will" be shot around Baraboo will be 50-100 million)
Going to be a great year!!
So what have you done to get ready for this?
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